18 July 2019

Aché Coelo (Tchad/Chad) : « Il faut améliorer la condition de la femme dans le cinéma africain...» | "There must be an evolution in the status of women in African cinema" by/par Yaya Idrissou (Culturebene)

Aché Coelo (Tchad/Chad) : « Il faut améliorer la condition de la femme dans le cinéma africain...» | "There must be an evolution in the status of women in African cinema" - Culturebene

Source (& Image) : Entretien/Interview by/par Yaya Idrissou. 18-07-2019 - Culturebene.com. Translated from French by Beti Ellerson.

English [Français ci-après]

Wednesday, July 17 was dedicated to women at the Ecrans Noirs Festival, [Culturebene] met with the young Chadian filmmaker Aché Coelo, who was part of the panel, and is the director of N'djamena Festival.

Culturebene: You are an important player in the 7th art of Chad, can you tells u about the festival of N'Djamena?

Aché Coelo: It is festival of short films, which was launched last year. Born in a context of need and of the expectation in terms of both Chad and Africa where we see that more and more young people and women do not have the facility to be able to create and redistribute their projects.

To date how many film productions do you have?

I produce only short films through the auspices of the Chadian association of mixed culture of which I am president and that sponsors the short film festival. This year we created this innovative project whose aim is to begin a training structure and produce short films, so at the present there are only two.

For you, what role should women play in cinema?

The representation of the woman must be deconstructed, less she be confined to small roles; I would like to see a woman "superwoman". In terms of Africa, we must talk about the woman without tarnishing her image; we must put the woman at the forefront while preserving themes related to the so-called values of society.

What place does women occupy in Chadian cinema?

The Chadian filmmaker has not been able to grow fully. We have no funding, but there is a lot of work that has been done since the past five years. And there are more and more young women: the proof is that I am here, and there are other women like the director Carine K, who is one of the young people we produced. There is Maryam Wanou who is a young actress. More and more of these women are beginning to make themselves known, they are asserting themselves on the local level, which is a good start.

What are your thoughts about Ecrans Noirs?

This is the first time that I have participated in Ecrans Noirs, it's a very good experience, though it is not the first time that I have eaten good Ndolè in Cameroon.

***


La journée du mercredi 17 juillet était consacrée aux femmes au sein du village du festival Ecrans Noirs, faisant partie du panel nous avons rencontré Aché Coelo jeune réalisatrice tchadienne directrice du festival Ndjamena. Lire l'intégralité de l'entretien à http://www.culturebene.com/52854-ache-coelo-realisatrice-tchadienne-il-faut-ameliorer-la-condition-de-la-femme-dans-le-cinema-africain.html

Livre/Book: Pratiques et usages du film en Afriques francophones: Maroc, Tchad, Togo, Tunisie (Practices and uses of films in Francophone Africa: Morocco, Chad, Togo, Tunisia) - eds. Claude Forest, Patricia Caillé

Livre/Book: Pratiques et usages du film en Afriques francophones: Maroc, Tchad, Togo, Tunisie (Practices and uses of films in Francophone Africa: Morocco, Chad, Togo, Tunisia) - eds. Claude Forest, Patricia Caillé

ENGLISH BELOW

Pratiques et usages du film en Afriques francophones: Maroc, Tchad, Togo, Tunisie 
Édité par Claude Forest, Patricia Caillé
Quatre enquêtes de terrain menées auprès de 3 000 personnes dans deux pays d'Afrique du Nord (Maroc Tunisie) et deux du Sud du Sahara (Tchad, Togo), à partir d’un questionnaire commun avec des adaptations locales, posent un jalon dans une réflexion sur les rapports que ces publics entretiennent aujourd’hui avec les films en Afriques. L’analyse permet de rendre compte des oeuvres vues, par quels moyens dans différents contextes, et de questionner les usages, les sociabilités qu’ils suscitent, les cultures de films qui en découlent, etc. Il s’agit ainsi d’interroger le statut du film dans le jeu de l’offre et de la demande de productions audiovisuelles dans les pays concernés, la place de la production locale sur des marchés longtemps dominés par les productions audiovisuelles occidentales. Ce volume est un approfondissement des premiers résultats d’enquête publiés dans Regarder des films en Afriques https://africanwomenincinema.blogspot.com/2017/12/livrebook-regarder-des-films-en.html (Presses universitaires du Septentrion, 2017).

