11 October | Octobre : International Day of the Girl Child | Journée internationale de la fille : A Focus on Related Films by African Women

UN : International Day of the Girl Child | Journée internationale de la fille 

The day aims to highlight and address the needs and challenges girls face, while promoting girls' empowerment and the fulfillment of their human rights.

Cette Journée vise à mettre en lumière les besoins des filles et à répondre aux défis auxquels elles font face. Cette Journée promeut également l'autonomisation des filles et l'exercice de leurs droits fondamentaux.

The girl-child as main protagonist in a selection of recent films by African women  

La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines

Source: African Women in Cinema Blog 

[English]

The filmmakers' message of tolerance and universal humanism comes through the children…child characters are represented as the hope for the desirable gender relations. (Sr. Dr. Dominica Dipio)

In the selection of films that follow, the girl-child plays the main protagonist. This representation of the girl character is an empowering practice as she deals with complex issues regarding her family and the world around her: Five-year-old Nadia lives in the slums of Casablanca where she is surrounded by a wall that separates her from the rest of the city; Elikia, is a five-year old with albinism, which is considered a stereotype by her neighbors; nine-year-old Zeinab opposes moving to Canada because she hates the snow; ten-year-old Mouna who copes with the death of her mother, almost never separates from her doll Ashia; ten-year-old Godelive attends a Catholic convent school in the Congo. However, the strict western education collides with her own memories of the traditions of her grandmother; eight-year-old Aida attempts to ease the suffering of her mother after her father brings a second wife into the household; after being accused of being a witch and placed in a "witches camp", 9-year-old Shula longs for freedom. Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family. Casablanca of the late 1970s. Eleven-year-old Hiba is fascinated with the cinema at a time in the history of Morocco where this space is still closed to women. Despite her mother’s interdiction, in order to enter the movie house, Hiba is ready to sell the object of her other passion, her books. Eleven-year-old pre-teen Amy discovers in her new elementary school a group of dancers called: “Les Mignonnes”. Fascinated, she begins a sexy dance, the twerk, hoping to join their band and escape a family upheaval.

[Français]

Le message de tolérance et d'humanisme universel des cinéastes passe par les enfants ... les personnages d'enfants sont représentés comme l'espoir des relations de genre souhaitables. (Sr. Dr. Dominica Dipio)

Dans une sélection de films récents ci-dessous, la petite fille joue le rôle principal. Cette représentation cinématographique nous montre une image forte et valorisante de la petite fille, lorsqu’elle confronte des questions complexes concernant sa famille et le monde qui l’entoure : Mouna, 10 ans, qui fait face à la mort de sa mère, ne se sépare presque jamais de sa poupée Aisha ; Elikia, 5 ans, est atteinte d’albinisme que son voisinage considère comme un stéréotype ; Nadia, 5 ans, vit dans les bidonvilles de Casablanca où elle est entourée d'un mur qui la sépare du reste de la ville ; Godelive, 10 ans, vit dans un pensionnat catholique en Congo y recevant une éducation occidentale. Mais le souvenir de sa grand-mère s’interpose ; Zeinab, qui a neuf ans, ne veux pas vivre au Canada parce qu’elle n’aime pas la neige; Aida, 8 ans, tente de soulager la souffrance de sa mère après que le père amène une seconde femme à la maison; Shula, qui a neuf ans, accusée de sorcellerie et mise dans un camp de sorcières, rêve de liberté. Aya, 7 ans, vit avec ses parents salafistes, Mariem et Youssef. Par peur d'être banni par sa communauté salafiste, Youssef est contraint d'imposer le port du Niqab à sa femme. Un jour, Aya commet un acte qui bouleversera à jamais le destin de sa famille. Casablanca, fin des années 70. Hiba, âgée de 11 ans, est fascinée par le cinéma à un moment de l'histoire du Maroc où ce lieu est encore fermé à la gente féminine. Malgré l'interdiction de sa mère, elle est prête à revendre l'objet de son autre passion, ses livres, pour y entrer. Amy, 11 ans, rencontre un groupe de danseuses appelé : « Les Mignonnes ». Fascinée, elle s’initie à une danse sensuelle, dans l’espoir d’intégrer leur bande et de fuir un bouleversement familial.

