Posts Tagged ‘Abderrahmane Sissako’

Covid-19 and me and you

October 24, 2020

Well, yes, I promised I was going to shut up about it after my Corona Chronicles from Bamako but I do find myself currently (and hopefully temporarily) in a very strange part of the world. I am watching with bemusement supposedly competent governments thrashing about in the wake of what must be termed a very large but ultimately not very powerful pandemic (the official statistics report death rates of less than 1 per cent of those affected). Coming from West Africa, Europe has all the hallmarks of a continent that has gone quite mad.

Just one example. As I mentioned in my Chronicles, when Mali and its neighbours decided they had a problem, they acted swiftly, decisively and ruthlessly. Night curfews did not start at 10pm in bars with large numbers of people already present, they started earlier, even when it is well-known that when people decide to partake in the rich nightlife of West African cities they do so very late. As someone astutely observed: will the virus know that it can only come into a packed and crowded bar when last orders have been consumed? This literally makes zero sense. You are either open – or you are closed. There is no halfway house here. 

The debate about face masks is even more bizarre. Look, I loathe the bloody things and I think they are not only a nightmarish inconvenience to wear but also an environmental disaster waiting to happen given the widespread human habit of disposing of your stuff anywhere you please but for crying out loud… Message to the navel-gazing Westerners complaining about this: the wearing of a face mask is, for once in your life, not about you. It is about others. It is not about a dictatorial government turning you into a slave. If you think this is what dictatorship and slavery look like you clearly have led an extraordinarily sheltered and massively privileged life. 

I will leave the conspiracy theorists who believe it’s all a China/WHO/Bill Gates/George Soros/5G/Deep State/Democrat/liberal/leftist/UN/Agenda 21/NWO bid for world domination, to one side. While fascinating in the way slow motion car crashes are fascinating, they add nothing to any rational debate about what we are dealing with and what we should do about it. Arguing with people advancing such points is futile. You will waste your time and fail to sway any of the True Believers. Just ask for evidence for their claims. You will invariably find that they are unable to provide such. All this BS should have one destination only: the bin. 

An even more dangerous cult, which should also find its way to the rubbish dump post haste is neoliberalism, the real point of writing this. Covid-19 has done more to destroy the neo-liberal consensus that began with the Greed Is Good regimes of Ronald Reagan and the equally loathsome Margaret Thatcher than any amount of street demonstrations, bedecked in yellow jackets or not. However, the neoliberal consensus still holds sway throughout much of the world and what is happening before your eyes is not a conspiracy but evidence-based fact: protection for the rich and their companies and banks, hell to pay for everybody else. It is Brexit on steroids.

When health workers get empty and meaningless gestures of nightly applause but no remuneration commensurate to their role in this crisis; when bankers are deemed more important than sewage workers; when shareholders and stockbrokers are considered of far more consequence than the mostly invisible people who ensure that your lights stay on, your water is clean, your internet keeps working and your roads are safe; when teachers are considered less important than some bozo gambling your future and mine away shifting billions around the world with the click of a mouse; when airlines are being kept aloft with billions of euros of taxpayers money that then goes to lease firms and moneymen…when you see all this happening in real time, you realise that you live in a system that is not worth saving. 

The banks’ Ponzi schemes that have been the bane of modern post-industrialist society will collapse once again. The Washington Consensus that brought destitution and war across Africa, Central and South America, Asia, South East Europe and the Middle East, has turned out to be fundamentally misguided, as the consequences are finally reaching the richest shores in the world. The criminals who dreamed it up should be persecuted, as the Mauritanian filmmaker Abderrahmane Sissako showed in his film, Bamako

The end of the system, which we now know to be built on fraud, idle speculation and lies, will not come about through the swing to the populist right we are seeing in many parts of the world today. Xenophobia, racism and violence are not the answers to the systemic failure Covid-19 is revealing. The populist right of Le Pen, Wilders, Farage, Trump and the rest of the one trick con artists only serves to entrench neoliberalism even more. Like its kissing cousin, identity politics, it is a dangerous and ultimately pointless distraction. What will end the current systemic insanity is a radical swing towards real progressive politics, which has always been international in nature and always has the ideal of creating fair, equal and just societies in its DNA. You may want to call it socialism, which is fine by me. You can either have that, or you will have barbarism. 

Our choice. 

Timbuktu

May 5, 2015

Thanks for your patience!

Travel, illness, a crashed computer and lots of other work have all contributed to this blog lying dormant for four months.

Time to revive it.

 

Mild. That’s the word I would like to use when describing Abderrahmane Sissako’s depiction of recent  events in Timbuktu. This is not the first time Sissako tackles a theme rooted in either a historical fact or current circumstance. “Bamako”, his 2006 production, staged a trial against the International Monetary Funds and the World Bank, the lead agencies of an aid industry that is the bane of this continent. As in “Timbuktu”, he affords himself acres of artistic licence, so what we get to see are his interpretations of fact and circumstance.

In early 2012, northern Mali was invaded, first by a Tuareg rebellion and then by jihadist gangs. It was, in brief, the fallout from the West’s catastrophically ill-conceived removal of its earlier friend and ally Muamar Ghadaffi, whose army had been home for many Tuaregs. Jihadists from Algeria and elsewhere saw the opportunity of a gaping security hole that was opening up in northern Mali and struck. They overran Timbuktu, the City of 333 Saints and destroyed buildings, graves and objects of world-wide cultural importance.

