My journey into African Women Cinema Studies began with my interviews of the women at Fespaco in 1997, Safi Faye was among them. I remember very vividly those moments I shared with Safi, she was laid-back, passionate, engaging, and funny. The film that resulted from those interviews, Sisters of the Screen, is an important part of that journey, and her words introduce it. She, without a doubt led the way for me. I have learned a great deal from her, her work, her cinematic practice and innovative ethnological methodology, the importance of listening, the primacy of voice, all of which I have incorporated in my own work. Indeed, as in her own filmmaking: the camera, the cameraman and I, were eyewitness to her story. Here twenty-seven years later, it is an honor to share this tribute.
Safi Faye was born in Dakar, Senegal, on November 22, 1943, and throughout her life embraced her Serer roots of the rural world. Raised in a large family—the second of five sisters and a brother, her parents emphasized the importance of formal education and encouraged their children to succeed academically. She received her teaching certificate from the Normal School of Rufisque and spent her tenure as a teacher in Dakar. As an official guide at the First World Festival of Black Arts held in Senegal in 1966, she was introduced to African cultures and learned about the significance of their contributions on a global scale. This was a turning point in her personal and professional development. During the event she would meet intellectuals from around the world, including anthropologist and cineaste Jean Rouch who would invite her to participate in his film. During the shooting, she would travel to Europe and other parts of Africa.
She often talked about receiving a French colonial education, which gave her more knowledge about France than about Africa, and the paradox of having to go to Europe to learn about her continent. In 1970 she went to Paris to study ethnology at the Sorbonne, from a desire to work on her own culture and traditions—she studied as well at the Ecole Pratique des Hautes Etudes. She completed her doctorate in 1979. As part of the curriculum at the Sorbonne she had recourse to the camera as an instrument of research. Having understood the significance of film as a visual record, she enrolled in the Louis Lumière Film School; there she “dared” to make a film, La Passante, in 1972. Other films followed, fourteen in total, notably the internationally acclaimed Kaddu Beykat (1975), Fad’jal (1979) and Mossane (1996). Using cinema as a tool for teaching and learning, Safi aimed to educate future generations of Africans about their origins, their history. The passion that she had for her continent and its people has been evident throughout her career as educator, ethnologist, filmmaker. She talked fondly of her beloved daughter, Zeïba, who was born in 1976; she was also a grandmother: “I am spending more and more time with them, and I enjoy it.”
On Feburary 22, 2023 she joined the ancestors, where she lays to rest in her paternal native village of Fadial. But rather than a library burning down—a famous citation of Amadou Hampâté Bâ that she quotes in her legendary film Fad’jal—her story will remain alive, passed on to the next generation, as we continue in the oral tradition, to say her name—and show her work.
Safi, may the earth rest lightly upon you.
Indeed, in the words of her compatriot Birago Diop, Safi Faye lives—through the sounds and whispers of the Serer country, through her daughter, her grandchildren, through our memories, through her films—the last of which invokes the Pangool ancestors.
May they guard and protect her.
This essay is a tribute to her life and work.
Table of contents:
Safi Faye, Ethnologist, Cineaste, Peasant, Mother
The Oeuvres of Safi Faye La Passante Revanche Kaddu Beykat | Peasant Letter Fad'jal Goob na ñu Man sa yay Les ames au soleil | Souls Under the Sun Selbé et tant d'autres | Selbé, One Among Many Trois ans cinq mois Ambassades nourricières / Culinary Embassies Racines noires / Black Roots Elsie Haas, femme peintre et cinéaste d'Haiti Tesito Mossane
Themes across Time Safi Faye through a Womanistic Lens Work as Leitmotif Visualizing Oral Tradition: Giving Agency to the Voice of the Peasantry—The Duty of Memory The Peasantry and the Production of Knowledge Safi Faye’s Imaginary and the Western Gaze Safi Faye Reclaiming Discourse on the Anthropology of Africa: The Dichotomies of Fact and the Fictional Imaginaire
Cinema lessons from Safi Faye Words on Cinematic Practice For Whom Do I Make Films Filming in Africa The Politics of African Cinema
The Visualization of the Rural World as Cinematic Vision
Pauline Mvélé Nambane Mivova Y’Ato (Words of Women) Combating Violence Against Women
Mivova Y’Ato, which means, words of women, was produced in 2022 by the Ebando Nature and Culture Association, whose aim is to combat violence against women, in collaboration with the Gabonese filmmaker Pauline Mvélé, who is also president of the Association. The film evokes a serious issue that is too often taboo in our societies.