 

Maïmouna Doucouré: « Mignonnes » selected at | sélectionné à Sundance 2020

Ashia by/de Françoise Ellong Cameroon |Cameroun)

A Place for Myself | Une place pour moi by/de Marie Clémentine Dusabejambo (Rwanda)

 

Aya by/de Moufida Fedhila (Tunisia | Tunisie)

Behind the Wall | Derrière le mur by/de Karima Zoubir (Morocco | Maroc)

I am not a witch | Je ne suis pas une sorcière by/de Rungano Nyoni (Zambia | Zambie)

 

Les Mignonnes | Cuties by/de Maïmouna Doucouré (France-Senegal)

Maman(s) by/de Maïmouna Doucouré (France-Senegal)

Riad de mes rêves | Riad of my dreams by/de Zineb Tamourt (Morocco | Maroc)

Soeur Oyo | Sister Oyo by/de Monique Mbeka Phoba (Belgium-DRC)

Zaineb Hates the Snow | Zaineb n’aime pas la neige by/de Kaouther Ben Hania (Tunisia |Tunisie)

Girlpower: African Black Girl Magic through Cinema & Animation Storytelling

Girlpower: African Black Girl Magic through Cinema & Animation Storytelling

Perhaps one of the most memorable representations in cinema of African girlpower and agency is that of twelve-year-old Sili, determined, proud and increasingly empowered by her desire for independence despite formidable obstacles. The Black Girl Magic of the young protagonist of La petite vendeuse de Soleil by Djibril Diop Mambety (1999) is all the more compelling in her drive to make a living for herself and her grandmother while obliged to navigate the mean streets of Dakar on crutches. Though she does not read or write, Sili proves that she too can sell newspapers--even more effectively than the boys. She says to her grandmother as she heads out to find employment, confident in her ability to secure a job rather than beg on the streets: Grandma I will go find work tomorrow. I am not a boy. What boys do, girls can do, too!
While securing her employment at the Senegalese daily newspaper, "Le Soleil", she signs her 'contract', by drawing an image of the sun--which means soleil in French. Her exchange with the employers reveals this decisive moment:

Sili at newspaper distribution center: 'Hello. I want to sell the Soleil.'
 

Male owner of newspaper distribution center: Y'ou want to sell the Soleil? A girl selling newspapers?'

 
Female administrator: 'Boss, what boys do, girls can do too.'

 
Male owner: 'Give her the papers in the back there.'

Female administrator gives her the papers after counting them: '13 Soleils, that’s a lucky number.'

In the ultimate Black Girl Magic moment, wearing a bright yellow dress and large yellow "sun"glasses and flashing a toothy smile, Sili dances with other physically-challenged friends.

Similarly, Supa Modo (2018) by Likarion Wainaina follows the journey of Jo who is terminally ill, from hospice to home. During her remaining time, surrounded by family, friends and neighbors, she lives out her dream of being a super hero.

'Representing and empowering girls is a big responsibility,' declares elementary teacher Bruktawit Tigabu from Ethiopia. Her animation project "Tibeb Girls" is designed to meet this objective. The Tibeb Girls exhibit their girlpower as they journey to raise consciousness and empower girls along the way:
 

'In my village whenever a girl is in trouble the Tibeb Girls come to the rescue!'

'Power Girl, with super-human strength and speed.'
 

'Whiz Kid Girl, with the super power to see the future.'
 

'Empathy Girl, with super power to feel other's feelings.'
 

'When all three girls come together, their powers multiply into an unstoppable force to make great changes.'

Embarking on a futuristic journey empowered by science and technology, Sema, along with her brother, endeavor to protect their village. The animation series Super Sema highlights the importance of STEM to the future generations of Africa.

Similarly, the teen girls of Mama K's Team 4 take on the role of heroine--even beyond their village. In a neo-futuristic African city, they vow to rescue their fellow world citizens. 

