In the 1967 text, “Le dit du cinéma africain” (The Tale of African Cinema), Amadou Hampâté Bâ recounts the extraordinary history of Mali’s early encounter with cinema revealing an equally fascinating story of an early instance of an African woman and cinematic spectatorship.
Though still under the 1908 interdiction of the marabouts of Bandiagara, in 1934, to please her son she agreed to go to the cinema house. Her testimony is among the earliest reflections of an African woman regarding experiences of cinema. An astute cultural reader, Kadidia Pâté likens the movie screen, which mediates the projection of images to guide the viewer, to the divine messenger who intercedes between God and his believers. This is not to say that Kadidia Pâté views cinema as a divine intervention, but rather that at the time, in 1934 as an untrained spectator, she used a spiritual metaphor in her attempt to understand what she was experiencing, as she had been taught by the ulemas to condemn cinema, for its "satanic seduction."
Excerpted from “Le dit du cinéma africain" (The Tale of African Cinema) by Amadou Hampâté Bâ (1900-1991). Introduction to "Films ethnographiques sur l'Afrique noire" (Ethnographic Films on Black Africa), UNESCO Catalogue, 1967 (Translated from the French by Beti Ellerson). READ ENGLISH TRANSLATION IN ITS ENTIRETY.
Original version in French - Version originale publié sur l'African Women in Cinema Blog le 26 décembre 2012 sous le titre : La spectatrice africaine et son regard sur le cinéma : une préhistoire