Women in African Cinema: an Aesthetic and Thematic Analysis of Filmmaking by Women in Francophone West Africa and Lusophone and Anglophone Southern Africa

Total Page:16

File Type:pdf, Size:1020Kb

Women in African Cinema: an Aesthetic and Thematic Analysis of Filmmaking by Women in Francophone West Africa and Lusophone and Anglophone Southern Africa University of Stirling Women in African Cinema: An aesthetic and thematic analysis of filmmaking by women in francophone West Africa and lusophone and anglophone Southern Africa Lizelle Bisschoff Supervised by Professor David Murphy Submitted for the degree of PhD in French Studies School of Languages, Cultures and Religions November 2009 ABSTRACT Women in African Cinema: An aesthetic and thematic analysis of filmmaking by women in francophone West Africa and lusophone and anglophone Southern Africa This study focuses on the role of women in African cinema – in terms of female directors working in the African film industries as well as the representation of women in African film. My research specifically focuses on francophone West African and lusophone and anglophone Southern African cinemas (in particular post-apartheid South African cinema). This research is necessary and significant because African women are underrepresented in theoretical work as well as in the practice of African cinema. The small corpus of existing theoretical and critical studies on the work of female African filmmakers clearly shows that African women succeed in producing films against tremendous odds. The emergence of female directors in Africa is an important but neglected trend which requires more dedicated research. The pioneering research of African-American film scholar Beti Ellerson is exemplary in this regard, as she has, since the early 2000s, initiated a new field of academic study entitled African Women Cinema Studies. My own research is situated within this emerging field and aims to make a contribution to it. The absence of women in public societal spheres is often regarded as an indicator of areas where societies need to change. In the same sense the socio-political and cultural advancements of women are indicators of how societies have progressed towards improved living conditions for all. Because the African woman can be viewed as doubly oppressed, firstly by Black patriarchal culture and secondly by Western colonising forces, it is essential that the liberation of African women includes an opportunity for women to verbalise and demonstrate their own vision of women’s roles for the future. The study analyses a large corpus of films through exploring notions of nationalism and post/neo-colonialism in African societies; issues related to the female body such as health, beauty and sexuality; female identity, emancipation and African feminism in the past and present; the significance of traditional cultural practices versus the consequences and effects of modernity; and the interplay between the individual and the community in urban as well as rural African societies. Female filmmakers in Africa are increasingly claiming the right to represent these issues in their own ways and to tell their own stories. The methods they choose to do this and the products of their labours are the focus of this study. Ultimately, the study attempts to formulate more complex models for the analysis of African women’s filmmaking practices, in tracing the plurality of a female aesthetics and the multiplicity of thematic approaches in African women’s filmmaking. ii ACKNOWLEDGEMENTS Completing this thesis has been a long, at times challenging, but mostly extremely rewarding and stimulating journey. My first word of thanks should go to my supervisor, Professor David Murphy, whose support and enthusiasm for my work never waned since the first speculative email I sent to him back in 2004. I also wish to thank my second supervisor, Professor Elizabeth Ezra as well as my internal examiner Dr. Cristina Johnston and external examiner Dr. Jacqueline Maingard. I greatly appreciate all the intellectual support I received from them, and the many stimulating and helpful chats, often on a train between Stirling and Edinburgh. I owe a huge debt of gratitude to the School of Languages, Cultures and Religions at the University of Stirling, and in particular the various heads of School and the School administrator Alison Cooper, as well as the University’s Faculty of Arts, for the tremendous amount of support I received throughout my studies, financial and otherwise. A range of bursaries and scholarships from the University enabled me to conduct this research and undertake numerous field trips to Africa. An Overseas Research Student Award made it possible for me to study in Scotland as a South African, and a generous grant from the British Federation of Women Graduates provided much-needed funding for the final year of my PhD. The Carnegie Trust for the Universities of Scotland provided a grant for an extended research trip through West Africa in 2007. Many organisations and people in Edinburgh supported me, not least the Centre of African Studies at the University of Edinburgh, where I need to thank in particular Professor James Smith, Dr. Barbara