The purpose of the African Women in Cinema Blog is to provide a space to discuss diverse topics relating to African women in cinema--filmmakers, actors, producers, and all film professionals. The blog is a public forum of the Centre for the Study and Research of African Women in Cinema.

Le Blog sur les femmes africaines dans le cinéma est un espace pour l'échange d'informations concernant les réalisatrices, comédiennes, productrices, critiques et toutes professionnelles dans ce domaine. Ceci sert de forum public du Centre pour l'étude et la recherche des femmes africaines dans le cinémas.

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01 September 2025

Remembering Mbye Cham (1947-2025), avid champion of African Women in Cinema, reflections by Beti Ellerson


Remembering Mbye Cham (1947-2025),
avid champion of African Women in Cinema,
 reflections by Beti Ellerson


Mbye Cham has joined the ancestors, with whom he will meet again, the pioneers of African cinema who have left before him. Among them he was the critic, theorist, scholar who made an important contribution to the research and study of African cinemas in the United States in particular, on the continent, and in the world of cinema in general. For me in particular, his support and recognition of African women of the moving image was the catalyst for what has become my career-defining research. It all began at the Center for the Study of Culture and Development in Africa (1994-1997), housed in the African Studies Department at Howard University, with Mbye Cham at its helm. He supported my interest in researching African women in cinema from the conception of the idea that I proposed for the project. As a recipient of a Rockefeller Humanities Fellowship, administered by the Center, I was able to realize a significant part of the project during the 1996-97 fellowship year, which culminated in the Sisters of the Screen book (2000) published by Africa World Press and the film (2002) distributed by Women Make Movies. 

It is for this reason that I asked Mbye if he would write the Foreword to the book, which he graciously accepted. The foreword reprinted below reveals the depth of his knowledge about the complexities of African cinemas as it relates to gender, and the role that women have played in its evolution and history. During the book signing at the Howard University Bookstore in 2000, and again during the special screening for International Women’s Day on March 8 after the completion of the film in 2002, also at Howard University, at the Blackburn Center, I expressed my sincere gratitude for his support. And I would like to do so again as my tribute to him. 

The image above is a screen capture of a televised interview with Mbye Cham in 1997 during the series Reels of Colour which I produced and hosted at the public access channel DCTV. 

FOREWORD



The publication of this book is a most welcome development in the short history of studies on African cinema and screen practices. To date, scholarship, criticism and general commentaries on African cinema and video have focussed disproportionately on the films made by men and, among other topics, the various roles, images and portraitures of women in these works. Reasons advanced for this slant include the perennial lament about the general absence of women filmmakers and films by women in Africa, with the exception of pioneers like Safi Faye and Thérèse Sita Bella. Few, however, have bothered to probe beneath the surface of this absence to explore, explain and interrogate the complex of reasons and factors which account for this absence. Even fewer have actually made it a task and a priority to look for these female filmmakers and videographers, as well as other modes of female presence and practice in the arena of Africa cinema and visual media.
Sisters of the Screen accomplishes these two seminal tasks. Enough of the cry and whining about absence.

Presence, albeit emergent, however, does not spell absence or disappearance of the structures, practices and factors that are responsible for the continuing imbalance between male and female screen practitioners in Africa. The responses and commentaries that Beti Ellerson’s questions and queries elicit from the female filmmakers, videographers, actresses, producers, writers, and film scholars whom she sought out and followed in numerous places in three continents over time, testify to the staying power of these structures and practices. More significantly, they reveal African female will and agency, for they speak to the challenges and need to dismantle those structures and practices that want to inhibit or retard a more forceful and equitable presence of women in all aspects of African cinema, media and society, in general.

Sisters of the Screen is a statement about the creative process for women screen artists in Africa, as well as the Diaspora. How and why African women screen artists create and work, their challenges, difficulties, traditional restrictions, their background, their aspirations and numerous other factors covering a wide spectrum of women’s experiences in domains – artistic as well as social – usually figured as male - these constitute the thread that runs through the conversations Ellerson assembles in this ground-breaking anthology. Equally pronounced in this anthology is the range of subject matter and concerns of the work of African female screen artists and practitioners, their conflation of the personal and the public, and the place of their work in African cinema and media, in general.

The women presented in
Sisters of the Screen illustrate the range and variety of female involvement and practices in African cinema and visual media. The anthology is a bold assertion of presence and significance in the midst of laments of absence. Sisters of the Screen is a significant contribution to more wholesome and better descriptions and understandings of African screen practices.

Mbye Cham
Washington, DC
June 2, 1999

29 August 2025

African Women in Film, the Moving Image, and Screen Culture in The Oxford Encyclopedia of African Women's History, editor-in-chief, Dorothy Hodgson

African Women in Film, the Moving Image, and Screen Culture
in The Oxford Encyclopedia of African Women's History, 
editor-in-chief, Dorothy Hodgson 

Over 125 in-depth, peer-reviewed articles written by distinguished scholars for students and researchers.

Includes overviews of women's history in every modern African country on the continent.

Covers the interdisciplinary areas vital to women's history in Africa, including anthropology, gender and sexuality, economics, migration, and slavery and emancipation.

Link: https://global.oup.com/academic/product/the-oxford-encyclopedia-of-african-womens-history-9780190697730


Summary of African Women in Film, the Moving Image, and Screen Culture by Beti Ellerson

While African women in film have distinct histories and trajectories, at the same time they have common goals and objectives. Hence, “African women in film” is a concept, an idea, with a shared story and path. While there has always been the hope of creating national cinemas, even the very notion of African cinema(s) in the plural has been pan-African since its early history. And women have taken part in the formation of an African cinema infrastructure from the beginning. The emergence of an “African women in cinema movement” developed from this larger picture. The boundaries of women’s work extend to the global African diaspora. Language, geography, and colonial legacies add to the complexity of African cinema history. Women have drawn from the richness that this multiplicity offers, contributing on local, national, continental, and global levels as practitioners, activists, cultural producers, and stakeholders.