Synopsis
In Libreville, four women, victims of rape and sexual abuse, decide to testify in order to lift the veil on the subject, so that their voices are heard and to serve as an example of resilience.
Since its production in 2022, the film continues its cinematic journey, selected in festivals in Gabon, DRC, CAR, Benin and Rwanda:
• the "festival du film allons au cinéma" which took place in Libreville from April 2 to 6, 2023, receiving the Amazon prize;
• the Kinshasa "festival cinéma au féminin" (September 17 to 22, 2023);
• the international festival “Bangui fait son cinéma” (November 18 to 25, 2023), receiving the Special Mention from the jury;
• the “Cotonou International Women’s Film Festival” which will take place from February 20 to 24, 2024;
• the “Urusaro international Women Film Festival” in Kigali which will take place from June 1 to 7, 2024.
French Embassy of Gabon and São Tomé-et-Príncipe Facebook Page Published December 5, 2023.
Unsettling the Narratives: Women, Film & Positioning of African Woman of the Future, host: Dr Ezinne Ezepue, guests: Wanjiru Kinyanjui (filmmaker, writer, jury and curator at the festival), Branwen Okpako (director, Return to Chibok), Babetida Sadjo (director of Hematoma, actress in Our Father the Devil)
Description:
African proverb says, “until lions have their own historians, tales of hunting will always glorify the hunter.” These words encapsulate the essence of this panel’s exploration: Unsettling the Narratives. The history of women in Africa is a narrative marked by double colonization – first by Western colonial powers and then by the patriarchal order post-colonialism. Colonialism, often interwoven with religious influence, wrought significant changes in African societies, empowering men, redefining labour dynamics, and relegating women’s roles to be traditional and seemingly insignificant. This transformation resulted in women’s exclusion from various careers, effectively denying them opportunities to effect change. The fieriness that once defined pre-colonial and colonial African women gave way to a prescribed identity for postcolonial women, whose untold stories and unsung victories remained hidden, much like the lions in the proverb.
Aïcha Macky: using the power of the camera to give voice to her community and her country, Niger
En français ci-après
“We have the icon of Nigerien cinema, Aicha Macky, who is known worldwide. She has used the power of the camera to give voice to her community and her country.”
These are the words of Salmey Bebert, child protection specialist at UNICEF, describing Aïcha’s impressive work to empower girls within their communities through video training. Drawing from her wide-ranging interests and informed by her background in sociology, she engages the political and social issues of her society, through a cinema of activism.
In conversation with Beti Ellerson, Aïcha talks about her passion for cinema and the evolution of the project with UNICEF.
Beti Ellerson:Aïcha, bravo on the great work you are doing! I first have a few questions on your evolution into cinema. How did you come to the 7th art?
Aïcha Macky: In Zinder, where I was born, in nearly all the schools, from primary to high school, there was a cultural club where theater was in particular, on the top of the agenda. I have evolved in this cultural environment since I was a young child. At six years old, I was in CI class (introductory course) and had the honor of being the spokesperson for all the schoolchildren in the Zinder region where I presented the message in the form of an anthem sung in the presence of General Ali Chaibou, the former head of state. Since then, I have come to love culture in general and I continued on this path until the Lycée Amadou Kouran Daga (LAKD) where I was one of the organizers of the theater club there. When I matriculated at Abdou Moumouni University, I worked at the Cultural Affairs Commission where I also made my mark through cultural activities, notably during cultural evenings dedicated to the martyrs of February 9 or during cultural weeks organized by the university department and which I had the honor of chairing on several occasions. I can say that I was already predisposed, at least “nurtured” to embrace a career in cinema.
BE: How has your background in sociology informed your work.
AM: My dream of becoming a filmmaker, strictly speaking, was born from my experience in the field. As sociologist, I have participated in research on various themes. Given that the majority of the population of Niger is not literate, this made me look closer at the actual purpose of the works which are mostly in French. I took the opportunity to join the Forum Africain de Film Documentaire [African Documentary Film Forum] created by the late His Excellency Inoussa Ousseini Sountalma, Niger's ambassador to UNESCO. It was my first contact with cinema, and I ended up falling in love with this fabulous art which allows me to express myself differently.