Bompani and Dr. Andrew Lawrence for their unflinching encouragement and enthusiasm for my research. I am fortunate to not only count them as colleagues, but also as friends. All the committed cinephiles at Filmhouse Cinema made it possible for me to put my research into practice through the Africa in Motion film festival, as well as Noe Mendelle and Mark Cousins, who share my passion for African cinema. Many other friends in Edinburgh played a role, emotional and intellectual, in supporting me throughout my research. I wish to thank Robert in particular, who encouraged and supported me to embark on this PhD, because he understood that it was the best thing for me to do at a time when I was somewhat at a loss of finding direction and inspiration in my career. Hanna, Melissa, Louis, Jen, Kari Ann, Jamie and Simon were all there for me at various junctures: I am extremely grateful for their friendship. I need to thank Stefanie Van de Peer not only for proofreading my thesis, but above all for being a soulmate and great friend. My friend Anita in South Africa helped me tremendously in maintaining a balance over the years, with her generosity of spirit and emotional wisdom. In South Africa I spent many inspiring hours of discovery while watching films in the library of the Centre of African Studies at the University of Cape Town, with the support and invaluable advice of Sue and Freddy Ogterop. Professor Martin Botha at UCT also took a great interest in my work, and provided fantastic resources and ideas for my research. iii The love, support and pride of my wonderful family accompanied me throughout this journey – my siblings Sarita and Riaan, and parents Tom and Philma Bisschoff, who always encourage me to be ambitious, but mostly just wish me happiness and fulfillment. My greatest word of thanks goes to the African filmmaking community, and all the wonderful women, and men, I met throughout the course of my research. I received wisdom, warmth and hospitality from so many people all over Africa, and in particular in South Africa, Burkina Faso, Mali and Senegal. Immersing myself in Africa has brought passion and purpose to my life, and I have constantly been amazed and inspired by the dedication and talent of these men and women who often struggle against tremendous odds to tell their stories to the world. This study is dedicated to you all. iv TABLE OF CONTENTS Abstract ii Acknowledgements iii Table of Contents v Chapter 1: Introduction 1 Introduction: Women in francophone West African and Southern African cinema 1 Research methodology 4 Theoretical frameworks 6 Postcolonial theory 7 African feminism 15 Islamic feminism 23 Aesthetic and thematic questions 26 Existing frameworks for classifying and analysing African cinema 26 Aesthetic and thematic preoccupations of female African filmmakers 34 Assessing the presence of women in African filmmaking 40 Conclusion: Towards a female aesthetics in African cinema 49 Chapter 2: Historical, Geographical and Regional Contexts 54 Introduction 54 Southern Africa: Zimbabwe, Angola and Mozambique 55 Zimbabwe 55 Angola and Mozambique 58 South Africa 61 A brief history of South African cinema 61 Contemporary South African filmmaking 65 The role of women in South African film 66 Francophone West Africa 73 Francophone West African cinema from past to present 73 Female filmmakers in West Africa 78 Conclusion 87 Chapter 3: Women and the Nation 89 Introduction: Nationalism and Feminism: Irreconcilable conflict or complementary endeavour? 89 Women in war and conflict 97 Southern African feature films: Sambizanga and Flame 98 v West Africa: La Nuit de la Verité 106 Nationalism and female filmmaking in South Africa: From apartheid to the new nation-state 115 Fiction feature filmmaking 117 Documentary filmmaking 121 Female voices in post-apartheid documentary filmmaking: The Project 10 series 127 Conclusion 142 Chapter 4: The Female Body 144 Introduction: The female African body: A struggle for ownership 144 Female beauty 147 Sexuality and female desire 151 Taboo desires: Lesbianism and African film 155 Motherhood 170 Women and health 177 HIV/AIDS 177 Female circumcision 183 Conclusion 192 Chapter 5: Performing Female Identities through Film 195 Introduction 195 Racial identities 199 From farmers to politicians: Leadership and emancipation 202 Shaping identity through collective female traditions: The documentaries of Katy Léna N’diaye 213 Islam in South Africa: Forging female Muslim identities 220 Conclusion 233 Chapter 6: Conclusion 235 Researching women in African cinema 235 An African feminist aesthetics in film? 235 The question of audiences 239 The future of women in African cinema 242 Further research 244 Bibliography 245 Online resources 259 vi Filmography 261 Interviews 267 vii Chapter 1: Introduction Introduction: Women in francophone West African and Southern African cinema This study aims to assess the role of women in African cinema – in terms of female directors working in the African film industries and the representations of women in African cinema – and to analyse films by female directors working in the audio-visual industries in francophone West Africa and lusophone and anglophone Southern Africa.