Introduction
Patricia Caillé

Première partie : au nord du Sahara
Chapitre premier : Pratiques des films au regard de l'offre et de la demande en Tunisie urbaine
Patricia Caillé, Lamia Guiga
Introduction
1. Première partie : L'offre de films en Tunisie
2. Deuxième partie : L'enquête – les pratiques des films
Conclusion

Chapitre deuxième : le Maroc
Mariam Aït Belhoucine, Claude Forest
Présentation générale
Cadre et méthodologie de l’enquête
1. Les résultats de l’enquête : les pratiques audiovisuelles domestiques
2. La sortie en salle de cinéma

Seconde partie : au sud du Sahara

Chapitre troisième : le Tchad
Patrick Ndiltah, Jean-Pierre Kila Roskem
Introduction
1. Les caractéristiques de la population et des sites étudiés
2. Les publics et leurs pratiques culturelles
3. Les vecteurs d’une pratique cinématographique
4. La culture du cinéma
Conclusion

Chapitre quatrième : le Togo
Claude Forest
Introduction
1. Cadre et méthodologie de l’enquête au Togo
2. La consommation des films à domicile
3. L’infrastructure de l’offre
4. Les pratiques cinématographiques
Conclusion

Annexes
Liste des sigles et abréviations
Bibliographie
Les auteurs

[English translation of book description in French]
Practices and uses of films in Francophone Africa: Morocco, Chad, Togo, Tunisia
Edited by Claude Forest, Patricia Caillé

Four field surveys of 3,000 people in two countries in North Africa (Morocco Tunisia) and two in the South of the Sahara (Chad, Togo), based on a common questionnaire with local adaptations, make a major step towards a reflection on the relationships that these audiences have today with films in Africa. The analysis provides the possibility to give an account of the films that are viewed, by what means in different contexts, and to survey how they are used, the social events which they generate, the film cultures which result from it, etc. Hence, the aim is to survey the status of the film as it relates to the interplay of supply and demand for audiovisual productions in the countries concerned, the place of local production on markets long dominated by Western audiovisual productions. This volume is a further development of the first survey results published in Regarder des films en Afriques | [Watching films in Africas https://africanwomenincinema.blogspot.com/2017/12/livrebook-regarder-des-films-en.html] (University Press, Septentrion, 2017).

Introduction
Patricia Caillé

Part One: North of the Sahara

Chapter One: Film practices relative to supply and demand in urban Tunisia
Patricia Caillé, Lamia Guiga
Introduction
1. Part One: The supply of films in Tunisia
2. Part Two: The inquiry - film practices
Conclusion

Second Chapter: Morocco
Mariam Aït Belhoucine, Claude Forest
General presentation
Framework and methodology of the survey
1. The results of the survey: domestic audiovisual practices
2. The theatrical release

Part Two: South of the Sahara

Third Chapter: Chad
Patrick Ndiltah, Jean-Pierre Kila Roskem
Introduction
1. Characteristics of the population and sites studied
2. Audiences and their cultural practices
3. The vectors of a cinematographic practice
4. Cinema culture
Conclusion

Chapter Four: Togo
Claude Forest
Introduction
1. Framework and methodology of the survey in Togo
2. The consumption of home movies
3. The supply infrastructure
4. Cinematographic practices
Conclusion

Attachments
List of acronyms and abbreviations
Bibliography

Authors

Festival Ecrans Noirs 2019 : La table ronde sur la place de la femme dans le cinéma et l'audiovisuel | Roundtable on the place of women in the cinema and audiovisual sector