Table of Contents

African Feminist Thought
Women in African Philosophy
African Women in Art
Aidoo, Ama Ata
Al-Durr, Shajarat
Women in Algeria
al-Nafzaouiya, Zaynab
The Amazons of Dahomey
Women in Angola
Women and Apartheid
Asante Queen Mothers in Ghana
Asantewa, Nana Yaa
Asma'u, Nana
Women in Associations and Organizations in Africa
Baartman, Sara
Ba, Mariama
Women in Beauty Cultures and Aesthetic Rituals in Africa
Women in Benin
Ben M'rad, Bchira
Women in Botswana
Women in Burkina Faso
Women in Burundi
Women in Cameroon
Women in Cape Verde
Casely-Hayford, Adelaide and Gladys
Women in Central African History
Women in the Central African Republic
Women in Chad
African Women in Colonial Settler Towns in East and Southern Africa
Women in Comoros
Women in Congo-Brazzaville (Republic of the Congo)
Women in Côte d'Ivoire (Ivory Coast)
Women in the Democratic Republic of the Congo
de Sousa, Noémia
Women and Development in Africa
Women in Djibouti
Women, Gender, and Sexuality in East Africa
Women in Modern Egypt
Ekpo, Margaret
Emecheta, Buchi
Women in Equatorial Guinea
Women in Eritrea
Women in Ethiopia
Women in Fashion and Textiles in Africa
African Women in Film, the Moving Image, and Screen Culture
Women in Gabon
Women in the Gambia
Women and Genocide in Africa
Women in Ghana
Girlhood in Africa
Women in Global African Diasporas
Women in Guinea-Bissau
Women in Guinea
Head, Bessie
Women and Islam in Africa
Women in Kenya
Lakwena, Alice
Women in Law and Justice in Africa
Women's Legal Rights in Africa
Women in Lesotho
Women in Liberia
Women in Libya
Women's Literature in African History
Maathai, Wangari Muta
Women in Madagascar
Makeba, Miriam
Women in Malawi
Women in Mali
African Market Women, Market Queens, and Merchant Queens
Marriage across Africa
Woman-to-Woman Marriage in West Africa
Women in Mauritania
Women in Mauritius
Mernissi, Fatima
Women and Migration in Africa
Women and Militarization in Africa
Mohamed, Bibi Titi
Women in Morocco
Motherhood and Maternalism in Africa
Women in Mozambique
African Women in Music, Theater, and Performance
Namaganda, Lady Irene
Women in Namibia
Women in Nationalist Movements in Africa
Nehanda
Ngoyi, Lilian
Women in Niger
Women in Nigeria
Women in Muslim Northern Nigeria
Njinga a Mbande
Women in Northern African History
Women and Gender in French North Africa, 1830-1962
Ogot, Grace
Women and Pan-Africanism
Pereira, Carmen
Women and Politics in Africa
Women and Post-Independence African Politics
Women in Postcolonial Africa
Women in Post-Conflict Resolution and Reconstruction in Africa
Women in Precolonial Africa
Women, Race, and Ethnicity in Africa
Ransome-Kuti, Funmilayo
Women and the History of Religion in Africa
Reproductive Health, Fertility Control, and Childbirth in Africa
Rodrigues, Deolinda
Women in Rwanda
Women in São Tomé and Príncipe
Women in Senegal
Sex Work/Prostitution in Africa
Women in Seychelles
Women in Sierra Leone
Women and Slavery in Africa
Women's Emancipation from Slavery in Africa in the 19th and 20th Centuries
Women in Somalia
Women in South Africa
Women in Southern African History
Women in South Sudan
Women in Tanzania (Tanganyika and Zanzibar)
Women in Togo
Women in Tunisia
Women in Uganda
Uwilingiyimana, Agathe
Women and Violence in Africa
Women in West African History
The Women's War of 1929
Women in Zambia
Women in Zimbabwe

27 August 2025

Une si longue lettre, un film d'Angèle Diabang, une adaptation du roman de Mariama Bâ | So Long a Letter, a film by Angele Diabang, an adaptation of the novel by Mariama Bâ


Une si longue lettre, un film d'Angèle Diabang, une adaptation du roman de Mariama Bâ  | So Long a Letter, a film by Angele Diabang, an adaptation of the novel by Mariama Bâ

Synopsis

Mariée depuis 25 ans avec Modou, un avocat, Rama, enseignante élève ses cinq enfants avec brio et humilité. Éduquée et indépendante, elle est emblématique d’une femme africaine marchant vers la modernité. Son époux décide de prendre une seconde épouse, Binetou, 20 ans, la meilleure amie de sa fille ainée, la désillusion est cruelle. Rama devra lutter contre la mère de Binetou. Commence une lutte sans merci où s’affrontent tradition et modernité. Le film évoquera sa descente aux enfers : les vicissitudes économiques, sa lutte acharnée pour conserver sa villa et défendre l’héritage de ses enfants, sa solitude face à cette situation. Il sera aussi le témoin de sa reconstruction.
 
Ramatoulaye, headmistress of a primary school in Dakar and the mother of seven children, has been married to Modou for 30 years, and is shocked when he decides to take a second wife, 20-year-old Binetou. A merciless battle between tradition and modernity ensues, contrasting very different views of women’s roles in contemporary African society.
 

Bio
Angèle Diabang est formée au Forut Média Centre de Dakar (2003), à la FEMIS à Paris et à la Filmakademie en Allemagne. En 2005, elle réalise Mon beau sourire son premier film, salué par la critique internationale et plusieurs fois primé. Suivent quatre autres documentaires, dont Congo, un médecin pour sauver les femmes, premier film sur le Docteur Denis Mukwege, prix Nobel de la paix 2018. Angèle passe à la fiction avec Ma coépouse bien-aimée (Clermont Ferrand 2019, meilleur scénario au festival Émergence du Togo) et Un air de kora primé Poulain de bronze au FESPACO 2019, best African short film 2019 au (AMAA) African Movie Academy Awards, meilleur court-métrage à des festivals au Burundi, au Rwanda, au Bénin (2 fois), à Dakar et au Togo ; Nuits en or des Césars 2020. Elle remporte aussi le prix de la meilleure réalisatrice de la CEDEAO (Afrique de l’ouest) au FESPACO 2019. En 2021, Angèle fait partie de l’équipe des 3 producteurs de la série documentaire Africa Direct pour la télé Aljazeera English. Avec Karoninka, sa société de production crée en 2006 au Sénégal, Angèle a produit une quinzaine de films au Mali, Togo, Congo RDC, Cap-Vert, Rwanda, Gabon, Sénégal, France et Allemagne. Elle est coproductrice de Twist à Bamako de Robert Guédiguian. De mars 2014 à septembre 2016, Angèle a été la Présidente du Conseil d’Administration de la SODAV, société de gestion collective du droit d’auteur et des droits voisins du Sénégal. (Source OuiCoprod) 
 

20 August 2025

The International Images Film Festival (Harare) 22nd Edition 2025 Catalogue : Greetings from Molleen Chisveto, IIFF Acting Director


The International Images Film Festival (Harare)
22nd Edition 2025 Catalogue
and Greetings from Molleen Chisveto, IIFF Acting Director

See link to Catalogue below.

The International Images Film Festival for Women is back again for its 22nd edition, running from 22 to 26 August. We are excited to bring you a line up of women centred films with the theme ‘Women Make The World A Better Place’. The theme draws attention to how women remain resolute in their pursuit of a better world for themselves and their communities by being brave and courageous, by claiming their rightful places in economic activities, by demanding justice, and by taking leadership in order to challenge a repressive patriarchal world that has brought horrors like planet-destroying climate change and a resurgence of racism and gender discrimination into our world. In these times, creative and cultural industries are chronically underfunded. Producing the 2025 edition of IIFF has been no mean feat. I'm grateful to all the filmmakers whose work we screen over the next few days. I invite everyone to enjoy our programme of fifteen films that range from short fiction, to long and short documentaries and long fiction, all carefully selected from around the world. Two industry masterclasses complement the screenings. A documentary production masterclass takes place on Saturday 23 August, and a film business masterclass takes place on Sunday 24 August. Details are in this programme.

IIFF is thankful to be in a position to continue its contribution to realising SDG 5: End all forms of discrimination against all women and girls everywhere for yet another year. Telling stories of violence and harmful practices against women and girls and making such actions public works towards SDGs 5.1 and 5.2. Leadership only comes with public presence. IIFF, a woman founded, led and run organisation puts women firmly in the public space. This contributes to SDG 5.4 and encourages other young women to occupy public spaces. The creative industry is now a growing economic sector globally. IIFF is a platform for training and solidarity for women in the film industry, which also includes the use of technology in women's empowerment, as set out in SDG 5.B. This year special thanks go to the Embassy of the Republic of Ireland for supporting the Documentary Production Masterclass and the festival, the Embassy of Switzerland for hosting the opening film and reception, the Spanish Embassy for sponsoring the Business of Film masterclass, for allowing us to use their venue, Japanese Embassy for providing us with a film from their catalogue, and the Alliance Francaise for sponsoring us with their venue. We are delighted to welcome Elixir on board as a corporate partner.