Recommended publications
  • Alternative Digital Movies As Malaysian National Cinema A
    Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof.
    [Show full text]
  • 3 Summary April 2021
    Summary of Workshop Findings ‘Disability in Namibia: Religious and Cultural Perspectives’ 21st – 23rd April 2021, Roof of Africa Hotel, Windhoek Day 1: Network Meeting Following on from our events in December 2020 (an open, online event) and March 2021 (a workshop for clergy), the networking meeting on 21st April 2021 brought together representatives from various Organisations of Persons with Disabilities (OPDs), the Evangelical Lutheran Church in Namibia (ELCIN), and academics from the University of Namibia and the University of Exeter to discuss the findings of previous workshops, to further reflect on the key issues, and to look ahead to ways forward for promoting inclusive environments for persons with disabilities in communities and congregations. Sign Language interpretation for the meeting was provided by Ms Aune Ashikuti and Ms Helena Nadala. In attendance from OPDs were: Mr Daniel Trum, National Federation of People with Disabilities in Namibia Mr Elia Shapwa, National Federation of People with Disabilities in Namibia Mr David Hughes, National Federation of People with Disabilities in Namibia Ms Elizabeth Namwandi, Namibia Albino Association & National Federation of People with Disabilities in Namibia Ms Suama Nangolo, Namibian Organisation for Youth with Disabilities Mr Moses Nghipandulwa, Namibian Federation of the Visually Impaired Mr Niklaus Nghumono, National Association of Persons with Physical Disabilities In attendance from Universities were: Prof Gert Van Rooy, University of Namibia Dr Helen John, University of Exeter In attendance from the Evangelical Lutheran Church in Namibia was: Reverend Thomas Uushona, ex-pastor and now Chief Editor, Omukwetu church newsletter The discussions focused on the challenges faced by persons with disabilities (PWD) in their encounters with religio-cultural attitudes and environments.
    [Show full text]
  • Université Du Québec Mémoire De Maîtrise Présenté À L'université Du Québec En Outaouais Comme Exigence Partielle De L
    UNIVERSITÉ DU QUÉBEC MÉMOIRE DE MAÎTRISE PRÉSENTÉ À L’UNIVERSITÉ DU QUÉBEC EN OUTAOUAIS COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN TRAVAIL SOCIAL PAR VÉRONIQUE SENÉCAL-LIRETTE SOUTIEN SOCIAL ET DÉVOILEMENT DE LA VIOLENCE EN CONTEXTE CONJUGAL : L’EXPÉRIENCE DE FEMMES SÉNÉGALAISES À KAOLACK DÉCEMBRE 2018 ii Résumé Ce présent mémoire de maîtrise en travail social vise à comprendre l’expérience de femmes sénégalaises de la région de Kaolack suite au dévoilement de la violence conjugale. De façon plus précise, cette recherche exploratoire et de type qualitatif vise à documenter les réponses des services, tant communautaires qu’institutionnels, et le soutien social formel ou informel que reçoivent les femmes violentées dévoilant un acte de violence conjugale. Cette recherche s’appuie sur une collecte de données de nature ethnographique. Elle vise à laisser la place au vécu des femmes et à leur parole, et à prendre en considération les particularités propres au groupe : leur culture, leurs croyances, leur façon de vivre. L’observation participante, et les entretiens semi-dirigés contribuent à mettre en lumière l’expérience de douze femmes. En outre, le discours d’autres informateurs-clés du milieu vient enrichir notre compréhension du phénomène à l’étude. Le cadre d’analyse du féminisme postcolonial a été privilégié pour l’analyse des propos recueillis. Le présent mémoire met en exergue le discours des femmes ayant partagé leur expérience de dévoilement, combiné à l’observation des mécanismes socioculturels entourant la violence faite aux femmes de Kaolack. Les principaux résultats démontrent que le phénomène de la violence conjugale demeure complexe et est influencé par plusieurs facteurs tant sociaux, politiques, culturels que religieux.
