“I, a Ngwazala” is a cross-examination of the Ngwazla caste of Mafa society. It gives valuable insight into the lives of blacksmiths and how their culture is currently exposed to rapid transformation. This documentary presents Zayadai our key character who although trained as a blacksmith by his father, was able to study. And on the death of his father, he abandoned his studies to practice the profession of blacksmith, a profession passed down from father to son. Helped by his three young brothers, he exercises his art in order to meet the demand of the inhabitants of Djinglia Kongoche and by extension to meet the needs of his wife, his mother and his 11 brothers. Thus it gives access to important transformation processes in the Mafa society. Although the old strict separation of the Ngwazla is still present, but the increased contacts with the outside world and the influences of locally established institutions, such as the modern school system, Christian mission and Islam, are revealing new identities of Ngwazla . The Ngwazla are proud of their identity and are trying to reshape it in line with the rapid societal transformation underway.
“I, a Ngwazala”是对玛法社会中Ngwazla种姓的盘问。它提供了对铁匠生活的宝贵见解，以及他们的文化目前如何暴露于快速变革中。这部纪录片介绍了我们的关键人物扎亚代，他虽然被父亲训练成铁匠，但能够学习。在他父亲去世后，他放弃了学业，从事铁匠的职业，这是一种代代相传的职业。在他的三个弟弟的帮助下，他练习他的艺术，以满足Djinglia Kongoche居民的需求，进而满足他的妻子、母亲和11个兄弟的需要。因此，它为马法社会提供了重要的转型过程。虽然对恩瓦兹拉的旧的严格隔离仍然存在，但是与外部世界的接触增加以及当地建立的机构的影响，如现代学校制度、基督教会和伊斯兰教，正在揭示恩瓦兹拉的新身份。恩瓦兹拉人对自己的身份感到自豪，并正努力重塑自己的身份，以适应正在进行的快速社会转型。
{"title":"I, a Ngwazla","authors":"Wouleo Kazla Elie","doi":"10.15845/jaf.v6i01.3501","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3501","url":null,"abstract":"“I, a Ngwazala” is a cross-examination of the Ngwazla caste of Mafa society. It gives valuable insight into the lives of blacksmiths and how their culture is currently exposed to rapid transformation. This documentary presents Zayadai our key character who although trained as a blacksmith by his father, was able to study. And on the death of his father, he abandoned his studies to practice the profession of blacksmith, a profession passed down from father to son. Helped by his three young brothers, he exercises his art in order to meet the demand of the inhabitants of Djinglia Kongoche and by extension to meet the needs of his wife, his mother and his 11 brothers. Thus it gives access to important transformation processes in the Mafa society. Although the old strict separation of the Ngwazla is still present, but the increased contacts with the outside world and the influences of locally established institutions, such as the modern school system, Christian mission and Islam, are revealing new identities of Ngwazla . The Ngwazla are proud of their identity and are trying to reshape it in line with the rapid societal transformation underway.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115637403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Djebba’s cabaret is the portrait of a young brewer of bilbil (Traditional millet beer). Djebba is a young woman who has trained as a teacher but has been unable to find work for 05 years. To survive in a big city like Ngaoundéré (Cameroon), she brews and sells millet beer so that she can support herself. Despite the low profit of the brewing profession, she has won the loyalty of a large number of customers with whom she shares very familiar relationships. Djebba’s business allows her to live on a daily basis but she still hopes that one day she will finally be able to work as a teacher.
{"title":"Djebba’s Cabaret","authors":"Ghislaine Magouo Tainon","doi":"10.15845/jaf.v6i01.3503","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3503","url":null,"abstract":"Djebba’s cabaret is the portrait of a young brewer of bilbil (Traditional millet beer). Djebba is a young woman who has trained as a teacher but has been unable to find work for 05 years. To survive in a big city like Ngaoundéré (Cameroon), she brews and sells millet beer so that she can support herself. Despite the low profit of the brewing profession, she has won the loyalty of a large number of customers with whom she shares very familiar relationships. Djebba’s business allows her to live on a daily basis but she still hopes that one day she will finally be able to work as a teacher.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122005845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a small village in Northern Cameroon; lives a respected Mboum head of the family with his many children. The latter practices the Yiga kaka or Cockrel diagnosis where he earns his living by making the diagnosis and curing the sick through a cockrel. This practice allows the Yiga kaka practitioner to identify what the patient is suffering from and provide care. In this socioculture, only the initiated practitioner mastering the codes and the necessary knowledge can exercise this profession. Despite the influence of modernity, Alim Sardi strives to perpetuate this practice.