 

(Image: Artistic rendering of screen capture:  La petite vendeuse de Soleil by Djibril Diop Mambety)

 

Report by Beti Ellerson

References from the African Women in Cinema Blog:

Super Sema Afro-futuristic animation
https://africanwomenincinema.blogspot.com/2021/03/super-sema-afro-futuristic-animation.html

Mama K's Team 4
https://africanwomenincinema.blogspot.com/2019/04/netflix-mama-ks-team-4-animated.html

Tibeb Girls Animation Project
http://africanwomenincinema.blogspot.fr/2017/04/tibeb-girls-animation-project-by.html

Ampe: Leap into the Sky, Black Girl by Chineze Okpalaoka and Claudia Owusu (Ghana and Columbus, Ohio)

Ampe: Leap into the Sky, Black Girl

The June 2021 post originally featured the Indiegogo crowdfunding campaign announcement (see below). The added text reflects the release of the film Ampe: Leap into the Sky, Black Girl in 2022.

Image: Film poster

Synopsis

Set in the sister cities of Accra, Ghana, and Columbus, Ohio, Ampe: Leap into the Sky, Black Girl is a rhythmic love letter to Black girlhood across the African diaspora. Through the lens of the Ghanaian traditional jumping and clapping game, Ampe, the film takes us on a journey of sisterhood, loyalty, and nostalgia in a space created for us by us. 

Documentary makers:

Chineze Okpalaoka and Claudia Owusu directed the film. Chineze, is a Nigerian-American visual artist and Claudia is a Ghanian-American writer and filmmaker, they are both based in Columbus, Ohio. Nigerian-American Ife Oluwamuyide, associate producer with Chineze Okpalaoka, wrote the screenplay along with Claudia Owusu.

 

Description from Indiegogo: 

"Ampe Study", which follows the journey of Black girlhood through the lens of the Ghanaian traditional game ampe. Ampe is a rhythmic, high-energy game played by girls in Ghana, West Africa. It includes jumping, clapping, and an all-around cheer and hype as two teams select a stepping pattern and face off. The teams have leading players, referred to as “the mothers'', who start the game and encourage players to compete at their best. The innate joy and competitive edge of ampe reveals the desire that Black girls have to not only be set free, but to also feel a range of emotions without judgement.

For more information on the crowdfunding campaign and to make a contribution to support the research and production of the film: https://www.indiegogo.com/projects/ampe-study-or-leap-into-the-sky-black-girl. While the crowdfunding campaign is now closed, the link is still active.

Writer/Filmmaker Claudia Owusu has created a series of videos on Vimeo to discuss the project focus, its objectives, treatment, and conceptulization.

Ampe Study - Project Focus from Claudia Owusu on Vimeo.

Image created from Facebook photo.

The girl-child as main protagonist in a selection of recent films by African women | La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines

The girl-child as main protagonist in a selection of recent films by African women  

La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines

[English]

The filmmakers' message of tolerance and universal humanism comes through the children…child characters are represented as the hope for the desirable gender relations. (Sr. Dr. Dominica Dipio)

In the selection of films that follow, the girl-child plays the main protagonist. This representation of the girl character is an empowering practice as she deals with complex issues regarding her family and the world around her: Five-year-old Nadia lives in the slums of Casablanca where she is surrounded by a wall that separates her from the rest of the city; Elikia, is a five-year old with albinism, which is considered a stereotype by her neighbors; nine-year-old Zeinab opposes moving to Canada because she hates the snow; ten-year-old Mouna who copes with the death of her mother, almost never separates from her doll Ashia; ten-year-old Godelive attends a Catholic convent school in the Congo. However, the strict western education collides with her own memories of the traditions of her grandmother; eight-year-old Aida attempts to ease the suffering of her mother after her father brings a second wife into the household; after being accused of being a witch and placed in a "witches camp", 9-year-old Shula longs for freedom. Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family. Casablanca of the late 1970s. Eleven-year-old Hiba is fascinated with the cinema at a time in the history of Morocco where this space is still closed to women. Despite her mother’s interdiction, in order to enter the movie house, Hiba is ready to sell the object of her other passion, her books. Eleven-year-old pre-teen Amy discovers in her new elementary school a group of dancers called: “Les Mignonnes”. Fascinated, she begins a sexy dance, the twerk, hoping to join their band and escape a family upheaval.