    [Show full text]
  • Van Gogh Museum
    JV_01_65 03-06-2008 16:25 Pagina 1 VAN G OGH MUSEUM JAARVERSLAG 2007 JV_01_65 03-06-2008 16:25 Pagina 2 JV_01_65 06-06-2008 14:39 Pagina 3 Inhoud 5 Voorwoord Raad van Toezicht 11 Inleiding directie 19 Museumcollectie 31 Onderzoek 37 Publicaties 41 Tentoonstellingen 55 Educatie en communicatie Bijlagen 67 Financiële verslaglegging 82 Museum Mesdag 83 Van Gogh Museum Enterprises BV 84 Partners en sponsoren 86 Bezoekcijfers 86 Aanwinsten 87 Tijdelijke bruiklenen aan tentoonstellingen 91 Tentoonstellingen 92 Museumpublicaties 93 Programma vrijdagavonden 97 Programma zondaglezingen 100 Activiteiten medewerkers • Publicaties • Lezingen • Nevenactiviteiten 106 Medewerkers 113 Annual Report 2007 (English) JV_01_65 03-06-2008 16:25 Pagina 4 JV_01_65 03-06-2008 16:25 Pagina 5 Voorwoord Raad van Toezicht Het Van Gogh Museum en Museum Mesdag hebben een meervoudige missie: zij streven er niet alleen naar hun collecties optimaal te behe- ren en te ontwikkelen, maar de werken ook tentoon te stellen en voor een zo ruim mogelijk publiek toegankelijk maken. De grondslag van al die activiteiten is het wetenschappelijk onderzoek. Wegens een nijpend tekort aan mensen en middelen is het voor hedendaagse musea alles- behalve vanzelfsprekend om wetenschappelijk werk te verrichten. Wij zijn dan ook trots dat het jaar 2007 voor het Van Gogh Museum bijzon- der rijk was aan onderzoeksinitiatieven en wetenschappelijke publica- ties, met zelfs de lancering van een nieuwe wetenschappelijke serie: Van Gogh Studies. De tentoonstellingen, de vaste collectie en de vele activiteiten in het Van Gogh Museum trokken dit jaar weer een massa geïnteresseerden aan: met ruim 1,55 miljoen bezoekers kwam het Van Gogh Museum in 2007 in de groep van de 25 meest bezochte musea ter wereld terecht.