BE: Your work is very diverse: infertility with L’arbre sans fruit, the myriad issues explored in Zinder: crisis of masculinity, instability, and with this project, using cinema as a means to promote girls' education. Some thoughts…
AM: I do a cinema that is close to the social realities of my country and elsewhere. I deal with issues that are not talked about, the unspoken, in order to expose a certain number of negative forms of behavior. It is a cinema of utility, which beyond denunciation, is a basis for discussion so that a change in our everyday behavior begins. For me, it was time to converge towards a genre of cinema that educates, disturbs. A cinema-mirror that allows us to see who we are and how we behave, without a filter or makeup. Hence the themes of infertility, gender-based violence, the crisis of masculinity, child marriage…
I make of cinema my passion and at the same time it is a conduit for education for young people, girls in particular. I'm interested in girls because they don't always have a say in the matter. We make decisions for them, they are rarely consulted, or not at all, though they have a lot to say. Since I started training girls, out of around ten classes, the workshop films they make talk about what they are faced with in their lives or what other women confront. The issues are multiple, such as harassment in school and at work, the rape of mentally ill people, divorce, forced marriage…
BE: You worked with UNICEF on this project, talk about this collaboration.
AM: As a continuation of my work, we collaborated with UNICEFNIGER to train girls from their communities of intervention. We taught the girls to make films with smart phones. Most of them had never touched a smart phone before this training. These are young people whose ages range from 14 to 22 years old and who come from rural areas with a basic level of education, for the few who have been to school. They all learned how to shoot, direct, edit and export a film. The only step that was impossible for them was the subtitling, which required a higher level. This does not at all take away from the appeal of the films, which are made in their mother tongues, nor the ability to engage in substantive discussions within their communities. The themes and content of the videos were chosen by the girls and reflect the issues that they would like to draw to the attention of their communities.
BE: Talk about the process, using cinema as a learning tool for the girls/women who for the most part had not gone to school.
AM: It should be noted that UNICEF provided each of them with a smart phone to continue putting into practice what they learned during the training. The most touching and funny moment took place when writing the scripts. Each made a pitch in the local language to tell how they envisioned their film. The others asked questions about aspects they did not understand or even aspects with which they did not agree. At certain moments there were passionate debates. There was the chair in the middle for the one who would have to talk about her film, which became a site for the “accused” and the other chairs surrounding her, was the place for those who listened—“the jury” (laughs).
I recorded so that I could translate and transcribe at the end, in order to present it the same evening or the next day depending on how long it took me to complete it. There was also the shooting phase when the girls explain their film projects to the actors. We filmed in three different villages, each chosen for its characteristics stipulated by the girls.
BE: What were their reactions to the project? Where are they since its completion? Will they continue using cinema as a learning tool?
AM: The girls took very seriously the advice that they received from His Majesty Aboubacar Santa, the Sultan of Zinder when they came to interview him and the director of the CCFN of Zinder where the training took place. They both explained to the girls that it was possible for them to represent Niger all over the world like I do. These words stayed in their heads and they repeat them every chance they get; even in our follow-up group that was formed on WhatsApp, after the training.
The second phase consisted of screening the films in public spaces in the girls' villages in the presence of their parents, friends, neighbors. It was a real moment of pride, for them and for their parents. The communities were delighted, as they expressed their surprise during the debates after the screenings. They found the social issues that they experienced, put on the screen and reflected back to them, like a mirror.
BE: And you, prof, how was it for you? I imagine you are very proud!
AM: Personally, my greatest pride was when I attended the screening of five episodes of a series in Matameye that one of the girls, Sahiba (16 years old) is currently directing. I said to myself that now I can retire (laughs).
BE: Future projects?
AM: I am currently working on a feature film project on polygamy with a working title I call, A Slice of Love. I am in the development phase and at the same time, I am continuing to set up training for girls in all regions of Niger.
Aïcha Macky: se servir du pouvoir de la caméra pour faire entendre des voix de sa communauté et de son pays, le Niger
“Nous avons Aïcha Macky, l’icône du cinéma nigérien, connue dans le monde entier. Elle s’est servie du pouvoir de la caméra pour faire entendre des voix de sa communauté et de son pays.”