Follow link to Catalogue : https://oqg-primary-prod-content.s3.us-east-1.amazonaws.com/uploads/pdf/1755182423037_niPb3z.pdf 

19 August 2025

African Women in Cinema focus on : Women as Agents of Change


African Women in Cinema focus on :
Women as Agents of Change

Women as agents of change use myriad strategies for empowerment, sociopolitical activism and engagement, including leadership activism, mentorship, self-motivation, promoting education, empowering victims of domestic violence, participatory video training, among others.

Relevant articles published on the African Women in Cinema Blog are as follows (listing is ongoing):


 
The making of: Aïcha Macky, empowering girls through participatory video training
https://africanwomenincinema.blogspot.com/2023/12/the-making-of-aicha-macky-empowering.html
 
Women, Leadership and CNA Afrique, Cinema Numerique Ambulant - Travel Digital Cinema 
https://africanwomenincinema.blogspot.com/2022/01/%20women-leadership-and-cna-afrique.html
 
Gentille M Assih : Sortir de l’ombre | Into the Light  
https://africanwomenincinema.blogspot.com/2021/04/vues-dafrique-2021-gentille-m-assih.html
 
Laurentine Bayala : Elections couplées de 2012, les femmes burkinabé en marche | Coupled Elections of 2012, Burkinabe Women on the Move 
http://africanwomenincinema.blogspot.com/2014/05/laurentine-bayala-elections-couplees-de.html
 
African Women in Cinema addressing democracy, citizen empowerment and free and fair elections
https://africanwomenincinema.blogspot.com/2020/11/african-women-in-cinema-addressing.html
 

13 August 2025

Go Fund Me: Nos Errances, un film de Sorana Munsya et Monique Mbeka Phoba

Go Fund Me: Nos Errances
un film de
Sorana Munsya et Monique Mbeka Phoba
 
Nos Errances retrace les parcours croisés de Clémentine Faïk-Nzuji, première professeure africaine dans une université belge, et Véronique Clette-Gakuba, militante et sociologue. À travers leurs récits, le documentaire explore l’errance de ces deux personnages dans un monde académique marqué par la discrimination.
 
Nos Errances retraces the intersected paths of Clementine Faik-Nzuji, the first African professor at a Belgian university, and activist/sociologist Véronique Clette-Gakuba. Through their stories, the documentary explores the peregrinations of these two figures in an academic world marked by discrimination. 


04 August 2025

Africa Reframed - Sosena Solomon journeys across Africa to capture the continent’s rich cultural heritage

Africa Reframed
Sosena Solomon journeys across Africa to capture the continent’s rich cultural heritage

In a new 12-part film series commissioned by the Metropolitan Museum of Art and the World Monuments Fund, Ethiopian-American filmmaker Sosena Solomon journeys across Africa to capture the continent’s rich cultural heritage and through the eyes of those who protect it.

Image Source: Forbes Africa : Solomon interviews a priest at Abuna Yemata Guh, an ancient monolithic church carved into the sandstone cliffs of Ethiopia’s Tigray Region (Image by Stephen Battle)

Also see: https://www.forbesafrica.com/entertainment/2025/07/31/africa-reframed-how-this-ethiopian-american-filmmaker-captured-the-continents-rich-culture/

01 August 2025

Alice Diop talks about her project for a film adaption of Michel Leiris's Afrique fantôme (Phantom Africa)

Alice Diop talks about her project for a film adaption of Michel Leiris's Afrique fantôme (Phantom Africa)
 
In the context of the exhibition Misson Dakar-Djibouti (1931-1933) organized by the Musée du quai branly Jacques Chirac,  Alice Diop talks with Gaêlle Beaujean, head curator of the African collections of the museum, about her project for a film adaption of Michel Leiris's Afrique fantôme (Phantom Africa).

The exhibition is the culmination of four years of investigation into the conditions of acquisition of each object, conducted by French and African historians, archivists and researchers. Inventories, mission books, period correspondence from L'Afrique fantôme - the notebook kept by mission secretary Michel Leiris were probed and analyzed. The exhibition description is presented in this way:

Different perspectives on colonial history. The exhibition presents new research associated with one of the most emblematic missions of the 1930s.

Between 1931 and 1933, the 'Dakar-Djibouti Ethnographic and Linguistic Mission' journeyed through 14 African countries. Led by French ethnologist Marcel Griaule, it tested new methods of ethnographic survey and collection. In 1933, it contained over 3,000 objects, 6,000 natural specimens, as many photographs, 300 manuscripts, around 50 human remains, some 20 recordings and over 10,000 field notes resulting from observation 'surveys' or 'interrogations'. This scientific expedition also attracted a great deal of media attention with the publication of L'Afrique fantôme, the personal diary of the mission's secretary, Michel Leiris, in which he reveals the relations between the colonised and the colonialists, as well as the conditions under which the surveys and collections were carried out.

Through a selection of objects, photographs and archives, the exhibition revisits documented facts, placing at the heart of the subject the results of research and the current viewpoint of professionals from the African continent. These counter investigations, carried out jointly by a dozen African and French scientists, aim to retrace the conditions under which these heritages were acquired and collected in order to shed light on the colonial context and the stories of men and women who have remained anonymous until now.

For Alice Diop the political significance of L'Afrique fantôme as a report of the events that took place eighty years ago, is that it may now serve as a valid means to actually reclaim those objects that had been acquired in a totally fallacious and violent way.

She also views her film project as a form of counter-archive as a means to reinvent archives through fiction. Hence, giving an existence, an incarnation, a humanity, a visibility, to the people who have not been seen or filmed, heard or listened to, and in so doing, reveal their depth, intimacy, sensitivity.
 
Alice Diop's project parallels with Mati Diop’s Dahomey—which mixes fantasy fiction and documentary—from the basements of the Musée du quai Branly-Jacques Chirac to the presidential palace in Cotonou, who accompanies the return journey of illegally-acquired statues to their country of origin. She gives voice to both the stolen statues and the Beninese students, immersing the viewer within the heart of the postcolonial debate on the restitution of African material heritage by European countries. She describes the objective of the film: “to return to these twenty-six royal treasures their story, their voices, to make them the narrators and actors of their own epic return." Alice Diop’s project seeks to exhume the parts that remain silent, those in the shadows, the missing parts, the things that Michel Leiris did not see, could not see or omitted to say. Similar to Mati Diop it is also a means for her to free herself from the hegemony of western knowledge production. Mati Diop described her experience in this way:  “As a Franco-Senegalese, afro-descendant cineaste, I chose to be among those who refuse to forget, who refuse amnesia as a method.”
 