    [Show full text]
  • African Freedom Phyllis Taoua Index More Information
    Cambridge University Press 978-1-108-42741-8 — African Freedom Phyllis Taoua Index More Information Index Abani, Chris The Nation Writ Small: African Fictions Graceland, 28, 190, 242–9, 256, and Feminisms, 1958-1988., 18, 19, 282, 293 106 Abrahams, Peter Angola, 215 The Path of Thunder, 111 apartheid, 1, 2, 8, 17, 22, 28, 108, 109, Tell Freedom, 22 110, 111, 112, 113, 114, 115, 116, Achebe, Chinua, 44 117, 119, 136, 157, 159, 160, 193, Anthills of the Savannah, 167 196, 198, 199, 200, 223, 240 Things Fall Apart, 29, 120, 129, 278–81 apartheid state, 1 Adejunmobi, Moradewun popular protest against, 192 “Provocations: African Societies Appiah, Kwame Anthony, and Theories of Creativity” Cosmopolitanism: Ethics in a World of in Rethinking African Cultural Strangers, 261, 283 Production, 20 areas of narrative interest, 16 Adichie, Chimamanda Ngozi expansion of global capital, 16 Purple Hibiscus, 27, 106, 108, 128–35, gender relations, 16 281, 288, 293 introspection and intimate self, 16, 38, Aduaka, Newton 44, 75, 86 Ezra, 254, 263 spiritual realm, 16 African National Congress, 17, 152, 157, the nation, 16, 147–8, 202 158, 159, 160, 192 Armah, Ayi Kwei, 166 post- apartheid challenges, 7 Akan references in novels, 18 African studies The Beautyful Ones Are Not Yet Born, 19, debate about postcolonial theory, 11–13 27, 44, 134, 160–5, 167, 171, 245, African women 248, 293 enter conversation on freedom, 26 critical reception of early novels, 43–5 Agadez Fragments, 26, 45–61, 166, 288 travel to, 11 Fragments and Baako’s nested identity, Ahidjo, Ahmadou,
    [Show full text]
  • Submission to the University of Baltimore School of Law‟S Center on Applied Feminism for Its Fourth Annual Feminist Legal Theory Conference
    Submission to the University of Baltimore School of Law‟s Center on Applied Feminism for its Fourth Annual Feminist Legal Theory Conference. “Applying Feminism Globally.” Feminism from an African and Matriarchal Culture Perspective How Ancient Africa’s Gender Sensitive Laws and Institutions Can Inform Modern Africa and the World Fatou Kiné CAMARA, PhD Associate Professor of Law, Faculté des Sciences Juridiques et Politiques, Université Cheikh Anta Diop de Dakar, SENEGAL “The German experience should be regarded as a lesson. Initially, after the codification of German law in 1900, academic lectures were still based on a study of private law with reference to Roman law, the Pandectists and Germanic law as the basis for comparison. Since 1918, education in law focused only on national law while the legal-historical and comparative possibilities that were available to adapt the law were largely ignored. Students were unable to critically analyse the law or to resist the German socialist-nationalism system. They had no value system against which their own legal system could be tested.” Du Plessis W. 1 Paper Abstract What explains that in patriarchal societies it is the father who passes on his name to his child while in matriarchal societies the child bears the surname of his mother? The biological reality is the same in both cases: it is the woman who bears the child and gives birth to it. Thus the answer does not lie in biological differences but in cultural ones. So far in feminist literature the analysis relies on a patriarchal background. Not many attempts have been made to consider the way gender has been used in matriarchal societies.
    [Show full text]
  • SEMBENE in SENEGAL Radical Art in Neo-Colonial Society
    SEMBENE IN SENEGAL Radical Art in Neo-colonial Society by Fírinne Ní Chréacháin A thesis submitted to the Centre of West African Studies of the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY December 1997 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. AUTHOR’SSTATEMENTCONCERNINGELECTRONICVERSION Theoriginalofthisthesiswasproducedin1997onaveryoldAmstradwordͲprocessor whichwouldhaveproducedaverypoorͲqualityscannedversion. InsubmittingthiselectronicversionforinclusionintheUBIRArepositoryin2019,I,the author,havemadethefollowingchanges: FRONTPAGES:Ichangedtheorderofthepages,puttingthepersonalpages(dedicationand acknowledgements)first. TABLEOFCONTENTS:Iremovedtheclumsylookingsubsubtitlestoproduceacleanerlook. BODYOFTEXT:Nochangesapartfrominsertionofsomeextrasubtitlesandsubsubtitlesto enhanceaccessibility. BIBLIOGRAPHY:Iaddedthreeentries,ADOTEVI,ENAGNONandKANE,inadvertentlyomitted inoriginal. Signed DrFírinneNíChréacháin 7May2019 FOR YETUNDE AND ALL GOD’S BITS OF WOOD BANTY
    [Show full text]