Festival Ecrans Noirs 2019 : La table ronde sur la place de la femme dans le cinéma et l'audiovisuel | Roundtable on the place of women in the cinema and audiovisual sector


English [Français ci-après]
Roundtable in Yaoundé: Africa - Equality between women and men in the audiovisual sphere: how should the industry and stakeholders respond? Wednesday, 17 July 2019 

Round Table Themes
Gender equality is a condition for sustainable development. It enhances economic development and contributes to the Sustainable Development Goals: decent work  (SDG8), food security (SDG2) and good health (SDG3) in particular. The reasons for gender inequalities are multiple: legislative barriers, unequal access to education, and so on. Cultural and social barriers, gender stereotypes is also a root cause.

Audiovisual production - cinema, reporting, media / news, advertising - has a key role in breaking down these barriers. Moreover, it underscores how women role models in the media are catalysts for gender equality. From charges against Harvey Wenstein to studies highlighting the lack of representation of women, for example as TV journalists, an important awareness is emerging. What is the situation in Africa?

The roundtables examine the issues, roles and impact that the audiovisual sector and stakeholders within it can have in Africa. The speakers discuss the positive measures that can be taken to promote gender equality in the audiovisual professions, both as it relates to realistic images of women and to the access of women to these professions.

***

Tables rondes à Yaoundé : Afrique – Egalité femmes/hommes et audiovisuel : comment les entreprises et acteurs peuvent agir ? Mercredi 17 juillet 2019 

Thématique des tables rondes   
L’égalité femmes-hommes est une condition d’un développement durable. Elle accroît le développement économique et contribue aux objectifs de développement durable : travail décent (ODD8), sécurité alimentaire (ODD2) et santé (ODD3) en particulier. Les raisons des inégalités femmes-hommes sont multiples : barrières législatives, inégalités d’accès à l’éducation etc. Les barrières culturelles et sociales, les stéréotypes femmes-hommes sont eux-aussi une cause essentielle.

La production audiovisuelle – cinéma, reportages, médias/actualités, publicité – a un rôle essentiel pour faire tomber ces barrières. Plus encore, la mise en avant de rôles modèles féminins dans les médias joue un rôle de catalyseur de l’égalité femmes-hommes. Des accusations envers Harvey Wenstein aux études qui mettent en évidence le déficit de femmes par exemple en tant que journalistes à la télévision, une prise de conscience forte est en train de s’opérer. Quelle est la situation en Afrique ?

Les tables rondes se pencheront sur les enjeux, les rôles et l’impact que peuvent avoir les entreprises et acteurs de la production audiovisuelle en Afrique. Les intervenant.e.s discuteront des mesures positives qui peuvent être prises en faveur de l’égalité femmes-hommes dans les métiers de l’audiovisuel, que ce soit dans les images des femmes véhiculées comme dans l’accès des femmes à ces métiers.

17 July 2019

Zara Mahamat Yacoub, pioneer, trailblazer, communicator (Chad)

Zara Mahamat Yacoub
Pioneer, trailblazer, communicator
(Chad)

Excerpts from interviews by Beti Ellerson with Zara held at FESPACO in 1997 and in 1998. Translated from French. First published in Sisters of the Screen, Women of Africa on Film, Video and Television by Beti Ellerson (Africa World Press, 2000).

Zara Mahamat Yacoub, pioneer, trailblazer, communicator from Chad played an important role in the evolution of Chadian television and its communication sector in general.

Zara's professional background and evolution

After completing my studies at the Université de Chad I competed for a slot at the l’Institut national de la communication audiovisuelle in France.  Upon my return to Chad, equipped with a diploma in communication with a specialization in television production I signed a contract to work as a senior ranking civil service employee.  At the time, there was no television network in Chad.  Therefore, I assumed a post in radio as producer and announcer.  The moment that a television network was created, I was called to come on board.  Not only was I the first woman, I was the only woman.  I occupied successively, the role of programming manager and head manager of the National Television of Chad. In addition, I worked in South Africa as journalist/director at Channel Africa TV in Johannesburg.