Ce sont les paroles de Salmey Bebert, de la Protection de l’Enfant à l’UNICEF, pour décrire le travail impressionnant réalisé par Aïcha afin d’autonomiser les jeunes filles au sein de leurs communautés à travers une formation en vidéo participative. Puisant dans son vaste éventail d'intérêts et sa formation en sociologie, à travers un cinéma d’activisme, elle engage les enjeux politiques et sociaux de sa société.
En conversation avec Beti Ellerson, Aïcha parle de sa passion pour le 7ème art et de l’évolution du projet avec l’UNICEF.
Beti Ellerson: Aïcha, bravo pour le superbe travail que tu fais ! J’ai d’abord quelques questions sur ton parcours. Comment en es-tu arrivée au 7ème art ? Aïcha Macky: À Zinder où je suis née, presque dans toutes les écoles, du primaire jusqu’au lycée, il existait un club culturel où le théâtre était particulièrement en tête de liste. J’ai évolué dans ce milieu culturel depuis ma tendre enfance. À mes six ans, j’étais en classe de CI, j’ai eu l’honneur d’être la porte-voix de tous les scolaires de la région de Zinder où j’ai adressé le message des scolaires sous forme d’hymne chansonné en présence du Général Ali Chaibou, chef d’État d’antan. Depuis, j’ai pris goût à la culture en générale et j’ai continué sur cette voie jusqu’au Lycée Amadou Kouran Daga (LAKD) où je faisais partie des animateurs du club de théâtre dudit lycée. Arrivée à l’Université Abdou Moumouni, j’ai continué au niveau de la Commission Affaires Culturelles où j’ai aussi marqué mon passage à travers des activités culturelles notamment lors des soirées culturelles dédiées aux martyrs du 9 février ou lors des semaines culturelles organisées par ma faculté et que j’ai eu l’honneur de présider à plusieurs reprises. Je peux dire que déjà j’étais prédisposée, du moins ‘’conditionnée’’ à embrasser une carrière dans le cinéma. BE: Comment ta formation en sociologie a-t-elle influencée ton travail ? AM: Mon rêve de devenir cinéaste à proprement parler est né de mon expérience de terrain. Sociologue, j’ai participé à des recherches sur des thématiques variées. Vu que la majorité de la population du Niger est analphabète, ça m’a fait réfléchir quant à la destination des ouvrages qui sont pour la plupart en français. J’ai saisi l’occasion d’intégrer le Forum Africain de Film Documentaire crée par feu son excellence Inoussa Ousseini Sountalma, l’ambassadeur du Niger auprès de l’UNESCO. C’était mon premier contact avec le cinéma, et j’ai fini par tomber amoureuse de ce fabuleux art qui me permet de m’exprimer autrement. BE: Ton travail est très diversifié : l'infertilité avec L'arbre sans fruit, les multiples problématiques explorées dans Zinder: la crise de la masculinité, l'instabilité; et avec ce projet actuel, sur l’autonomisation des filles/femmes: l'utilisation du cinéma comme moyen de scolarisation des filles. Quelques refléxions… AM: Je fais un cinéma proche des réalités sociales de mon pays et d’ailleurs. Toutes les problématiques que je traite sont des non-dits pour mettre à nu un certain nombre de comportements néfastes. C’est un cinéma utile qui, au-delà de la dénonciation, pose le débat pour que s’amorce un changement dans nos comportements de tous les jours. Pour moi, il était temps de converger vers un genre de cinéma qui instruit, inquiète... Un cinéma miroir qui nous permet de voir qui nous sommes et comment nous nous comportons, sans filtre ni maquillage. D’où les thématiques de l’infertilité, la violence basée sur le genre, la crise de la masculinité, le mariage des enfants… Je fais du cinéma ma passion et en même temps un canal d’éducation des jeunes, des filles particulièrement. Je m’intéresse aux filles parce qu’elles n’ont pas toujours droit au chapitre. On prend des décisions à leurs places, on les consulte rarement voire pas du tout alors qu’elles ont beaucoup à dire. Depuis que j’ai commencé à former les filles, sur une dizaine de promotion, les films ateliers qu’elles réalisent parlent de ce à quoi elles sont confrontées dans leurs vies ou ce à quoi sont confrontées d’autres femmes. C’est les questions du harcèlement en milieu scolaire et professionnel, le viol sur malades mentales, le divorce, le mariage forcé…
BE: Tu as travaillé avec l'UNICEF sur ce projet, peux-tu parler de cette collaboration? AM: Dans la continuité de mon travail, on a collaboré avec UNICEFNIGER pour former des filles de leurs communes d’interventions. Nous avons appris aux filles à faire des films avec des smart phones. La plupart d’entre elles n’ont jamais touché à un smart phone avant cette formation. C’est des jeunes dont l’âge varie de 14 à 22 ans et qui viennent du milieu rural avec un niveau d’étude élémentaire pour les quelques rares qui ont été à l’école. Elles ont toutes appris à filmer, réaliser, monter et exporter un film. La seule étape qui était impossible pour elles, c’est les sous-titres, par manque de niveau. Cela n’enlève en rien le charme de des films qui sont faits dans leurs langues maternelles et permettent d’engager des débats auprès de leurs communautés. Les thématiques et le contenu des vidéos ont été choisis par les filles et sont le reflet de ce sur quoi elles veulent attirer l’attention de leurs communes.