  • Cinema in Dispute: Audiovisual Adventures of the Political Names ‘Worker’, ‘Factory’, ‘People’
    Cinema In Dispute: Audiovisual Adventures of the Political Names ‘Worker’, ‘Factory’, ‘People’ Manuel Ramos Martínez Ph.D. Visual Cultures Goldsmiths College, University of London September 2013 1 I declare that all of the work presented in this thesis is my own. Manuel Ramos Martínez 2 Abstract Political names define the symbolic organisation of what is common and are therefore a potential site of contestation. It is with this field of possibility, and the role the moving image can play within it, that this dissertation is concerned. This thesis verifies that there is a transformative relation between the political name and the cinema. The cinema is an art with the capacity to intervene in the way we see and hear a name. On the other hand, a name operates politically from the moment it agitates a practice, in this case a certain cinema, into organising a better world. This research focuses on the audiovisual dynamism of the names ‘worker’, ‘factory’ and ‘people’ in contemporary cinemas. It is not the purpose of the argument to nostalgically maintain these old revolutionary names, rather to explore their efficacy as names-in-dispute, as names with which a present becomes something disputable. This thesis explores this dispute in the company of theorists and audiovisual artists committed to both emancipatory politics and experimentation. The philosophies of Jacques Rancière and Alain Badiou are of significance for this thesis since they break away from the semiotic model and its symptomatic readings in order to understand the name as a political gesture. Inspired by their affirmative politics, the analysis investigates cinematic practices troubled and stimulated by the names ‘worker’, ‘factory’, ‘people’: the work of Peter Watkins, Wang Bing, Harun Farocki, Danièle Huillet and Jean-Marie Straub.
    [Show full text]
  • Videos in Motion
    Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/211 Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/2011 2 TABLE OF CONTENTS P. 5 INTRODUCTION. Videos in motion P. 16 CHAPTER I. Defining the field of enquiry: History, concepts and questions P. 40 SECTION I. Beyond the video boom: Informal circulation, crisis of production and processes of transnationalization in the southern Nigerian video industry P. 45 CHAPTER II. Regulating mobility, reshaping accessibility: The production crisis and the piracy scapegoat. P. 67 CHAPTER III. From Nollywood to Nollyworld: Paths of formalization of the video industry’s economy and the emergence of a new wave in Nigerian cinema P. 87 SECTION II. The “Nollywoodization” of the Nigerian video industry: Discursive constructions, processes of commoditization and the industry’s transformations. P. 93 CHAPTER IV. When the Nigerian video industry became “Nollywood”: Naming and branding in the videos’ discursive mobility.
    [Show full text]
  • The Grave Preferences of Mourides in Senegal: Migration, Belonging, and Rootedness Onoma, Ato Kwamena
    www.ssoar.info The Grave Preferences of Mourides in Senegal: Migration, Belonging, and Rootedness Onoma, Ato Kwamena Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: GIGA German Institute of Global and Area Studies Empfohlene Zitierung / Suggested Citation: Onoma, A. K. (2018). The Grave Preferences of Mourides in Senegal: Migration, Belonging, and Rootedness. Africa Spectrum, 53(3), 65-88. https://nbn-resolving.org/urn:nbn:de:gbv:18-4-11588 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-ND Lizenz (Namensnennung- This document is made available under a CC BY-ND Licence Keine Bearbeitung) zur Verfügung gestellt. Nähere Auskünfte zu (Attribution-NoDerivatives). For more Information see: den CC-Lizenzen finden Sie hier: https://creativecommons.org/licenses/by-nd/3.0 https://creativecommons.org/licenses/by-nd/3.0/deed.de Africa Spectrum Onoma, Ato Kwamena (2018), The Grave Preferences of Mourides in Senegal: Migration, Belonging, and Rootedness, in: Africa Spectrum, 53, 3, 65–88. URN: http://nbn-resolving.org/urn:nbn:de:gbv:18-4-11588 ISSN: 1868-6869 (online), ISSN: 0002-0397 (print) The online version of this and the other articles can be found at: <www.africa-spectrum.org> Published by GIGA German Institute of Global and Area Studies, Institute of African Affairs, in co-operation with the Arnold Bergstraesser Institute, Freiburg, and Hamburg University Press. Africa Spectrum is an Open Access publication. It may be read, copied and distributed free of charge according to the conditions of the Creative Commons Attribution-No Derivative Works 3.0 License.
