Martin Luther King Day : Commemorating his life and legacy

Martin Luther King Day :

Commemorating his life and legacy

 

Martin Luther King, Jr., quotes for these times we live in :

"So even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: We hold these truths to be self-evident, that all men are created.

“We need leaders not in love with money but in love with justice.not in love with publicity but in love with humanity."

 

"We must accept finite disappointment, but never lose infinite hope."

“… the world is all messed up. The nation is sick. Trouble is in the land; confusion all around…. But I know, somehow, that only when it is dark enough, can you see the stars.”

“We must come to see that the end we seek is a society at peace with itself, a society that can live with its conscience.”

"The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges."

"We cannot walk alone. And as we walk we must make the pledge that we shall always march ahead. We cannot turn back."

"In the end, we will remember not the words of our enemies, but the silence of our friends."

"True peace is not merely the absence of tension; it is the presence of justice."

L'impact de l'adaptation des œuvres littéraires sur le marché du cinéma et de l'audiovisuel en Afrique - Salon du livre féminin de Dakar #3 Panel - Littérature et Cinéma

Salon du livre féminin de Dakar #3 Panel -  Littérature  et Cinéma : 

L'impact de l'adaptation des œuvres littéraires sur le marché du cinéma

et de l'audiovisuel en Afrique

Intervenantes : Fama Rey Ane Sow, Sokhna Benga, Rokhaya Niang et Angèle Assie Diabang.
Fatou Kiné Sène modératrice

Researches in African Women in Cinema Studies: Beginnings - a dossier by Beti Ellerson

Researches in African Women in Cinema Studies: Beginnings - a dossier by Beti Ellerson

See also:

Researches in African Women in Cinema Studies - Discussion of the Literature - a dossier by Beti Ellerson

The year 2025 inaugurates a new heading to be featured on the African Women in Cinema Blog, which coincides with the 25th anniversary of the release of the book Sisters of the Screen, Women of Africa on Film, Video and Television in 2000, followed by the film Sisters of the Screen, African Women in the Cinema, in 2002. The genesis of African Women in Cinema Studies (AFWCS) is the outgrowth of the Sisters of the Screen Project, drawing directly from the voices of the women whose interviews are included in the book and the film. The tenets of AFWCS is informed by my experiences with three entities:

(1) The direct impact of the Black Women’s Studies movement in the 1970s in the United States on my social, academic and intellectual development.

(2) My engagement with the Association of African Women for Research and Development (AAWORD/AFARD) founded in 1977.

(3) The emergence of an African Women in Cinema movement spearhead by the Pan-African Union of Women in the Image Industry/l'Union panafricaine des femmes de l'image created in 1991.

Black Women’s Studies movement in the United States

I recalled the provocative title All the Women Are White all the Blacks Are Men, But Some of Us Are Brave: Black Women’s Studies, the year was 1982. The objective of the book was to address the intersectionality of Black women’s experiences—rendered invisible in the interstices of the Civil Rights-Black Power and white dominated feminist movements.


Association of African Women for Research and Development

Similarly, AAWORD/AFARD’s aim was to provide the framework for interrogating the Euro-centric orientation of research in general, and to affirm gender as a variable, which would counterbalance concepts and scientific methodology hitherto largely influenced by the dominant patriarchal culture. The AAWORD/AFARD Constitution of 1983, outlined the objective as follows:

(1) To undertake research which calls for crucial and conscious participation of women in the decision-making process and the formulation, realization and evaluation of development priorities and projects;

(2) To reveal, reinstate and emphasize the presence of women throughout history and in all cultural, social, economic and political processes of change;

(3) To create and develop lines of communication among African women on the one hand and between women researchers and others concerned [with] problems of development in Africa on the other;

(4) To evaluate and re-examine the methodology and research priorities, the applications of which should be in the service of the African people.

Hence, it is the voices of African women as primary sources that will produce, disseminate and validate African knowledge.

The emergence of an African Women in Cinema movement

Anne Mungai recalls the masculinist dominance of FEPACI and the significance of the 1991 FESPACO platform organized under the title "Women, Cinema, Television and Video in Africa.” The inaugural meeting of what would be called the Pan-African Union of Women in the Image Industry/l'Union panafricaine des femmes de l'image outlined its purpose in this way:

(1) to provide a forum for women to exchange and share their experiences;

(2) to adopt propositions that will help ensure women their rightful place, particularly in the areas of training and production;

(3) to devise a follow-up structure for dialogue and common action;

(4) to identify the frustrations of women professionals and produce images that consciously reflect women's realities, social contexts, cultures, and histories; and

(5) to disseminate that perspective.

The Sisters of the Screen Project set out in search of these women in cinema, who through the power of their voices collectively shared the knowledge that would frame the tenets of an African Women in Cinema Studies.