But to return to the one under review, the atmosphere in the scene in question is highly charged. Members of the dougoutigi are seated facing the ancient mosque dominating the square. On the other side, backing the mosque, are the women and children of the community. To their right, in red apparels, their official dresses, are members of the Salindana, the women charged with the important responsibility of female circumcision in the community. In Bathily’s hand is a whip, lashes upon lashes of which soon begin to descend on Colle Ardo who everybody believes must be taught a lesson. The whipping goes on for a very long time but the woman refuses to bulge. It goes on, on and on and it soon becomes clear that Colle would rather die than surrender the girls. In the end it is Mercenaire, a petty trader in the village who, unable to bear the violence any longer, steps in to wrench the whip out of Bathily’s grip, an act for which, eventually, he pays with his life.

But as concerned as he is with the issue of female genital mutilation, Sembene Ousmane still makes sure not to confine himself only to it in Molaade. Rather, he transcends it in the film, turning it into an issue around which a struggle for change is waged. Indeed, Molaade poses questions on the opposition between stagnation and progress, and between acquiescence and the courage to speak out against oppressive practices. The film is indeed about the heroism of a woman who dares to be different, turning herself into a champion of the repressed majority and raising her voice against an old, out – dated custom,one which is gravely hazardous to the health of more than half of the members of the community. As it happens, most of the other women in the village are as much opposed to the tradition of genital cutting as Colle Ardo is. What they however lack is her defiant attitude, the courage that makes her come out to wage a lone battle against an old, entrenched order which stifles growth and prevents the spread of fresh ideas. Specifically, and as is to be discovered, Khadijatou, Bathily’s most senior wife, harbours great feelings of solidarity for the cause of her junior rival. Suspecting that the devices represent the major source through which their women have been picking up dangerous ideas, the response of the male leaders of the community when the crisis first breaks out is to order the seizure of all radio sets owned by women of the community. Colley’s own having been confiscated in consequence of this order then, what Khadijatou does is to produce another one from a hidden corner of her room, handing it over to the rebellious woman as replacement for the one that has been taken away. Also, as Colley Ardo is being whipped at the centre, the tongues of the women standing by the sideline gradually begin to loosen. They whisper words of encouragement to her, urging her not to given in. The ordeal over, they move in to prevent her from collapsing in the public square, offering her physical support as the heroic woman returns to her compound. Henceforth, they are to remain unequivocal in expressing their deep feelings of solidarity for her in her actions.