November 16, 2015 § Leave a comment
Is the persisting relevance of a forty-year-old satirical film a testament to the satirist’s socio-political foresight, a vindication of his jokey pessimism, or an indictment of a nation at large? It turns out that viewing Senegalese auteur Ousmane Sembene’s Xala (1975) in a contemporary context provides ample evidence in favour of all three.
At the risk of being overly speculative, it is not unreasonable to posit that Sembene busied himself crafting politically-charged art in the hopes of encouraging the kind of cultural and national self-awareness necessary for social integrity and progressiveness, particularly in the wake of newly won freedom from colonial rule (1960 onwards in the case of Sembene’s native Senegal). Whether or not he intended for his work to be representative of extra-Senegalese Africa is beyond my knowledge, though its influence on sub-Saharan cinema in general is quite simply undeniable.
Suppose then that Sembene, in 2006, happened to sit down and watch Abderrahmane Sissako’s impassioned Bamako, an allegorical portrait of a Malian town whose residents are caught between continued colonial exploitation and post-colonial mismanagement. It’s hard to imagine him taking even perverse pleasure in the realisation that his decades-old films, Xala in particular, have proven to be somewhat prophetic, almost to the point of seeming like a curse. As I mentioned in my piece on Bamako, Sissako simultaneously celebrates and bemoans the paradoxical mess that is contemporary Africa, suggesting that somewhere in this muck lies the source and solution of the continent’s woes, fiscal and otherwise. Strangely enough, ‘contemporary’ in this context spans a good thirty years, all the way back to Xala, if not further.