BE: Et le processus, en utilisant le cinéma comme outil d'apprentissage pour les filles/jeunes femmes qui, pour la plupart, n'étaient pas allées à l'école? Ça s’est passé uniquement par le visuel ? AM: Il faut noter que l’UNICEF leur a offert chacune un smart phone pour continuer à mettre en pratique ce qu’elles ont appris lors de la formation. Le moment le plus touchant et drôle, c’était lors de l’écriture des scenarii. Chacune a fait un pitch en langue locale pour raconter comment elle veut que son film soit. Les autres posaient des questions sur des aspects non compris voire des aspects dont elles ne sont pas en accord. C’était un moment des débats houleux. La chaise au milieu pour celle qui devrait raconter son film était devenue comme une place « d’accusée » et les chaises tout autour de celles qui écoutaient, la place « des jurées » (rires). J’enregistrais pour traduire et transcrire à la fin afin de présenter ça le soir ou le lendemain selon le temps que ça me prend. Il y a aussi l’étape du tournage où les filles devraient expliquer leurs films aux acteurs. On a tourné dans 3 villages différents chacun choisi pour ses caractéristiques recherchées par les filles.
BE:Quelles ont été leurs réactions au projet ? Où en sont-elles depuis l'achèvement du projet. Vont-elles continuer à utiliser le cinéma comme outil d’apprentissage ? AM: Les filles étaient très attentives aux conseils adressés à elles par sa majesté Aboubacar Santa, le Sultan de Zinder lorsqu’elles sont passées l’interviewer et le directeur du CCFN de Zinder où la formation s’est passée. Ils ont tous expliquer aux filles que c’est possible qu’elles représentent le Niger partout dans le monde comme je le fais. C’était des phrases qui sont restées dans leurs têtes et qu’elles répètent tout le temps, même dans notre groupe WhatsApp ouvert pour le suivi, après la formation. La deuxième étape qui a consisté à diffuser les films dans des places publiques des villages des filles en présence de leurs parents, amies, voisins...était un réel moment de fierté et pour elles et pour les parents. Les communautés ont manifesté leur surprise lors des débats après les projections. Elles ont trouvé des problématiques sociales qu’elles vivent, mises à l’écran et renvoyées vers elles, comme un miroir.
BE:Et toi, la prof, comment ça s’est passé pour toi ? J’imagine que tu es très fière ? AM: Moi personnellement, ma plus grosse fierté c’est quand j’ai assisté à Matameye à la projection de cinq épisodes d’une série qu’une des filles, Sahiba (16 ans) est en train de réaliser. Je me dis que je pouvais prendre ma retraite (rires).
BE: Projets d'avenir? AM: Je travaille présentement sur un projet long métrage sur la polygamie que j’ai appelé une tranche d’Amour. Je suis en stade développement et parallèlement, je continue de mettre en place des formations des filles au niveau de toutes les régions du Niger.
Aïcha Macky, empowering girls through participatory video training
Le making off :
Aïcha Macky, l’autonomisation des filles à travers la formation en vidéo participative
The situation of girls in Niger recounted by the girls – making-of (see translation from French subtitles after video)
Within the framework of the activities aimed at empowering girls, UNICEF, in partnership with the Ministry for Child Protection, collaborated with filmmaker Aïcha Macky for the participatory video training for seven girls from the pilot villages in the region of Zinder.
Following is a short excerpt of each film:
Malika, 15 years old, Dan Boursou
"I left school because I didn't know what it could do for me. Dear parents, insist that your children go and stay in school."
