Dir.
Ousmane Sembene, Senegal 2004, 124 Minutes, subtitles
Cast:
Fatoumata Coulibaly, Maimouna Helene Diarra and Salimata Traore
Ousmane Sembene is often referred to as the 'Father' of African cinema. Born in Senegal, but finding fame as a novelist and political activist whilst working in Marseilles, Sembene turned to cinema principally because film's unique language enabled him to reach larger audiences. Although his intent is deadly serious, his films are often humorous Xala (1975) satirises a government official via his polygamous relationships) and stylistically inventive. His debut, Noire de.La (1966) portrayed a Senegalese girl's isolation whilst working as a servant on the French Riviera, and subsequent work has often focused on dilemmas African women face: trying to live 'normal' lives but often forced to operate on the fault-lines between cultures.
In Moolaade, he tells the story of Colle Gardo Ardo Sy, a circumcised woman living in the village of Djerisso, Burkino Faso, who offers protection to several young girls who have run away from the village 'purification ritual'. 'Purification' being a euphemism for female circumcision, a controversial topic, whose 'traditional' status makes criticism tricky and exposes the difficulties of cultural 'tolerance'. For example, a 'radical feminist' young British novelist recently proposed that Western groups working to end female circumcision in the developing world are in fact imposing a Euro-centric set of ideals upon other women: these women may actually be happy with their apparent 'abuse', since they are culturally adjusted to it. "Maybe they just have a different relationship with their bodies." When regarding the issue of female genital mutilation ( as critics have termed it) the dilemma lies in deciding whether it is more unacceptable to 'interfere' to end a seemingly barbaric practice, or to allow the continuation of something since it is 'traditional' and avoid cultural imperialism. Much of this dilemma arises from the feeling that one cannot legitimately criticise a culture from the 'outside', as one cannot understand it.
For these reasons Moolaade is one of the most apposite and welcome films one could imagine. Not only does it unflinchingly and intelligently seek to demystify circumcision, it is essentially an 'African' film, (which though will be seen by more Europeans than Africans owing to distribution logistics) rooted in deep understanding of it's subject. Whilst mindful of the sensitivities, Moolade makes it's stance on circumcision unequivocal.
This is largely owing to the brilliant performance of Fatoumata Coulibaly as Colle, whose adamant adherence to her principles (forged by her own horrific experiences of genital mutilation) in the face of opposition exemplifies the 'Heroism of daily life' that Sembene has stated it is his mission to commemorate. Accordingly he opts for a measured rather than bombastic cinematic style, examining the nuances of village life. Shots linger to observe everyday rituals, children playing, people shopping, yet through visual and sonic motifs one sees how several parts of village life are being brought into conflict with each other: The much focused-on red rope at the entrance to Colle's home represents both the protection of the girls (none may cross it to snatch them), and of tradition itself, of the traditional right to protection it affords, which all respect. Sonically, a constant, distant drumming which intensifies at moments of drama is a counter to another, Western source of aural information, the radio.
Throughout escalating conflict the film never abandons its realist mode ,as characters continue to laugh, gossip and argue, which only lends the shocking moments (including the circumcision-induced death of one girl ) greater weight. However, despite the tragedies shown, most affecting is the sense that all involved are caught within traditions they did not make, and must re-negotiate. Colle's husband beats her for disregarding his authority, yet his brutality is that of a helpless buffoon, unable to cope with the changes with which he is faced. This re-negotiation, this alteration of village society is the triumph which Colle's stand eventually achieves, a demystifying of 'tradition' aided by the information available on the women's radios, but facilitated equally by diplomacy and courage from those within the village. Colle's victory is helped by a broadcast which dispels the myth of circumcision as a stipulation of Islam, a reminder of the media's positive influence, which the Western viewer is inclined to forget. In this way Sembene re-legitimises his use of mass media, of cinema to spread a message which all who see cannot help but be enlightened, provoked and moved by.
Joanna Coates
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