Experiences with the films: Les enfants de la guerre (Children of War), Les enfants de la rue (Children of the Street), and Dilemme au féminin.

Les enfants de la guerre, a fiction film, is a portrait of three children a girl and two boys, all orphans of war.  These children, who have lived through war, experience on a daily basis, the trauma and nightmare of war.  The film is a TVT, Belgium, Television and Sophilm production with the financial assistance of La Coopération Française, L’Agence de la Francophonie and the European Union.

Les enfants de la rue, a documentary, is a story about Oumar, the leader of a gang of “society’s rejects.” Oumar and his friends live in the streets and steal to feed themselves.  They are exposed to all kinds of illnesses, as well as the many risks that are associated with being young children alone on the streets, among which is the danger of pedophilia.  The film is a TVT and Centre Culturel Al-Moumna co-production.

The documentary film,
Dilemme au féminin, talks about excision.  The film is a fiction-documentary about a young girl who is a victim of this horrible practice.  She takes us through the multiple contours of the excision operation.  The viewer will witness an actual operation followed by the opinions of various leaders.  Muslim and Christian representatives give their position regarding this practice.  A doctor explains to us the consequences and after-effects of FGM [Female genital mutilation] basing his arguments on concrete cases that have been revealed to him during the course of his medical career.  A TVT Production, this film has been awarded several prizes.  The film has been shown in Europe and North America.

Zara discusses why she chose the topic of FGM.

Born and raised in a society that practices female genital mutilation, I live the daily suffering of women and children who are victims of this practice. This is what motivated me to join the struggle against it.  Dilemme au féminin is a film that speaks about excision. And as you may know excision is practiced practically everywhere in Africa.  But in the past, excision was also performed in Europe and in other countries.  The consequences of excision are terrible.  Today voices have been raised across the world denouncing the phenomenon of excision. It is a reality; I have seen young girls die from excision. I have seen women who have remained infertile for their entire lives as a result of having been excised. I have seen women who have suffered in their souls because of excision. Thus, I assert that it is more so a health problem.


Her role in African women’s struggle against female genital mutilation?

I am making a statement about the practice of excision… my role is to expose, to take note, to report to people when things are not right.  And I attest that excision is not a good thing. Excision is causing so much damage, and so it must be stopped. Thus, the reason for my film, Dilemme au féminin.

After the release of Dilemme au féminin there was a great deal of controversy in Chad.

Unfortunately, the release of this film in my country, Chad, presented many problems for me.  However, I told myself that this was all part of my day-to-day job.  When one espouses this profession, one must expect the worse.  And yes, I suffered a great deal, and unfortunately, there are still repercussions.  But still I did what I felt was my duty.

The film was viewed just about everywhere. The film was viewed in my country, Chad, and I was very touched and very pleased because after the tour of the film a little girl who once said to her father "Papa, papa I want to be excised," after having seen the film on television said, "Papa, papa if that is what excision is, I don't want to be excised."  So I said, no matter what problems I encounter, what is essential is to convey a message. And the message is delivered. That is what was crucial for me.  This is my role, it was my duty.

Zara Mahamat Yacoub is among several women in Africa who utilize the media to visualize the experience of girls and women subjected to the practice of excision. She talks about the importance of African women to join the struggle against excision and how women in the media, can be vehicles in this struggle.

African women have a very important role to play in the struggle against female genital mutilation to the extent that this practice concerns, first and foremost, women.  In Africa, there is a tendency to reject everything that comes from the outside that puts one’s “culture” in question.  This makes our role even more important.  But this does not mean that we Africans must exclude our European and American sisters from this struggle.  Because of immigration, female genital mutilation is practiced just about everywhere in the world.  Thus, social awareness about it and the struggle against it must not be limited only to African countries.

There was a backlash after the release of the film and the direct consequences for Zara.