Sahiba, 16 years old/Matamey
“Dear women, sending your daughters abroad to beg will be a source of misfortune both for them and for you. You can succeed by investing rather than spending this money on the trip abroad. »
Laritou, 16 years old, Ismouhou/Kantché
“Ending a girl's schooling to put her on an international begging circuit is a crime. I stand against child immigration. »
Hadjara, 22 years old, Kacheni/Zinder
“Early marriage is a source of unhappiness for girls. So that my sisters are not married very early, I am committed to raising awareness in my community.
Bassira, 15 years old, Rigal Souleymane
“Every woman has the right to a healthy environment in which to work and study. Sexual harassment is a violation of the law.
Haoua, 17 years old, Gwati/Kantche
“Despite my love for school, I dropped out because of the distance. I walked seven kilometers four times a day. Today my sister does it. Create a learning institution for us, here, so that she doesn’t give up like me! »
Amina, 16 years old:
“To rape a girl is to compromise her future, it is to put an end to her joy of living. »
La situation des filles du Niger racontée par les filles - making off (voir la vidéo ci-dessous)
Dans le cadre de l’appui aux actions visant l’autonomisation des filles, l’UNICEF, en partenariat avec le ministère en charge de la Protection de l’enfant, a collaboré avec la réalisatrice nigérienne Aïcha Macky pour la formation en vidéo participative de 7 jeunes filles des villages de l’intervention de la région de Zinder.
Voici pour chaque film un petit mot extrait:
Malika, 15 ans, Dan Boursou
" J'ai abandonné l'école parce que j'ignorais ce qu'elle pouvait me procurer comme bien-être. Chers parents, insistez pour que vos enfants aillent et restent à l'école "
Sahiba, 16 ans/Matamey
« Chères femmes, amener vos filles mendier hors des frontières peut être source de malheur et pour elles et pour vous. Vous pouvez réussir en entreprenant avec l'argent que vous investissez dans le voyage. »
Laritou, 16 ans, Ismouhou/Kantché
« Mettre fin à la scolarisation d'une fille pour la mettre dans un circuit international de mendicité est un crime. Je me lève contre l'immigration des enfants. »
Hadjara, 22 ans, Kacheni/ Zinder
« Le mariage précoce est source de malheur pour les filles. Pour que mes sœurs ne soient pas mariées très tôt, je m'engage à sensibiliser ma communauté.
Bassira, 15 ans, Rigal Souleymane
« tout femme a droit à un environnement sain pour travailler et étudier. Le harcèlement sexuel est une entrave au droit»
Haoua, 17 ans, Gwati/Kantche
« Malgré mon amour pour l'école, j'ai abandonné à cause de la distance. Je faisais 7 kilomètres 4 fois par jour. Aujourd'hui, ma sœur le fait. Pour qu'elle n'abandonne pas comme moi, créez-nous un collège ! »
Amina, 16 ans :
« Violer une fille, c'est compromettre son avenir, c'est mettre fin à sa joie de vivre. »
Also see | À voir aussi :
Aïcha Macky: using the power of the camera to give voice to her community and her country, Niger | se servir du pouvoir de la caméra pour faire entendre des voix de sa communauté et de son pays
Dialogue from video translated in English from French subtitles by Beti Ellerson
Girls with smart phone asking question to the Sultan of Zinder
-We learned through the radio channels that children are being taken out of school and reduced to forced child begging in Algeria.
-As the leader, what is your opinion?
His majesty Elh A. Sanda, Sultan of Zinder:
-Their education is being undermined.
-Their future is also in jeopardy.
-To beg is humiliating.
-To beg is a disgrace.
-There are married women who go to beg and return with illegitimate Arab babies.
-To the man, who is head of the family, does Islam sanction this irresponsibility, to let your wife leave?
Salmey Bebert, Protection de l’Enfant UNICEF.
-We solicited UNICEF for this training for the girls from the pilot villages.
-They already understood that they had rights.
-We considered some kind of mechanism towards reintegration so that the girls could take part in the community discussions that engaged them.
-We chose to teach them how to make videos.
-We began with the Zinder Region.
-We have the filmmaker Aïcha Macky, the icon of Niger cinema, known worldwide.
-She has used the power of the camera to give voice to her community and her country.
-We hope that the girls will take her as their role model.