    [Show full text]
  • Horizontal Inequalities in Africa: Measurement Issues
    Horizontal inequalities in Africa: measurement issues SK Tetteh-Baah, K Harttgen, I Günther Chair of Development Economics ETH Zurich, Switzerland Abstract This study estimates different indicators of horizontal or between-group inequality to track the progress made against inequality of opportunity across 38 African countries between 1990 and 2016. Such progress largely depends on the assumptions held in measuring horizontal inequality [HI]. Previous studies have shown with traditional methods of measurement that HI has been generally falling in Africa. The traditional use of a relative measure of inequality assumes that people are sensitive to relative, not absolute, differences when comparing distributions. The traditional use of plutocratic method of weighting also assumes that majority groups count more than, not equal to, minority groups. Using data from the Demographic and Health Survey program, the study demonstrates that the traditional approach to the measurement of HI embellishes the progress made against unequal opportunities over time, compared to what more egalitarian approaches would suggest. Much of the reduction in horizontal inequalities in educational attainment and wealth in Africa, as shown in previous studies, is being driven by overall growth in living standards, and not necessarily the narrowing of absolute gaps in sub- national regional, ethnic, gender, or religious outcomes over time. However, the study finds falling horizontal inequalities in child non-stunting and child survival, which is robust to the measure of inequality applied, indicating greater equality of opportunity for the new generation of African people. JEL codes: D63 Equity, Justice, Inequality, and Other Normative Criteria and Measurement J71 Discrimination Key words: horizontal inequality, inequality of opportunity, gender, ethnicity, sub-national region, religion, Africa, educational attainment, wealth, child non-stunting, child survival 1.
    [Show full text]
  • 20 May 1988.Pdf
    -~- * * * INSIDE TODAY: NAMIBIAN FOCUS IN OSHIWAMBO AND AFRIKAANS * *.* TOWAWAY INCUSTO Y ------------BYMARKVERBAAN-----------­ . THE 24-year-old Ghanaian stowaway who was washed ashore on the Namibian coastline after being set adrift from the ship on which he was hiding, has been in the custody ofboth the army and police since being found near to death last Thursday. The Ghanain, Emmanuel Gyani, patrolling Nature Conservation of­ , hadstowedawaywiththreefriendson ficials last Thursday, where he had board a Singapore-registered ship on been washed ashore near Cape Fria - April 21 at Accra harbour, but three 130km from the Angolan border, days later they were discovered, - Mr Gyani was marooned on the - The captain of the vessel ordered bleak and uninhabited stretch of them to be dropped overboard with a coastline the day before, on May 11, in tiny life-r~ in the middle ofthe freez­ an exhausted state of dehydration and ing Atlantic Ocean, exposure, The captains parting words to the A spokesman for the Directorate of four men were that if they reached Nature Conservation said yesterday land, it would probably be Angola, that Mr Gyani had been discovered by Namibia or South Africa,' a two-man patrol in the area, Somewhere in the ocean, however, He said that the place where the tragedy struck and one of the stowaway was found is completely stowaways was drowned, desolate and without water, Soon afterwards, two others were "There are no river courses where he washed overboard and eaten by was found __ , there isjust a seal colony sharks, . nearby;' he said, Mr Gyani was the sole survivor, He was found at death's door by two Continued on page 3 State withdraws charges A LONE TEACHER in a lonely classroom at Ponhofi Secondary School at Ohangwena in nor­ ,against thirty·thre~ -, ~ , thern Namibia.
    [Show full text]