  

31 July 2025

Sisters of the Screen : African Women in Cinema @ 25


Sisters of the Screen:
African Women in Cinema @ 25
Reflections by Beti Ellerson 

“African women must be everywhere. They must be in the images, behind the camera, in the editing room and involved in every stage of the making of a film. They must be the ones to talk about their problems.” (1)

Sarah Maldoror’s words inspired me to do just that, discover the voices and experiences of African women in the myriad sectors of screen culture: directors, producers, actors, DPs, screenwriters, editors, and the numerous technical crew members, and also, to extend that idea to encompass those in front of the screen as cultural readers, scholars, critics and theorists of African women in cinema studies; as they too have a vital function in the study and analysis of cultural production as it relates to women’s role in creating, shaping and determining the course of their cinematic history, the intellectual and cultural capital that it produces, and the intangible cultural heritage to which it contributes. (2)
 
Hence, I took on this call, initiating the African Women in Cinema Project in 1996 as a postdoctoral study, which includes the book (Sisters of the Screen, Women of Africa on Film, Video and Television), published in 2000, and the film (Sisters of the Screen, African Women in the Cinema) completed in 2002. Sisters of the Screen, a title that envisioned a veritable screen culture in which the moving image visualized on myriad screen environments from white cloth to movie screen, television set, computer monitor, inflatable movie screen, mobile phone, tablet and diverse transmedia platforms that continue to emerge, all of which become the meeting point for African women in cinema to tell their stories. Moreover, the title contemplated an imaginary community where African women’s experiences of cinema may be shared, analyzed, documented, historicized, and archived.  
 
Following the release of the book and film, the Project developed into the Centre for the Study and Research of African Women in Cinema whose organizing principle is based on two key elements: the work of the pan-African organization of women professionals of the moving image created in 1991 and the experiences of these individual women recounted in interviews, speeches, artists intentions, mission statements, and in their films. Drawing from the objectives of the organization: to provide a forum for women to share and exchange their experiences and to formulate mechanisms for continued dialogue and exchange, I have worked to develop a historiography in an attempt to chronicle and bring together the disparate parts.

What drew me to “African Women in Cinema” as a study and research focus was its extremely broad range of discourse and practice. Women on, in front, behind the screen—as storytellers, makers, producers, scriptwriters, actresses, role models, consciousness raisers, practitioners, technicians, organizers, fundraisers, social media community managers, bloggers, agents of change, activists, advocates, audience builders, cultural producers, cultural readers, film critics, scholars and researchers—all contribute to the idea of “African Women in Cinema” as a conceptual framework.

In have built on this organizing principle throughout the past two and a half decades in my teaching, presentations, research and writing on African women in cinema. Based on the initial research I have developed materials to be adapted for courses, seminars and presentations in women’s studies, African studies, film studies, communications, modern language and culture, art history and visual culture, to a global public: students, specialists, stakeholders and interested cultural readers.

While the book has only been published in English, though the women included also gave interviews in French, I was able to broaden the conversation linguistically in the film version with both French and English subtitles, and in 2017, a German version was available to viewers based in Germany and to other German speakers. Through the African Women in Cinema Blog and the numerous social media platforms that have emerged since the publication of the book and release of the film, I have been able to present a variety of resources, as I have not been bound by the limitations of accessing materials and to linguistic restrictions. Thus drawing from a range of languages, information and technologies.

Moreover, I have attempted to frame the tone of my work within a spirit of affirmation in order to show the empowering and positive visual representations, voices and discourse, from the pioneers and trailblazers to the students and newcomers—all have their story to tell and their place on the continuum of the ever-expanding timeline of African women in cinema history.

What I learned above all from the experiences of teaching and developing materials on this sub-discipline was the irrefutable fact that when African women’s historiography is mined, structured and archived, their rich experiences are available and accessible for all to draw from.

My work throughout these two decades has centered on nine broad themes in order to highlight the breadth and scope of women’s experiences:

1.    Towards an African Women Cinema Studies: Theory and practice
2.    Women voices
3.    Women's stories, experiences and realities
4.    Visual representations of African women
5.    Interrogating identities, bodies, sexualities, femininities
6.    Intergenerational perspectives
7.    Social media, new technologies
8.    Global and transnational diaspora
9.    Gendered sensibilities
10.  Women researching, mentoring, organizing

Hence, I have been able to bring together women across disciplines. One of the regrettable downsides to this endeavor, and even with the ubiquity of the Internet, is that those whose work are accessible, whose presence is visible, who are studied, focused on, talked about, written about, promoted, are often the ones who are most likely to be included in courses, studies, chapters, on websites and pages as well as social media platforms such as Facebook, Twitter, Instagram… Hence, I consciously avoid any “starification” encouraged by gatekeepers and self-promoters. And thus, my objective is to give visibility to as many as possible, no matter how tiny their (online, researched, written, English-language) presence, by a variety of methods, and above all, by my own acknowledgement and recognition of their work.

The Sisters of the Screen project has been the point of departure for my work going forward, as a means to highlight women speaking for themselves, about their experiences with cinema.

Women Filmmakers' Voices: In the initial project, diverse women filmmakers spanning the continent and its global diasporas talk about diverse themes, from how they came to cinema, the specificities of being women directors, to the hazards of the profession. In recent interviews and discussions with women of the current generation, one finds similarities with many of the women interviewed in the mid- 1990s, in terms of themes, approaches and the reasons that brought them to cinema and the roles they want to play. This is not to say that there have not been changes and mutations in the past two decades. In fact there have been an incredible dynamism and phenomenal progress. Nonetheless, the commentary by women reflecting their desire to tell stories about the conflicts in their societies are echoed in the contemporary works of their compatriots, about the courageous women who are continuing to fight for their society. The women who spoke of their desire to makes films about women, their accomplishments, perspectives and experiences as a way to highlight women as role models, is in tune with current perspectives on women’s desire to tell stories to highlight the dearth of women as role models for their daughters.

Women Visualizing Their Stories: Several African women discuss their work or provide critical perspectives that are linked to specific excerpts from their films. Film topics include: Experiences of women in the countryside, whose men go to the urban sectors for work; women refugees, the practice of female excision, and also more uplifting positive stories of an adolescent’s dream of becoming a singer. Contemporary films continue to probe the question of migration with a focus on current issues, such as the outflow of young girls from the village who go to the city to be employed as domestic workers, which has similar consequences as other forms of external migration. Moreover, current films reveal that the practice of female excision continues with the same consequences for women and girls.

Actors' Experiences In Cinema includes a continuum of the role of actresses from veteran to beginner, as they talk about their experiences in various internationally acclaimed African films. While African women as actors were not always embraced by their societies, especially during the nascent period of African cinema in the mid-1960s, they have been dedicated artists, playing an important role in the evolution of African cinema. The historic general assembly of African actresses which took place from 12-16 November 2019 at the FESTILAG Festival international du film des lacs et des lagunes (International Lakes and Lagoons Film Festival) in Côte d'Ivoire, highlighted the well-deserved recognition of African women on the screen.

Critical Perspectives of African Women and Visual Representation: Women from diverse areas of the cinema (director, actor, producer, critic) give critical perspectives on the visual representation of African women in cinema as well as the public reception of the African female image on screen. It is from my experience in bringing together the voices of these women that my deeper exploration of African women as cultural readers developed, sketching in broad strokes, African women's engagement with the moving image as stakeholders and participants in both on-screen visual representation of women, and off-screen and behind-the-scene roles throughout and beyond the film production process. The first—on the screen—recalls the initial visual engagement with the film leaving the viewer to contemplate the actor’s role and the filmmaker’s intent. The second—behind the screen—conjures a team of film industry practitioners: screenwriter, director, cinematographer, crew, producer, editor, distributor, festival organizer and other professionals, and the third—in front of the screen— as cultural reader, evoking a discerning audience and the film critic. While African women cultural critics of the moving image have existed as long as African cinema practice, a cadre of African women researchers, scholars and professors is taking shape on the continent and the diaspora.