Girls with smart phone asking question to religious leader
-What does Islam say about the education of the girl child?
Hassanou Malam Sani, Religious leader - Zinder:
-Islam is a religion of knowledge.
-It is a religion that brings enlightenment.
-The prophet Mohamed, peace and greetings to him, said this: the search for knowledge is an obligation of all Muslims.
-In Islam, to say all Muslims, it means women and men, there is no distinction.
-No life is possible without knowledge.
Hadjara, video training participant:
-I made my film about child marriages.
-Cases of fistula and maternal mortality are recurrent themes on the radio.
-I made this film as a means to raise consciousness among parents of the dangers of child marriage.
Amina, video training participant:
-I often hear on the radio about cases of child rape.
-I hope that a solution is found regarding this phenomenon.
-Rape is a dramatic situation in the life of a woman, causing her to lose her dignity.
Sahiba, video training participant:
-Where I come from in Matamey, female migration is a rather worrying social phenomenon.
-Mothers take their children out of school and send them abroad to beg.
-They return empty-handed in the best of cases or lose their lives during the journey.
-And the life and education of the children are messed up forever.
Dialogue in film:
-You want to give away this baby to be married?
-Tell me dear spouse are you smoking dope?
Follow-up evaluation by ministry:
-How would you assess the training that you just received?
Laritou, video training participant:
-I learned how to make and edit a video with a smartphone.
-I would like to start a business, make films for ceremonies and get paid for doing so.
Aïcha Macky:
-We trained seven girls in all.
-Each one directed her individual film.
-We hope to teach other girls in their respective communities.
Matamey – [Through a bullhorn while walking through the village] The village chief calls his population for an event in front of his house after the evening prayer
-Men, women, children come to the event.
Dialogue in film:
-A woman leaves her household to go beg.
Issoumouf- a resident
-Begging is tolerated only in the case of infirmity or disability.
-The women leave to migrate to Algeria, to Libya. with their children.
Afterwards we receive a message announcing their death. All of this is disgraceful!
-The women leave to find a means to pay for their daughters’ marriage.
Ibrahim-Head of the county of Matamey
-Today alone, we repatriated 1,500 people. They are currently in Agadez, waiting to be sent back.
-The women return empty-handed and in debt.
-There are those who have sold their houses and family plots in order to leave.
-The 300,000 CFA that they amass to leave is sufficient to create a business fund initiative.
Dialogue in film:
-You will see a cup at the far end of the room, you put the dough (money) inside…
Dialogue in film:
-Stop complaining! If people learn that your daughter has been raped, no one will marry her.
Aichatou, deputy mayor of the 3rd district of Zinder
-To not denounce rape in our societies, means that it will continue and increase.
-If it were denounced, the guilty person will be judged and those who have destructive ideas will be renounced.
Dialogue in film:
He is thinking about giving away a baby in marriage
-This 13-year-old girl is a baby?
I have already taken her out of school to be married.
Kacheni-Resident
-A child should not be married before 18 or 19 years old.
-At 13, 14, or 15 years old, a child should not be given away in marriage.
-Neither should a girl be taken out of school to be married because she appears to be older.
Aïcha Macky:
-After her training, Sahiba trained some twenty girls and boys in her village.
-You have seen several episodes of the series that they are in the process of making.
Abdoul Karim, mayor of Matamey
-As mayor I am proud to know that there is such talent in the community that I lead.
-She has put her finger on a disturbing phenomenon for all the authorities throughout the country: female migration
Ali Atchibili - Musician/Zinder (singing)
-Let us all be committed to the education of our girls.
-Don’t leave women behind!
-No! No! No!
-Don’t forget that they have proven themselves!
-We have women who are ministers
-We have women who are deputies
-We have women who are military leaders
-We have women who are presidents
-Educate our women, send our women to school.
Aïcha Macky (speech)
-Your majesty Sultan of Zinder, thank you for welcoming us.
-Several months ago, we trained these girls to learn how to make a film.
-It was with the support of UNICEF and the Ministry for the Promotion of Women and the Protection of Children
-These are the films that we will present to you.
Your majesty Sultan of Zinder:
-We are proud and we thank Aïcha for all that she has done.
-We encourage her to continue and urge the girls under her apprenticeship to follow in her footsteps.
Laritou, video training participant:
-Thank you for your presence. We wish all of you a safe return home.
Malika, video training participant: [sending a heart shaped thank you]