[Français]

Le message de tolérance et d'humanisme universel des cinéastes passe par les enfants ... les personnages d'enfants sont représentés comme l'espoir des relations de genre souhaitables. (Sr. Dr. Dominica Dipio)

Dans une sélection de films récents ci-dessous, la petite fille joue le rôle principal. Cette représentation cinématographique nous montre une image forte et valorisante de la petite fille, lorsqu’elle confronte des questions complexes concernant sa famille et le monde qui l’entoure : Mouna, 10 ans, qui fait face à la mort de sa mère, ne se sépare presque jamais de sa poupée Aisha ; Elikia, 5 ans, est atteinte d’albinisme que son voisinage considère comme un stéréotype ; Nadia, 5 ans, vit dans les bidonvilles de Casablanca où elle est entourée d'un mur qui la sépare du reste de la ville ; Godelive, 10 ans, vit dans un pensionnat catholique en Congo y recevant une éducation occidentale. Mais le souvenir de sa grand-mère s’interpose ; Zeinab, qui a neuf ans, ne veux pas vivre au Canada parce qu’elle n’aime pas la neige; Aida, 8 ans, tente de soulager la souffrance de sa mère après que le père amène une seconde femme à la maison; Shula, qui a neuf ans, accusée de sorcellerie et mise dans un camp de sorcières, rêve de liberté. Aya, 7 ans, vit avec ses parents salafistes, Mariem et Youssef. Par peur d'être banni par sa communauté salafiste, Youssef est contraint d'imposer le port du Niqab à sa femme. Un jour, Aya commet un acte qui bouleversera à jamais le destin de sa famille. Casablanca, fin des années 70. Hiba, âgée de 11 ans, est fascinée par le cinéma à un moment de l'histoire du Maroc où ce lieu est encore fermé à la gente féminine. Malgré l'interdiction de sa mère, elle est prête à revendre l'objet de son autre passion, ses livres, pour y entrer. Amy, 11 ans, rencontre un groupe de danseuses appelé : « Les Mignonnes ». Fascinée, elle s’initie à une danse sensuelle, dans l’espoir d’intégrer leur bande et de fuir un bouleversement familial.

Ashia by/de Françoise Ellong Cameroon |Cameroun)

A Place for Myself | Une place pour moi by/de Marie Clémentine Dusabejambo (Rwanda)

 

Aya by/de Moufida Fedhila (Tunisia | Tunisie)

Behind the Wall | Derrière le mur by/de Karima Zoubir (Morocco | Maroc)

I am not a witch | Je ne suis pas une sorcière by/de Rungano Nyoni (Zambia | Zambie)

 

Les Mignonnes | Cuties by/de Maïmouna Doucouré (France-Senegal)

Maman(s) by/de Maïmouna Doucouré (France-Senegal)

Riad de mes rêves | Riad of my dreams by/de Zineb Tamourt (Morocco | Maroc)

Soeur Oyo | Sister Oyo by/de Monique Mbeka Phoba (Belgium-DRC)

Zaineb Hates the Snow | Zaineb n’aime pas la neige by/de Kaouther Ben Hania (Tunisia |Tunisie)

Also see : UN International Day of the Girl Child | Journée internationale de la fille

https://africanwomenincinema.blogspot.com/2018/10/11-october-octobre-2018-international.html

UPDATED | MISE A JOUR : 16 / 10 / 2020

International Day of the Girl Child : A Focus on Related Films by African Women

International Day of the Girl Child 

A Focus on Related Films by African Women

 

On December 19, 2011, the United Nations General Assembly adopted Resolution 66/170 to declare October 11 as the “International Day of the Girl Child”, to recognize girls’ rights and the unique challenges girls face around the world.

For its first observance, this year’s Day will focus on child marriage, which is a fundamental human rights violation and impacts all aspects of a girl’s life. Child marriage denies a girl of her childhood, disrupts her education, limits her opportunities, increases her risk to be a victim of violence and abuse, jeopardizes her health and therefore constitutes an obstacle to the achievement of nearly every Millennium Development Goal (MDG) and the development of healthy communities. (United Nations Declaration)

In the following days, the African Women in Cinema Blog will focus on films that highlight the experiences of girls in African societies.