Identities: The myriad identities of African women are explored in this theme--bi-raciality, immigration, exile, dislocation, transnationality. In the works of some filmmakers during the last two and a half decades, one may find intersecting themes on nationality, racialized identity, especially as it relates to the search for self in the interstices of “in-betweenness”, as well as personal stories of womanhood and femininity, of national identity and transnational hybridity.

Women Coming Together: In the initial project on Sisters of the Screen, a complexity of issues around women organizing and working together is intertwined with a discussion of the place of women of the African Diaspora, especially from the United States. Twenty-five years later, as the U.S. African Diaspora incorporates immigrant and first-generation Africans, the discourse on visualizing diaspora expands and deepens. Moreover, with the coming of age of western-born African women or those who are settled in the west, issues of identity are negotiated in their films. The identity politics brought out through these voices are an important prelude to the discussion on the emergence of a cohort of first-generation Diaspora filmmakers of African parentage. Where is their positionality located? Contemporary women filmmakers who live “in between” cultures, races and ethnicities, problematize and explore this vexed space.

Is There an African Woman Sensibility?: The varying responses to this question reveal the fact that the concept "African women in the cinema" is not a monolith. That there are diverse cinemas and women experience them in different and varying ways. Some agree that there is a sensibility specific to women; others observe a complimentary between women and men; while still others conclude that there is ultimately only a human sensibility. Gauging from the number of women’s festivals and literature that has emerged in the last two decades, there is an implicit “yes” to the question and that the follow up question, “if so, what does a woman’s sensibility look like?” continues to be relevant.  

While the women’s testimonies in the film and book date to 1997-1999, ongoing interviews that I have conducted and published on the African Women in Cinema Blog, as well as those by others—in particular, the impressive collection of interviews in Sierra Leoneon Mahen Bonetti's New York African Film Festival series—provide a continuum of experiences and a measure in which to evaluate the trends, tendencies and evolution of themes attitudes and technologies, and transformations in the world based on myriad phenomena: migration, economic, and intracontinental and global developments.

The follow texts are excerpts from: Beti Ellerson, “African Women in Cinema Dossier: Reading, Writing, Researching African Women in Cinema—Reflections on Sisters of the Screen (2000) and the African Women in Cinema Dossier (2015–),” Black Camera: An International Film Journal 16, no. 2 (Spring 2025) 

At the Digital Turn
 
During interviews held in 1996-1997 and featured in Sisters of the Screen, the significance of video production, highlighting its relatively low cost and easy handling, was very much part of the discourse. A decade later, at the digital turn, a veritable screen culture established itself at the emergence of the Internet, notably Web 2.0. with its user-generated technology, which expanded existing ways of viewing and sharing visually. The ubiquitous smartphone technology, the all-encompassing reach of social media, the prevalence of visio-conferencing, highlights the omnipresence of screen culture. The notion of “sisters of the screen” has even more significance today as the evolving screen culture encompasses the traditional movie and television screen, as well as the computer screen, the tablet and smartphone. Hence, this global African women’s screen culture enables a growing glocal dialogue between the African continent and its ever-expanding diasporas.

 
Theories and Methods 
 
In the introductory chapter of Sisters of the Screen, I had already envisioned African Women in Cinema Studies as a process by which knowledge is produced. Therefore, the evolution of that thought actually came to fruition when I launched the Teaching and Learning Guide in 2004; and with it the aim to develop a structure in order to explore theories, methodologies and criticism that are relevant to the cinematic practice and experiences of African women. The article “Visualizing Herstories: Towards an African Women in Cinema Studies”, published as a centerpiece of the Guide on the faculty website in 2004, deepened the ideas developed in the introduction to Sisters of the Screen. With the creation of the Centre in 2008, the development of an African Women in Cinema Studies took form, concretized in a collection of articles written in the early 2010’s, that had as its mission to cultivate a language and framework. 

The African Women in Cinema Dossier

The Black Camera International Film Journal launched the African Women in Cinema Dossier in 2015, building on the Centre’s vision, and strengthening its overall goals. The Black Camera editorial announced the launch ten years ago with these words:
 
Beginning with this issue, Black Camera introduces a new feature, the African Women in Cinema Dossier, authored by Beti Ellerson, director of the Centre for the Study and Research of African Women in Cinema and creator of the African Women in Cinema blog. We at Black Camera wanted to expand the reach of Ellerson's important work, feeling that she is writing and conducting research in a vital yet still under-recognized and under-analyzed aspect of global culture, feminist issues, and dynamic artistry. Ellerson's critical inquiries into African women's experiences encompass historiography and spectatorship as well as the hands-on work of advocacy and production. Moving images are a particularly compelling component of these inquiries, she writes, because of cinemas capacity to address complex social issues within specific cultural contexts, as well as its value as a pedagogical tool and a means of building audiences' awareness of the lives and circumstances of others.

 The Journey Continues

 
With the passing of Sarah Maldoror (2020) and Safi Faye (2023), the pioneering elders of the first generation of African women in cinema, there is a heightened interest in legacy building, an increased awareness of the necessity of preserving a heritage, the imperative to ensure that the torch will be passed. And equally important, that the continuity of their history moves forward, that the knowledge, ideas, works in progress, continue to cumulate into cultural and intellectual capital for future generations.

1. Sarah Maldoror : "Il faut prendre d'assaut la télévision / "We have to take television by storm by Jadot Sezirahiga. Ecrans d’Afrique | African Screens, no. 12, 1995.

2. Excerpted from “Teaching African Women in Cinema, Part One”, Black Camera: An International Film Journal, Vol. 7, No. 1 (Fall 2015), pp. 251-261.

02 July 2025

The African Women in Cinema Blog celebrates Disabilities Pride Month featuring Musola Cathrine Kaseketi

The African Women in Cinema Blog celebrates Disabilities Pride Month featuring Musola Cathrine Kaseketi

Musola Cathrine Kaseketi declares: “You can make a difference”, and she certainly has, by showing that women with disabilities are not different than anyone else; given the chance to learn, excel and succeed. Musola Cathrine Kaseketi founded Shungu Namutitima International Film Festival of Zambia (SHUNAFFoZ) with this objective in mind: to showcase through cinema, the capabilities of people and women in particular, with disabilities.



I grew up as a healthy and happy child. I was left with a permanent disability at the age of five from an injection in the nerve of my left leg; nonetheless, my family treated me as a normal child.

I also lived with my stepmother who taught me to be independent and a fighter. Because of the caring way that people in my surroundings responded to me, I had no idea that there was discrimination towards persons with disabilities.

It was in high school that I started to realised that I was not always accepted in society and therefore, not able to do certain things. Often my feelings were hurt after the many instances when the school authorities isolated students with disabilities from the enabled so that they could not get to know each other. My disability became a motivation to work harder and use art as a tool to communicate. 

I met a man without hands who led a normal life and could even eat using a fork and knife. This encounter motivated me very much and inspired me to write a story about self-determination in 1989. It was very successful and was a catalyst for the change in attitudes towards disabilities in Zambia. 

I continued to use dramatic poetry, writing and stage acting as a tool to foster the spirit of self-confidence and self-help, and to impart self-acceptance, self-determination and independent living.

In 2018, Musola Cathrine Kaseketi received the Her Abilities Award, the first global award honoring the achievements of women with disabilities: “Look at your obstacles as your motivations to achieve your goals. Ignore all the negative intimidating voices. Embrace the positive, empowering words because you are just like any other woman.”

Photo: Musola Cathrine Kaseketi receiving an award.