Well, the consequences, I can speak for the most part, about how it affected me directly.  Imagine that you live in a society, your own society, that you live in a community that is your community. I am Muslim. I belong to a Muslim community; suddenly there is a rupture. Suddenly you are banished. Suddenly when you walk down the street everyone says, "There she is."  Suddenly wherever you go, you expect that people will speak to you and they don't.  If people say "Look, she has done a lot of things, she has done good things," that's alright.  But when people say "She is a bad woman, she has dared to insult Islam, she has dared to do this or that," well, that hurts.  And then all day long, you hear in each and every mosque people talking about you.

I don't think this experience will leave me right away. Many feelings still remain and I continue to suffer as a result. Today, however, I can leave my house, I can go to my job, I can go visit my friends.  But I do not take the risk of going to certain places, the places that are often frequented by fundamentalists, for fear of being viewed as provoking the situation. I tell myself, "No, you must not incite these people," because even if I go without any particular motive, they will think that I am trying to instigate controversy.


Les enfants de la rue, focused on the theme of children, Zara talks about her interest in this theme.

...Les enfants de la guerre, or what I call "in the oubliette," because the surviving children are the forgotten ones.  It is a film that speaks about the traumatism that haunts children who have lived through war.  My film does not only reflect the reality of Chad; it also speaks about the children of today, whether they live in Rwanda, Burundi, or Liberia.  It speaks of all the situations where there has been war.

What moved me to address this problem in my film is the need to record this phenomenon. Because today when there is a war in a particular part of the world, all eyes are riveted on the country where it takes place.  The whole world precipitates to this location; the press, the humanitarian organizations.  The world is focused on this country, on the children and women who die. As soon as the war is over, there is not a word spoken about this place and the aftermath of the war. No one even attempts to find out what happened to the survivors.

In a war, it's true there are the dead, but afterwards there are certainly those who escaped, who survived.  But no one searches to know how those who remain are continuing to live.  In my film, I bring out the trauma suffered by the children who were left on their own, who are still there living with family members, in orphanages or in the streets.

They continue to be haunted by images of the war.  However, there is no one who stays behind in an attempt to care in some way or another for these children.  These children, whether we admit it or not, are sick.  They are sick from all that they have lived through during and after the war.  Thus, the reason for my film,
Les enfants de la guerre.

Zara has made several films that focus on social and human conditions in Africa, especially as they relate to women and children. She talks about her role as communicator.

I have always defined myself as a communicator rather than as a director or journalist or filmmaker.  This I will say and I hold my position.  I feel that I have a duty as a communicator in relationship to my society, vis-à-vis all that surrounds me.  My role is to make known, to bring out what is not right.  My role is to draw attention to certain problems.  I see that I have a duty towards my people.  I have a duty towards each and every person.  My role is to inform people, to make them aware of the problems that need attention.  This is my role as communicator.

There is a great deal of discussion about cinema and culture. There has also been a great deal of emphasis on women and development.  Zara reflects on cinema, culture and development, and how  cinema may be used as a tool towards the objectives of women in development

You know cinema is only a reflection of a society. When speaking of a society, one speaks of culture, absolutely! And one cannot really talk about cinema without speaking of culture. And we increasingly find that one cannot talk about culture without speaking of cinema. Though it is true that cinema is a recent tradition in Africa, the fact remains that it is imposing itself on the continent.  Thus, when one speaks of culture, cinema has its place within it and vice versa. Whether it is an African film or a film from elsewhere, a film always refers to some elements of culture.

…Today, I would say that there is not a tool more effective than the audiovisual medium, and especially films that raise women's consciousness, and that assist women in general.  When one says "women and development," when one says, "Henceforth, women must participate in development," I feel that the direction to follow to sensitize women is through the media…In the campaign for the promotion of women, I certainly feel that the audiovisual medium can assist women to fully participate in the development process. Throughout the world, we find that there is no development without the participation of women. In any country in the world, you will see that there are more women than men, 52 of 100 percent in a great many countries. As I stated earlier, and to emphasize it again, television, video and film are very efficient means to facilitate women's development in society.