 

Updated on 16 October 2020

 

 

[English]

The filmmakers' message of tolerance and universal humanism comes through the children…child characters are represented as the hope for the desirable gender relations. (Sr. Dr. Dominica Dipio)

In the selection of films that follow, the girl-child plays the main protagonist. This representation of the girl character is an empowering practice as she deals with complex issues regarding her family and the world around her: Five-year-old Nadia lives in the slums of Casablanca where she is surrounded by a wall that separates her from the rest of the city; Elikia, is a five-year old with albinism, which is considered a stereotype by her neighbors; nine-year-old Zeinab opposes moving to Canada because she hates the snow; ten-year-old Mouna who copes with the death of her mother, almost never separates from her doll Ashia; ten-year-old Godelive attends a Catholic convent school in the Congo. However, the strict western education collides with her own memories of the traditions of her grandmother; eight-year-old Aida attempts to ease the suffering of her mother after her father brings a second wife into the household; after being accused of being a witch and placed in a "witches camp", 9-year-old Shula longs for freedom. Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family. Casablanca of the late 1970s. Eleven-year-old Hiba is fascinated with the cinema at a time in the history of Morocco where this space is still closed to women. Despite her mother’s interdiction, in order to enter the movie house, Hiba is ready to sell the object of her other passion, her books. Eleven-year-old pre-teen Amy discovers in her new elementary school a group of dancers called: “Les Mignonnes”. Fascinated, she begins a sexy dance, the twerk, hoping to join their band and escape a family upheaval.

[Français]

Le message de tolérance et d'humanisme universel des cinéastes passe par les enfants ... les personnages d'enfants sont représentés comme l'espoir des relations de genre souhaitables. (Sr. Dr. Dominica Dipio)

Dans une sélection de films récents ci-dessous, la petite fille joue le rôle principal. Cette représentation cinématographique nous montre une image forte et valorisante de la petite fille, lorsqu’elle confronte des questions complexes concernant sa famille et le monde qui l’entoure : Mouna, 10 ans, qui fait face à la mort de sa mère, ne se sépare presque jamais de sa poupée Aisha ; Elikia, 5 ans, est atteinte d’albinisme que son voisinage considère comme un stéréotype ; Nadia, 5 ans, vit dans les bidonvilles de Casablanca où elle est entourée d'un mur qui la sépare du reste de la ville ; Godelive, 10 ans, vit dans un pensionnat catholique en Congo y recevant une éducation occidentale. Mais le souvenir de sa grand-mère s’interpose ; Zeinab, qui a neuf ans, ne veux pas vivre au Canada parce qu’elle n’aime pas la neige; Aida, 8 ans, tente de soulager la souffrance de sa mère après que le père amène une seconde femme à la maison; Shula, qui a neuf ans, accusée de sorcellerie et mise dans un camp de sorcières, rêve de liberté. Aya, 7 ans, vit avec ses parents salafistes, Mariem et Youssef. Par peur d'être banni par sa communauté salafiste, Youssef est contraint d'imposer le port du Niqab à sa femme. Un jour, Aya commet un acte qui bouleversera à jamais le destin de sa famille. Casablanca, fin des années 70. Hiba, âgée de 11 ans, est fascinée par le cinéma à un moment de l'histoire du Maroc où ce lieu est encore fermé à la gente féminine. Malgré l'interdiction de sa mère, elle est prête à revendre l'objet de son autre passion, ses livres, pour y entrer. Amy, 11 ans, rencontre un groupe de danseuses appelé : « Les Mignonnes ». Fascinée, elle s’initie à une danse sensuelle, dans l’espoir d’intégrer leur bande et de fuir un bouleversement familial. 

Ashia by/de Françoise Ellong Cameroon |Cameroun)

A Place for Myself | Une place pour moi by/de Marie Clémentine Dusabejambo (Rwanda)

 

Aya by/de Moufida Fedhila (Tunisia | Tunisie)

Behind the Wall | Derrière le mur by/de Karima Zoubir (Morocco | Maroc)

I am not a witch | Je ne suis pas une sorcière by/de Rungano Nyoni (Zambia | Zambie)

 

Les Mignonnes | Cuties by/de Maïmouna Doucouré (France-Senegal)

Maman(s) by/de Maïmouna Doucouré (France-Senegal)

Riad de mes rêves | Riad of my dreams by/de Zineb Tamourt (Morocco | Maroc)

Soeur Oyo | Sister Oyo by/de Monique Mbeka Phoba (Belgium-DRC)

Zaineb Hates the Snow | Zaineb n’aime pas la neige by/de Kaouther Ben Hania (Tunisia |Tunisie)