25 June 2025

Black Camera: Reading, Writing, Researching African Women in Cinema—Reflections on Sisters of the Screen-25 years and the African Women in Cinema Dossier 10 years onward by Beti Ellerson

Black Camera an International Film Journal
Volume 16, Number 2 Spring 2025

Reading, Writing, Researching African Women in Cinema
Reflections on Sisters of the Screen-25 years
and
the African Women in Cinema Dossier 10 years onward
by Beti Ellerson

 
This project has as purpose to trace the journey of Sisters of the Screen twenty-five years onward and the trajectory of the African Women in Cinema Dossier from its inception ten years ago to the present. Sisters of the Screen, the title of the book, and the film—released two years later—was conceived as a critical inquiry into all manner of African women of the moving image. Shortly afterward, the Center for the Study and Research of African Women was established as a virtual environment in which to channel and disseminate the knowledge production of this ever-growing field. With the emergence of social media, the African Women in Cinema Blog has served as a public forum in which to disseminate these ideas. Similarly, the Dossier has been the conduit for the publication of research, as well as a space to develop and share theories and concepts.
 

05 June 2025

African Women in Cinema Blog celebrates World Environment Day

 
African Women in Cinema: 
Caring for the Environment
Energy - Trees - Earth - Soil

My metaphor about Pumzi is life and sacrifice and that we ourselves have to mother mother nature--Wanuri Kahiu

Tout est lié - It’s all connected, is about raising awareness among young audiences of the complexity of our terrestrial ecosystem and to inspire action by encouraging inventiveness and collaboration—Nadine Otsobogo

Safi Faye’s Kaddu Beykat (1975) highlights the problems engendered by groundnut monoculture, neocolonial exploitation, the difficulties of making a living, the abuse by the State. She also underscores the significance of the raised consciousness of the farmers, who, aware of the deterioration of the soil, decided to no longer cultivate groundnuts, but rather to produce what they needed to live. The government, alarmed by their reaction, made concessions in an attempt to attenuate their anger. Her observation in the early 1980s, when discussing the censorship of Kaddu Beykat by the Senegalese government, confirms the above assertions: “I think the film will survive the time . . . It will be used to compare ‘what was’ and ‘what is.’”

Kaddu Beykat (1975) has been considered a harbinger among the films that brought into focus the socioeconomic consequences of soil degradation. As contemporary debates on the environment highlight the importance of healthy soil by proper use and management, comparisons of “then and now” bring the film back into the spotlight. Advocating for the sustainable management of soil resources, the UN General Assembly designated 5 December 2014 as the first official World Soil Day. Moreover, at the time of the COP 21 Paris Climate Conference in 2015, the film garnered a great deal of interest in Europe. Safi Faye had already raised these ecological concerns forty years before.

11 May 2025

African Women and Cinema--Stories of Mothers, Practices of Motherwork


African Women and Cinema--Stories of Mothers, Practices of Motherwork
Reflections by Beti Ellerson
 
Image: Mossane and her mother
Mossane by Safi Faye

On the timeline of women's lives are the myriad stories of the hope of childbirth, the fear of it not happening, societal expectations of motherhood, the complexities of mother-daughter relationships, memories of mothers, stories of aging and caregiving. Of these experiences, African women in cinema weave stories of mothers--many of them, their own.  
 
"[Women and motherwork are]…in the center of what are typically seen as disjunctures, the places between human and nature, between private and public, between oppression and liberation." Hence, Patricia Hill Collins's term "motherwork" blurs the dichotomies in theorizations of motherhood and mothering that make distinctions between "private and public, family and work, the individual and the collective, identity as individual autonomy and identity growing from the collective self-determination of one’s group…." Furthermore, she locates the practice of "mothering the mind" in the myriad relationships between community othermothers. (Patricia Hill Collins, Shifting the Center: Race Class and Feminist Theorizing about Motherhood)

Similarly, as a theoretical framework, Catherine Obianuju Acholonu's notion of motherism involves the "dynamics of ordering, reordering, creating structures, building and rebuilding in cooperation with mother nature at all levels of human endeavor." Closely related to the concept of motherism is Wanuri Kahiu's idea of mothering nature: “my metaphor about Pumzi (2009) is life and sacrifice and that we ourselves have to mother mother nature. That we have to make sacrifices in order to live in this world. And that we have to know that our own behaviour will affect generations to come.” (Wanuri Kahiu, TEDx Forum On Afrofuturism In Popular Culture)

See links to of stories of mothers and practices of motherwork:
 
African women, screen culture and practices of Motherwork


07 May 2025

Matamba Kombila : Le premier épisode de son mini série Sens Dessus Dessous, Télésourd. Sortie sur Youtube le 07 mai 2025

Matamba Kombila
Le premier épisode de son mini série
Sens Dessus Dessous, Télésourd
Sortie sur Youtube le 07 mai 2025

Anoushka, Chris Levy, Livia et Pierre, frustrés par leur difficultés à communiquer avec leurs familles, inventent une machine révolutionnaire qui leur permet de briser les barrières du langage, leur offrant des possibles jusque là inimaginables.
 
Anoushka, Chris Levy, Livia and Pierre, frustrated by their difficulty communicating with their families, invent a revolutionary machine allowing them to break down language barriers and offering them unimaginable possibilities.
 
 

01 May 2025

The African Women in Cinema Blog Celebrates International Workers' Day : Safi Faye's "Fad,Jal"


African Women in Cinema Blog Celebrates International Workers' Day : Safi Faye's Fad,Jal

Safi Faye: "Fad signifies “Arrive” and Jal means “Work”. “Work” because when you arrive at this farming village called Fadial, you must work. When you work, you’re happy, and if you don’t work, people will mock you".

Synopsis : Fad,jal (1979, 1h52, Sénégal, France)

Fad,Jal is a Serere Senegalese village. At school, children learn, in French, the grammar and history of France. Villagers practice their religion in a church, a vestige of colonialism.

At the foot of a tree, the ancestor and a griot recount to the children in Wolof, the history of the village—its customs, its tradition, its creation. An opportunity to discover the artisanal trades, agricultural techniques and the difficulty of exploiting the land because of the drought. Meanwhile, as a result of the recently-implemented government policy,  the Serere are confronted on a daily basis with the appropriation of their land, previously transmitted by oral agreement among the villagers.

Fad,Jal est un village sénégalais sérère. A l'école, les enfants apprennent, en français, la grammaire et l'histoire de France. Les villageois pratiquent leur religion dans une église, vestige du colonialisme.

Au pied d'un fromager, l'ancêtre et un griot racontent en wolof l'histoire du village aux enfants, sa création, ses coutumes, ses traditions. C'est l'occasion de découvrir les métiers artisanaux, les techniques agricoles et la difficulté d'exploiter les terres à cause de la sècheresse. En parallèle, le quotidien des sérères est confronté à la politique gouvernementale qui s'approprie désormais les terres, auparavant transmises oralement entre les villageois.

30 April 2025

The African Women in Cinema Blog celebrates International Jazz Day with Betty Jazz by Armande Lo

The African Women in Cinema Blog celebrates
International Jazz Day
with Betty Jazz by Armande Lo

Synopsis

Mame Betty Diagne est passionnée de musique mais son extrême timidité l’empêche de vivre de sa passion. Sa vie va changer lorsqu’elle voit affiché à l’entrée d’un bar « urgent recherche chanteuse de jazz ».

