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In XALA, the contrast between Awe and El Hadji's second wife, Oumi, is seen strikingly during a scene of the third wedding where the two women sit together, outcasts to El Hadji’s new pride and happiness. Wearing a traditional African dress, Awa chews her stick with the dutiful resignation of a patient village woman.
Senegal. Languages. French. Wolof. Xala (pronounced [ˈxala], Wolof for "temporary sexual impotence" [1]) is a 1975 Senegalese satirical comedy film written and directed by Ousmane Sembène, an adaptation of Sembène's 1973 novel of the same name. It stars Thierno Leye, Seune Samb, Douta Seck, Younousse Sèye, Fatim Diagne, and Myriam Niang.
Dec 15, 2018 · Through an analysis of the characters of El Hadji, El Hadji’s first wife Adja, and her daughter Rama in the following paragraphs, I will argue that Sembène creates binaries in the film between old versus new, and male weakness versus female strength, which both tie into a larger dichotomy of colonial rule versus independence. Old versus New
Abdou Kader Beyè (ah- BEWKAY -dehr BAY -yay), called El Hadji, a prosperous Senegalese businessman in his fifties. He is a Muslim and a polygamist, with two wives and eleven children. Ousted from ...
In XALA we feel empathy for both El Hadji and the beggars. Sembene warns the emerging bourgeoisie not to lose sight of its own trauma and inevitable fall from power. At the same time, the filmmaker clearly shows a difference between human nature and the corrupting influence of imposed systems and cultures on Africa.
Mar 28, 2023 · Iyam also analyzes female characters in Xala (1975), a film based on Sembène’s novel of the same name. In this story, El Hadji is a prominent man in his community who cheated his way to success and wealth. He decides to take on a third wife, but he becomes sexually impotent and thus affected by the curse of “xala.”
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What does the Xala reveal about El Hadji?
What happens to El Hadji after a night of sexual failure?
Why does El Hadji have to return to his wife's home?
How does El Hadji react to her mother's divorce?
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Why is El Hadji known as a satire?
In accepting the ritual, El-Hadji finally accepts the power of the social bonds he sold away, but the film ends before we know whether or not his xala is cured – whether or not, in other words, he can return from his rejection of intersubjectivity and social responsibility, the sources of the collective power and agency of the other subjectivities present in this climactic ending.
