Sembene Ousmane: Tradition And An African Film Maker
By Wumi Raji
Published: January 4, 2007
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The second crisis point in the film takes place also at the same village square and the consequence it portends turns out to be as deeply ironic as the first one. The entire community is once more assembled and its purpose is to proclaim a formal ban on radio and television within the community and reiterate an age – old injunction which forbids sexual relationships with bilakoros, the contemptuous name by which uncircumcised females are known in the village. As a demonstration of the seriousness with which the proclamation is held, the sets earlier seized from women are being simultaneously set on fire in the same public square. The women become incensed as they watch their radios burn. Suddenly emboldened, they look the men in the face, announcing with one voice their determination never again to surrender their female children for circumcision. Led by Colley Ardo and Khardijatou, the women move out like a surging mass of water to confront the Salindana, forcing these enforcers of tradition to surrender the instruments they use in circumcising people. To the consternation of his father and the rest of the community, Ibrahim, heir apparent to the traditional title of the community and a fresh returnee from France announces his support for the women’s cause, making it clear that there is nothing wrong with an uncircumcised woman. In addition, he decries the ban placed on radio and television within the community. As father and son confront each other on one side of the circle, Amsatou, daughter of Colley Ardo who remains uncircumcised even though she is well past the age of puberty, steps out from the other end. Ibrahim and the girl were originally bethrothed to each other but the marriage plan has been unilaterally revoked by Ibrahim’s father simply because the girl remains uncircumcised. Now as she moves towards the centre of the circle, Amsatou raises up her head, stares Ibrahim who also has been walking towards her from the other end in the face, announcing to him her pride in being a bilakoro. Ibrahim ackowledges this and the film closes as the two resume their movement towards each other. 

No doubt, Molaade is a fierce, uncompromising film, taking on a deeply sensitive cultural practice in the community in which it is located. The tradition of female genital cutting dates several centuries back in the Senegambian society and is known, as already stated, as “purification” among the people. Sembene is however very well known for his iconoclastic attitude towards tradition. He is known to have always expressed trenchant views against static conceptions of culture, insisting that any society that must move forward has to be ready to avoid fixity and jettison irrelevant cultural practices. He confesses that one of the major purposes of his multi-dimensional projects in literature, theatre and film has always been to transgress boundaries of received tradition and introduce fresh ideas.

No one can doubt that the current film has lived up to that goal. Since it was first released to the public in 2004, Molaade has continued to generate controversies in Senegal. It has however not experienced the kind of fate that his other works have suffered. For, such other films of his as Xala and Ceddo have, in the past, either been outrightly banned or at least censored by the establishment for being too provocative. With this new film, what is at least clear is that even as an octogenarian, Sembene Ousmane’s resolve has not wavered, that his vision remains steady. It indeed means that the great director has refused to abandon the barricade inspite of old age, and this, to say the least, is greatly inspiring.

Technically also, Molaade confirms the rating of the man as the doyen of African cinema. Sembene Ousmane has a great understanding of the mechanics of drama. The film is packed full with actions, with intensely anxious moments. The visuals are, as well, perfect and the images bold and brilliant. The audio is simply excellent as the words and sentences come out distinct. Sembene displays good judgement as well in his selection of actors and actresses, and in his management and control of the cast. Finally the costumes, make up and the physical setting of the film capture perfectly the cultural context of the story. Molaade was screened at the Cambridge Arts Picturehouse on Sunday, November 26, as part of the Cambridge African Film Festival which began on 11 November and continues till 3 December.

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