Mame Betty Diagne is passionate about music but being extremely timid prevents her from living her passion. Her life will change when she sees an urgent search for a jazz singer posted at the entrance of a bar.

Biographie | Biography

Armande Lo, née à Dakar, a grandi à la sicap Baobab ; depuis sa naissance elle est passionnée de musique, d’art et de cinéma. Elle a eu l’opportunité de réaliser son rêve grâce à la formation cinématographique Kino Teranga. A l’issu de cette formation, 5 courts-métrages devaient être sélectionnés et tournés en 3 jours. Cette formation a ainsi donné naissance en mars 2018 à  Betty Jazz un court-métrage fiction de 9mn22s dont Armande LO est l’auteur et la réalisatrice.

Armande Lo was born in Dakar, grew up in the Baobab Sicap neighborhood and has always been passionate about music art and cinema. She had the opportunity to realize her dream by pursuing film training at Kino Teranga, after which she directed the short film Betty Jazz in 2018.


27 April 2025

ARTE : "Le Cri défendu" avec Déborah Lukumuena qui raconte sa colère - with Deborah Lukumuena who talks about her anger

ARTE
Le Cri défendu avec Déborah Lukumuena qui raconte sa colère
Le Cri défendu with Déborah Lukumuena who talks about her anger
 
Le Cri défendu montre comment retourner la violence d'un mari violent contre lui, avec Déborah Lukumuena qui raconte sa colère
 
Sur le parking du fast-food où elle travaille, elle aperçoit un homme frapper violemment sa femme. Elle s’interpose et tient tête au mari. Avec jubilation. H24 – 24h dans la vie d'une femme : vingt-quatre courts métrages inspirés de faits réels et engagés contre les violences faites aux femmes.
 
Le Cri défendu with Déborah Lukumuena who talks about her anger, shows how to turn the violence of a violent husband against him. In the parking lot of the fast-food restaurant where she works, Déborah Lukumuena witnesses a man violently beating his wife. She intervenes, standing up to the husband. With delight. H24 - 24h in the life of a woman: twenty-four short films inspired by real events and committed against violence against women.
 
Emprise, revenge porn, féminicide, codes vestimentaires sexistes… : H24 éclaire les diverses formes d’abus dont peuvent souffrir les femmes à chaque heure du jour et de la nuit, à travers une collection de vingt-quatre courts métrages inspirés de faits réels. S'inscrivant dans une esthétique commune, chaque film entrelace brillamment littérature et cinéma. À la force des monologues en différentes langues européennes et proposées en versions sous-titrées s’ajoute l’interprétation subtile et poignante des comédiennes. Transcendant les individualités, les récits, écrits par une pléiade d’auteures talentueuses dessinent les contours d’un fléau systémique sans laisser place à la fatalité, racontant aussi l’insoumission et la riposte, narquoise ou cinglante. Poétique et tragique, un appel à la sororité et à la parole libérée.

14 April 2025

Remembering Myriam Niang (1954-2025)

Remembering Myriam Niang (1954-2025)
Reflections by Beti Ellerson with English translation by Beti Ellerson of Laurance Gavron's
Myriam Niang, actrice de cinéma : Sur les glaciers d’Alaska

May the earth rest lightly on you, dear Myriam
 
It is with great emotion that I recently learned that Myriam Niang has joined the ancestors on January 11.

Myriam Niang, who embodied the inimitable Anta in Djibril Diop Mambety’s iconic Touki Bouki, I had met in the early 1990s in Washington DC where she was enrolled in film classes at the same time assisting Ousmane Sembene on the film Guelwaar (1992) in Senegal. We had many talks together and I actually worked with her on the shooting of one of her class projects. I was especially keen to know her experiences in these classic African films of the 1970s, as she had also played the role of the rebel daughter and student Rama, in Ousmane Sembene’s film Xala (1974). However we eventually lost contact and when I began my project on African women in cinema a few years later I had often wondered what had become of her. It was not until I came across an online article (see below) written in 2005 by Laurence Gavron, the late Dakar-based filmmaker, about Myriam Niang, during her visit to Senegal. In the article, I discovered the true sense of her peripatetic path—with flashbacks of her on-screen character in Touki Bouki as she sets off for Paris on the Ancerville cruise ship (the same ship that brought Thérèse M’bissine Diop’s Diouana of La Noire de... by Ousmane Sembene, on that fateful journey to France). In her off-screen life she leaves for Paris in 1974 where she studies filmmaking, she ventures to the United States in the late 1980s, where she continues her focus in cinema—camera, scriptwriting, directing—in Washington DC and New York, and according to Laurence Gavron’s 2005 account, she moved to Alaska in the early 2000s. According to an obituary, Myriam died in New York and is buried in Senegal. (Notes from my article "On-screen Narratives, Off-screen Lives: African Women inscribing the self" in Black Camera)

 
Laurence Gavron : Reflections on Myriam Niang
 
En français ci-après

From cinema to oil. From the Sahel to the other side of the Atlantic. From the sun to the glaciers. These are not misshapen paths that Myriam Niang has followed but rather perpendicular ones: and when they meet, like two straight lines, a right angle forms.

During her long stay in the United States, this actor of cinema climbed through the snow, to the country’s last border, Alaska, which the Senegalese, in general, only know through the cathode box of the television or in geography books. The one who starred in several major Senegalese films, now works for the oil company British Petroleum. Currently on stopover in Dakar, she is preparing her return to the country. In cinema. Under another light. A new face. In new clothing.

 The slender, almost androgynous silhouette from Touki Bouki is transformed into a shorter version than on screen, muscular, shapely—a real woman, beautiful, fifty something, energetic, with a long red ponytail, lipstick and long pink pearly nails, biceps and backside alerts, the immaculate smile, the hoarse voice, always—these are the voices that change the least, despite the years—and the American accent. After years of living in English-speaking USA and Alaska, Myriam Niang punctuates all her sentences with “so…” and her French as well as her Wolof are also tinged with a slight US accent!

Perched on her high heels or shock sneakers, in sexy miniskirt or red jogging attire and low-cut tank top, energetic and smiling, Myriam Niang, the warrior, the shy young girl of Baks by Momar Thiam (1974), Xala (1975) and Guelwaar (2002) both by Ousmane Sembène, and especially the unforgettable young woman, determined to cross the Atlantic (Dakar-Paris) on Touki Bouki’s (1972) Ancerville, makes a short stopover with us, in her country of origin, Senegal.

Like Linguère Ramatou in Hyenas by Djibril Diop Mambety, she traveled; she went everywhere. She returns, her arms loaded, not with gold but with oil and projects.

And she returns, though no longer from Washington, DC where she lived for all these years, but from Anchorage, ah yes, from Alaska, as in a dream, from a city that one wonders if it actually exists—so far away, inaccessible, different, and above all... ice-cold! What did a Senegalese actress go to do in Alaska? In this city of Anchorage where, if there are African-Americans, there are only two Senegalese who live there...

Well, Myriam Niang works, she works hard. Two weeks a month. She is responsible for the management and human resources of the British Petroleum oil company. All the employees of the company live on a camping ground of sorts, not far from the oil platform, there isn’t a store, restaurant, or anything else! Though they only work two weeks a month, they only do that. Anyway, there is nothing else to do. The people who work there come from other states around the country, as well as from practically every country in the world. Myriam supervises 85 employees, manages the “house”, the hiring, etc., working from 5 a.m. to 5 p.m.

