Question: What 15-minute-long ballet composed by Darius Milhaud was based on traditional beliefs and practices of African people?

Context articles: La création du monde
Little Symphony No. 2 (Milhaud)
Desperately Seeking Something
Little Symphony No. 6 (Milhaud)
L'Homme et son désir
Symphony No. 1 (Milhaud)
Little Symphony No. 1 (Milhaud)
Lycée intercommunal Darius-Milhaud
Traditional African religions
Christophe Colomb

La Création du monde, Op.
 81a, is a 15-minute-long ballet composed by Darius Milhaud in 1922–23 to a libretto by Blaise Cendrars, which outlines the creation of the world based on African folk mythology.
 The premiere took place on 25 October 1923 at Théâtre des Champs-Élysées in Paris.
The Little (Chamber) Symphony No. 2, Op. 49, by Darius Milhaud (not to be confused with Symphony No. 2) is a three movement piece written for chamber orchestra, consisting of flute, English horn, bassoon, violin, viola, cello, and double bass.
 Milhaud composed this piece in 1918, one year after his first chamber symphony.
 It was fairly early in his composing career, while he was still employed as a secretary to the French ambassador to Brazil.
 Milhaud wrote this short symphony at sea, during a return voyage to France.
 Influences of Latin American rhythms and references to South America’s picturesque landscape are present throughout the piece.
Desperately Seeking Something is a British television series first broadcast on 6 November 1995, presented by travel writer and presenter Pete McCarthy.
 In it, McCarthy looked at various spiritual practices from across the globe, looking at both long standing traditional beliefs as well as 'alternate' religions which began to flourish in the 1990s.
 He met a variety of practitioners and participated in their rituals.
 It ran for three series, with the first two series focusing on practitioners located in the British Isles.
 The second season looked more at Christian and Pagan sects, including the Fellowship of Isis and the Golden Dawn.
 The third series saw him looking at world traditional beliefs like Australian Aboriginal beliefs and Hawaiian religion.
Little (Chamber) Symphony No. 6, Op. 79, composed by Darius Milhaud in 1923, is a work for oboe, cello, and wordless chorus (soprano, contralto, tenor, bass).
 Milhaud visited the United States in 1922, and composed this piece in 1923 while in New York City.
 While there, he heard live jazz and its influence is evident in this piece and his following works, including the 1923 ballet, La création du monde.
 Little Symphony No. 6 was published in 1929 by Universal separate from previous five, which were published in by Universal in 1922 and were reprinted by Dover in 2001.
 It is also the only piece out of the six with no subtitle attached.
 The Little Symphony No. 6 is a somewhat separate entity to the previous five.
 It premiered at the Concert Wiener in Paris in 1924.
L'Homme et son désir, Op.
 48, is a ballet composed by Darius Milhaud from 1917–18, based on a scenario of Paul Claudel.
 It was written in Brazil, where Milhaud had accompanied Claudel as a secretary when the latter was appointed ambassador to Rio de Janeiro.
The Symphony No. 1, Op. 210, by Darius Milhaud is a work for orchestra composed in France in 1939, during a period of illness and anxiety following the outbreak of World War II.
 Nearly fifty years old at the time and already a very prolific and mature composer, Milhaud had never attempted a symphony before.
 In spite of his expressed antipathy toward the "German music" typified by the symphony, he accepted a commission for this work from the Chicago Symphony Orchestra, then approaching its 50th anniversary.
 Milhaud went on to write twelve more numbered symphonies by 1963.
Little (Chamber) Symphony No. 1 “Le Printemps” Op. 43, as the first of a collection of six “Little Symphonies,” by Darius Milhaud is a symphony by name, due to its length of just over 3 minutes.
 This piece should not be confused with Milhaud's Symphony No. 1.
 The piece was composed in Rio de Janeiro in the year 1917.
 It first premiered in Rio de Janeiro in 1918, and was published by Universal in 1922.
 The influence of Brazilian culture, jazz, and polytonality is very clearly seen in this series of symphonies.
 According to Milhaud himself, he was quite attracted to the unusual quality of small groups of instruments, which is why he embarked on his series of Petites Symphonies.
 Due to the fact that he was living in Brazil, acting as assistant to the diplomat/poet Paul Claudel, at the time he wrote this first symphony some of the Brazilian influence can be viewed in his work.
 This first symphony was written for piccolo, flute, clarinet, oboe, harp, 2 violins, viola, and cello.
 Overall, this piece has a very simple melody, contains polytonal elements, and possesses a pastoral, folkish feeling throughout.
 The melodies and pitches evoke a light, airy feeling, such as that of the spring, thus alluding to the symphony's subtitle.
Lycée intercommunal Darius Milhaud is a senior high school in Le Kremlin-Bicêtre, France, in the Paris metropolitan area.
 It serves residents of the communes of Le Kremlin-Bicêtre, Arcueil, Gentilly, and Villejuif, in Val-de-Marne.
 It is named after the French composer Darius Milhaud.
The traditional beliefs and practices of African people are highly diverse and include various ethnic religions.
 Generally, these traditions are oral rather than scriptural, include belief in a supreme creator, belief in spirits, veneration of the dead, use of magic and traditional medicine.
 The role of humanity is generally seen as one of harmonising nature with the supernatural.
Christophe Colomb ("Christopher Columbus") is an opera in two parts by the French composer Darius Milhaud.
 The poet Paul Claudel wrote the libretto based on his own play about the life of Christopher Columbus, "Le Livre de Christophe Colomb".
 The opera was first performed at the Staatsoper, Berlin on 5 May 1930 in a German translation by Rudolph Stephan Hoffmann.
 Milhaud thoroughly revised the work and produced a second version around 1955.
 The opera is on a large scale and requires many resources for its staging.
 As in many of his other works, Milhaud employs polytonality in parts of the score.