The Tradition of Moolaadé as a Sanctuary Against Tradition

Elizabeth Oyelola

The Tradition of Moolaadé as a Sanctuary Against Tradition

Moolaadé is a Senegalese film about a woman’s courage to stand up against the brutal acts of female genital cutting. The word Moolaadé means “magical protection” and is used as a symbolic way to show tradition as a weapon to another tradition. Moolaadé demonstrates the director, Ousman Semen’s stance on women economic and social empowerment. The motive of this film is very simple; express the negative impact of female genital cutting in an objective way. By showing the beauties of their tradition, but questioning a practice that has cause dire consequences to the girls and women of this community. Moreover, this film is geared to a specific set audience of people who practice female genital cutting as opposed to an international audience like the films we’ve watched in the past. Moolaadé demonstrated the everyday life of an African woman, at least of a Senegalese woman.

Moolaadé illustrates the different versions of feminism and the idea of a feminist through Colle’s character. She manifests this trait through her initial bravery to protect the four little girls. Ousmane Semene does a good job in creating a realistic three dimensional character with Colle. Colle feels personally obligated to provide sanctuary for these girls however, neither for personal glorification nor without reason. Colle’s past history shows a clear motive because she had endured the death of a daughter and had a difficult birthing of the second daughter. This film is not about heroism for the sake of heroism, but a justification to act upon something so personal that as an audience we believe it to be credible in its entirety. Moreover, because of her motives, her story becomes realistic and relatable which proves effective in demonstrating how great of a negative impact female genitival cutting is through a narrative approach. Another example of feminism shown by Colle is her ability to not only negotiates with the other wives in her compound, but also with the sorority of elder women and councilmen. Moreover her courage to protest against her husband and endure the burden by public humiliation and her rejection to yield submission, which consequentially results in being beaten by her husband. The question remains, however, is female genital cutting/female purification anti-feministic or is rejecting this practice anti-feministic? It is important to know that the world’s view of feminism is different and is based not only on societal norms but individual beliefs. Some women think it’s liberating to wear a hijab, others find it liberating not to wear one. So, it can be said that the line of femininity is very ambiguous in categorizing what is and what isn’t. It almost becomes a paradox. Feminism does not necessarily mean the antithesis of tradition; but, a unique form of feminism can derive from traditional rules. The challenges of womanhood in this society show women as “victims or irredeemable patriarchal cultures that hold them immobile and stripped of fundamental human rights” (Durable dreams pg 179)

Female genitalia cutting is a practice that involves removal partially or completely of the external genitalia. Albeit done for cultural and/or religious reasons, genital cutting can cause long term medical damage. This practice of purification is performed on girls as young as four years of age. Female genital cutting (FGC), also known as, Female genital mutilation, is practiced for many reasons such as; chastity, religion, cultural traditions, conformity, or even rites of passage. Unfortunately, FGC has resulted into infection due in largely for the unsanitary instruments used, painful intercourse, difficulty in childbirth, and excessive bleeding. Because these rituals are done usually without anesthetics, victims fall into shock which sub sequentially results in death. In the context of the culture, it is difficult to protest this practice because it is traditional. Often cultures use religion to falsely mandate what is right and wrong. One interpretation or misinterpretation of a holy text, through taking it by its literal form, has significantly affected customs and practices that have been deemed detrimental to a specific group. The message of the director is not to go against tradition for the sake of blasphemy, but, tries to explain that this practice is not justified and yet can be rectified through amelioration by other non harmful or demeaning ways. One could argue that male circumcision does the same thing. In that its motives are almost the same; purification, instigated by religion, and is a form of mutilation. However, it isn’t equal when comparing the affects as of female genital cutting. There is no strong evidence of infection, long term disability, infertility, or death.

An important issue that Moolaadé brings is the underlying subject of the Sharia laws. Sharia laws are also known as Islamic laws or God’s law. Sharia laws, however, have been taken as misinterpretations from religion, that dictates certain personal rituals and the harsh consequences. Often times, women are the brunt of severe punishment, as opposed to their male counterparts. It is interesting the right men have to judge and impose their judgments on what women can or cannot as well as should and should not do. Although female genital cutting is not practiced everywhere, some have interpreted and interwoven it as part of the Sheria law by enforcing it.

Moolaadé touches on the argument between embracing France vs. Tradition. The elders view tradition as a way to maintain identity that is untainted and maintained despite colonial affect or influence. The nostalgic views by the men show the rejection of the introduction of new ideas. In Moolaadé, the men of the village decide to confiscate radios from the women by in part large because of the message of liberation as well as Colle’s maintenance to protect the four girls who refuse to be cut.

Colle’s actions as well as the content on the radio, certain men of the village find that accepting foreign or new ideas as a threat to their society and the traditions. Towards the end of the film Ousmane Semene purposefully matches the egg on top of the mosque with a scene of a television antenna. This symbolizes the acceptance of change and progression. However, integration of new ideas and foreign ideas does not necessarily equate to progression, but shows that there is a symbolic equation of acceptance of radios/TV’s to the rejection of female genital cutting.

Ousmane’s motive for this film was apparent; he wanted to induce social change in societies that dealt with female genital cutting. This film did not have political agendas as in Darwin’s Nightmare, and was more succinct in identifying the root of the problem as opposed to Hotel Rwanda. Moolaadé honors the everyday heroism as opposed to the out of reach heroisms often times exaggerated in film.