The other two weeks of the month, Myriam Niang lives and works in Anchorage, the capital of Alaska at Wells Fargo Bank where the temperature is -60 in winter, -40 in summer! And that’s not all: on weekends, she is the manager of the lingerie section of Nordstrom the largest department store in Anchorage! There she orders the merchandise and receives a percentage of the profits.

YOU SAID WARRIOR!

Why do you want to earn so much money? On the one hand, life in Anchorage is very expensive. Even if she lives relatively well, there are other incentives. As many other actors and actresses, it was beyond having a good rapport with the filmmakers. She wanted to take control of her destiny: to choose her films, her roles, her directors. And in order to do so, all doors are open!

And even though she has returned to Senegal for the moment, “It’s not for holidays,” Myriam insists. Level-headed, determined, though stubborn, she wants to take advantage of this return (provisional for the moment) to the land of her ancestors to build a bridge between her native Djolof and Alaska, where, in her opinion, the possibilities are enormous. All this, to come back, once the dough has been collected, to cinema ,of course. Because the 7th art has always been her dream, even if she has left the scene for several years. This time, perhaps as actress, but especially as producer.

As for the projects between Senegal and Alaska, for the moment no comment! Until the ideas are concretized, she prefers not to disclose them.

Myriam Niang left Dakar in 1974, initially for France. She studied at the French Film Conservatory in Paris as well as enrolled in film classes at the Sorbonne with Jean Rouch. She also worked as editor. In 1989, she continued her adventure in the United States, in the country of Uncle Sam. In Washington DC, Myriam continued her film studies at Georgetown University. In New York, she worked as camera person, as well as directing and scriptwriting. And, from job to job, she landed on the glaciers of Alaska.

 

Laurence Gavron. Myriam Niang, actrice de cinéma : Sur les glaciers d’Alaska (3/25/05) https://groups.google.com/forum/#!topic/elmouritania/siQstp41ejU
 

Du cinéma au pétrole. Du Sahel à l’outre-Atlantique. Du soleil aux glaciers. Les chemins de Myriam Niang ne sont pas tordus, mais perpendiculaires : lorsqu’ils se rencontrent, c’est pour, comme deux lignes droites, former un angle droit. De son long séjour aux Etats-Unis d’Amérique, l’actrice de cinéma est montée sur la neige, à la dernière frontière des Etats-Unis. Elle est aujourd’hui en Alaska que les Sénégalais, en général, ne connaissent qu’à travers la boîte cathodique ou dans les livres de géographie. Celle qui a joué dans plusieurs grands films sénégalais travaille dans la compagnie pétrolière British Petroleum. Actuellement en escale à Dakar, elle prépare son retour au pays. Au cinéma. Sous un autre jour. Un nouveau visage. Dans de nouveaux habits.

La silhouette longiligne, presque androgyne de Touki Bouki, s’est transformée en celle, plus courte qu’à l’écran, très musclée et pleine de formes, d’une vraie femme, belle, la cinquantaine, énergique, longue queue de cheval rousse, rouge à lèvres et ongles longs nacrés rose, biceps et backside alertes, le sourire immaculé, la voix rauque, toujours (ce sont les voix qui changent le moins, malgré les années), et l’accent américain. Après des années de vie en pays anglophones (Etats-Unis, Alaska), Myriam Niang ponctue toutes ses phrases de «so… » et son français autant que son wolof sont également teintés d’un léger accent US !

Perchée sur ses hauts talons ou ses baskets de choc, en mini jupe sexy ou jogging rouge et débardeur décolleté, vive et souriante, Myriam Niang, la guerrière, la petite jeune fille timide de Baks de Momar Thiam (1974), de Xala de Sembène (1975), de Guelwaar du même Sembène (1992), et surtout la jeune femme inoubliable, déterminée à faire la traversée de l’Atlantique (Dakar-Paris) sur l’Ancerville de Touki Bouki (1972), fait une courte escale parmi nous, dans son pays d’origine, le Sénégal.

Telle Linguère Ramatou dans Hyènes (Djibril Diop Mambety), elle a voyagé ; elle est allée partout. Elle revient, les bras chargés, non pas d’or mais de pétrole et de projets.

Et elle revient, non plus de Washington où elle a vécu pendant toutes ces années, mais d’Anchorage, eh oui, d’Alaska, comme dans un rêve, d’une ville dont on se demande si elle existe vraiment, tant elle semble lointaine, inaccessible, différente, et surtout… glacée ! Qu’est donc partie faire une actrice sénégalaise en Alaska ? Dans cette ville d’Anchorage où, s’il y a des Afro-Américains, seuls deux Sénégalais y vivent…

Eh bien, Myriam Niang travaille, bosse d’arrache-pied. Deux semaines par mois. Elle s’occupe de l’administration et des ressources humaines pour la compagnie pétrolière British Petroleum. Tous les employés de cette société logent dans une sorte de campement, non loin de la plate-forme pétrolière, sans magasin ni restaurant, ni rien ! Ils ne travaillent que deux semaines par mois mais ne font que ça. De toutes manières, il n’y a rien d’autre à faire. Les gens qui y travaillent viennent des autres Etats, et de pratiquement tous les pays du monde. Elle supervise donc 85 employés, fait fonctionner la maison, embauche… Elle travaille de 5 heures du matin à 5 heures du soir.

Les deux autres semaines du mois, Myriam Niang vit et travaille à Anchorage, la capitale de l’Alaska (- 60 en hiver, -40 en été !), à la Wells Fargo Bank. Et ce n’est pas tout : le week-end, elle s’occupe du rayon lingerie dans le plus grand magasin d’Anchorage, le Nordstrom ! Elle commande la marchandise et touche un pourcentage sur les bénéfices.

VOUS AVEZ DIT GUERRIERE !

Pourquoi vouloir gagner tant d’argent ? D’une part, la vie à Anchorage est très chère. Même si elle est bien logée et vit correctement, il y a autre chose. Comme beaucoup d’acteurs et d’actrices, être plus ou moins bien traitée des cinéastes ne lui suffisait plus. Elle a voulu prendre en main sa destinée : choisir ses films, ses rôles, ses metteurs en scène. Et pour ça, tous les moyens sont bons !

Et si elle est revenue actuellement au Sénégal, Myriam insiste : «Ce n’est pas pour des vacances.» La tête bien ancrée sur ses épaules, décidée, têtue, elle veut profiter de ce retour (provisoire pour l’instant) au pays de ses ancêtres pour jeter une passerelle entre son Djolof natal et l’Alaska où les possibilités sont énormes, d’après elle. Tout cela, pour revenir, une fois les pépètes récoltées, au cinéma bien sûr. Car le 7è art la fait toujours rêver, même si elle a déserté les plateaux depuis plusieurs années. Cette fois, actrice peut-être, mais avant tout productrice.
 
Quant aux projets entre le Sénégal et l’Alaska, pour le moment bouche cousue ! Tant que les idées ne sont pas concrétisées, elle préfère ne pas les divulguer.


Myriam Niang a quitté Dakar en 1974, pour la France d’abord. Elle y a entrepris des études au Conservatoire de film de France et pris des cours de cinéma à la Sorbonne avec Jean Rouch. Elle devient même monteuse. Avant de continuer son aventure, en 89, aux Etats-Unis d’Amérique. Au pays de l’Oncle Sam, Myriam poursuit ses études de cinéma à l’Université George Town de Washington. A New York, elle fait la caméra, la mise en scène et l’écriture de cinéma. Et, de boulot en boulot, elle atterrit sur les glaciers d’Alaska.

 

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