Timbuktu was hit especially hard in the way people’s lives were disrupted or destroyed. ‘We are losing our soul,’ as one old inhabitant put it. “Timbuktu”, the film, shows some of that, in particular the harsh stoning of an “adulterous” couple, the relentless beating of a female singer (played beautifully by Fatoumata Diawara) after she had been arrested for illegally performing music, the heartless abduction of a local girl by an English speaking jihadist fighter and the destruction of art.

Should “Timbuktu” have been a Western shill, as some writers have suggested, the jihadists would have been portrayed as unreconstructed monsters without any redeeming features. Instead, they are presented to us with their weaknesses and their pasts. The will to communicate and dialogue is emphasised throughout, especially by the city’s imam who seeks to reason with the jihadists every time they violate local custom. To me, the essence of “Timbuktu” runs counter to the instincts of the alleged leaders of Western nations, who have developed a vicious tendency to bomb everyone who disagrees with them.

The jihadist leader, Abdelkrim, is seen dancing in secret – we are left to determine whether it is ballet or the much older traditional whirling of the Dervishes, imbued with the kind of mysticism he wants to expunge. When he is driven to a sand dune and walks behind it to light up, his driver tells him: ‘Don’t bother. Everybody knows you smoke.’ Some of his fighters are clearly more comfortable discussing European league football than the sharia principles they are supposed to ram down everybody’s throat. Not exactly your average portrayal of a hate-infused fundamentalist. Sissako maintains the human scale in his story.

from Mondoblog

from Mondoblog

The film’s centrepiece revolves around a conflict between Amadou, a fisherman and Kidane, a herdsman whose favourite bull strays into Amadou’s nets. The fisherman kills the bull and Kidane, an otherwise tranquil man and loving husband, gets into a fight with Amadou and kills him. Accidentally or not, again we are not sure.

I will confess that I found the storyline that followed this scene rather confusing. First, it takes the Islamic Police no time at all to find and arrest Kidane. How were they so sure it was him? And then there is his confession and the verdict: compensate Amadou or die. Kidane has not got the wherewithal to do the former. I was left wondering what a traditional tribunal would have had to say. The sequence ends with a botched rescue of Kidane by his wife Satima and an unknown biker we have seen riding around a few times, an interesting “foreign” element if you like, just like the mad mystic woman from Haiti who somehow ended up here after having escaped the earthquake in her country and who challenges Abdelkrim’s gang with the recklessness of someone who knows she cannot be touched or harmed. It is in her lair that Abdelkrim performs his dance…

 

from Mondoblog

from Mondoblog

“Timbuktu” is a work of art, beautifully filmed (perhaps even too beautifully if that is at all possible), with long stills that reminded me of my favourite film director, the late Andrej Tarkovski.

So here is one recurring criticism that can be put to pasture. There is this one here, for instance, a critique that provoked an explosion of discussions as it made the risible claim that Sissako had made a film to fit Western tastes for an “eternal Africa” where everyone is a fisherman or a herdsman, blissfully ignoring the fact that literally everybody in the film is using a mobile phone to communicate. Orientalism, or “othering” to use that ugly neologism, “Timbuktu” does none of these things.

Another criticism relates to Mauritania, where Sissako was born and where most of “Timbuktu” was filmed. Commentators have asked why Sissako has not dared to speak out against the persistent slavery practices there. Mauritania outlawed it in 1981 (the last country in the world to do so) and then took another 26 years to criminalise it. It is a good point and perhaps Sissako, said to be a cultural advisor to Mauritanian president Mohamed Old Abdel Aziz, will be compelled to make such a statement, in another film. At the same time, it strikes me as irrelevant. I do not recall any such calls when “Bamako” was released, partly of course because that film targeted the “correct” usual suspects – World Bank and IMF – and attacked them with a ferocity that makes “Timbuktu” a paragon of subtlety and, in my view at least, a better film.

from AlloCiné

from AlloCiné

That leaves France, where the film was mostly financed and where it has been very warmly welcomed (seven Césars, the French Oscars). France is part of that international community that first allowed Mali to slide into the abject mess that it is today because it was an excellent hole into which the hundreds of millions in aid money could be sunk. Mali was, therefore, immune from criticism. Then, in January 2013, France briefly became the heroic liberator that shot the jihadist gangs out of Timbuktu and then, unforgivably, botched its attempts at reuniting Mali at Kidal, a rebel stronghold until today. Today, France is regarded with utmost suspicion in Mali and all she has to blame for that is herself.

French critics have been praising “Timbuktu” to the heavens – and indeed, one of the critiques I mentioned earlier quotes a piece of astonishing silliness in Le Monde in which some hack maintains that “Timbuktu” is in fact a tribute…to France. In fact, the film steers clear of any overt political statement, which is perhaps why some have found it necessary to accuse Sissako of having made the film to whitewash France and/or Mauritania, both engaged in what is called the War On Terror. The point would have been legitimate, had he made a documentary, which he did not. But don’t take my word for it – go and see it for yourself.