{"title":"Yiga Kaka (Cock Diagnosis)","authors":"Aboubakar Hamadama","doi":"10.15845/jaf.v6i01.3493","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3493","url":null,"abstract":"In a small village in Northern Cameroon; lives a respected Mboum head of the family with his many children. The latter practices the Yiga kaka or Cockrel diagnosis where he earns his living by making the diagnosis and curing the sick through a cockrel. This practice allows the Yiga kaka practitioner to identify what the patient is suffering from and provide care. In this socioculture, only the initiated practitioner mastering the codes and the necessary knowledge can exercise this profession. Despite the influence of modernity, Alim Sardi strives to perpetuate this practice.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":" 15","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132188616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bjørnulf Arntsen, B. Diallo, Len Kamerling, Babette Koultchoumi, Marceline Mbetoumou, Trond Waage
{"title":"Editorial/Éditoriale (in English and/et en Français)","authors":"Bjørnulf Arntsen, B. Diallo, Len Kamerling, Babette Koultchoumi, Marceline Mbetoumou, Trond Waage","doi":"10.15845/jaf.v6i01.3509","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3509","url":null,"abstract":"","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"198 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131463587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Synopsis (English) : When Ammiya was 13 years old, while in her 6th year at school, her parents sent her to marriage without her consent. As is customary in the Fulani and Muslim communities in Cameroon, no one tried to stop this marriage. Ammiya was hindered in continue her education, and to herself choose her husband. 13 years after her wedding, now divorced, she looks back and tell her story. Synopsis (French): A 13 ans, ses parents l’envoient en mariage sans son consentement, alors qu’elle préparait le concours d’entrée en 6e et le CEPE. Comme de coutume dans la communauté peule et musulmane, aucune voix ne s’est levée pour empêcher ce mariage afin que l’adolescente Ammiya continue ses études, choisir son mari et le moment de se marier plus tard. 13 ans après son mariage, elle nous fait le bilan de ses 13 ans de mariage.
{"title":"Married at 13, 13 Years Ago","authors":"Moustapha Bako","doi":"10.15845/jaf.v6i01.3507","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3507","url":null,"abstract":" \u0000Synopsis (English) : \u0000When Ammiya was 13 years old, while in her 6th year at school, her parents sent her to marriage without her consent. As is customary in the Fulani and Muslim communities in Cameroon, no one tried to stop this marriage. Ammiya was hindered in continue her education, and to herself choose her husband. 13 years after her wedding, now divorced, she looks back and tell her story. \u0000 \u0000Synopsis (French): \u0000A 13 ans, ses parents l’envoient en mariage sans son consentement, alors qu’elle préparait le concours d’entrée en 6e et le CEPE. Comme de coutume dans la communauté peule et musulmane, aucune voix ne s’est levée pour empêcher ce mariage afin que l’adolescente Ammiya continue ses études, choisir son mari et le moment de se marier plus tard. 13 ans après son mariage, elle nous fait le bilan de ses 13 ans de mariage.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124092458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Blangoua subdivision is the main Cameroonian window on Lake Chad. The Chari river which flows into the lake at the top of this town determines the border with Chad. The socio-cultural and economic proximity maintained by the population residing around the riverbank makes a border obsolete and unrealistic. People go freely and forth, and take advantage of these socio-ethnic corridors to sneak between the two nationalities in order to seize the opportunities presented to them. Waldiga, as many others in this region has a life on both sides. He navigates this reality in his daily life as a university student in Chad.
{"title":"When a River Becomes a Border","authors":"Robi Layio","doi":"10.15845/jaf.v6i01.3505","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3505","url":null,"abstract":"\u0000 \u0000Blangoua subdivision is the main Cameroonian window on Lake Chad. The Chari river which flows into the lake at the top of this town determines the border with Chad. The socio-cultural and economic proximity maintained by the population residing around the riverbank makes a border obsolete and unrealistic. People go freely and forth, and take advantage of these socio-ethnic corridors to sneak between the two nationalities in order to seize the opportunities presented to them. Waldiga, as many others in this region has a life on both sides. He navigates this reality in his daily life as a university student in Chad. \u0000 \u0000","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"379 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123633670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Les attaques de Boko Haram ont poussées plusieurs habitants des zones frontalières du Cameroun et du Nigeria à désertés leurs villages natal. C’est ainsi que toute la famille D’Awoudou fut décimée pendant les attaques de Boko Haram à Kolofata en 2016. Il eu la vie sauve grâce au voyage effectué ce jour pour l’achat de ses marchandises. Ainsi, cette nuit Boko Haram ôta sa dignité, sa famille, son autonomie financière et au delà de toute expérience, sa vue. « Awoudou ways of seeing » est un film sur la vie quotidienne d’Awoudou dans le camp de Zamai, Mayo Tsanaga, Cameroun. Il révèle son combat continu pour sa survie malgré les différents dilemmes. Son enthousiasme pour la survie va au delà de son handicape. Il a su créer des relations qui le lient à la population. Créant ainsi une lueur d’espoir, de joie et des épaules sur qui comptés. Malheureusement, l’appartenance à un autre groupe ethnique et religieux ne facilite pas son admission dans le camp.
{"title":"Awoudou Ways of Seeing","authors":"Amandine Tezore","doi":"10.15845/jaf.v6i01.3496","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3496","url":null,"abstract":"Les attaques de Boko Haram ont poussées plusieurs habitants des zones frontalières du Cameroun et du Nigeria à désertés leurs villages natal. C’est ainsi que toute la famille D’Awoudou fut décimée pendant les attaques de Boko Haram à Kolofata en 2016. Il eu la vie sauve grâce au voyage effectué ce jour pour l’achat de ses marchandises. Ainsi, cette nuit Boko Haram ôta sa dignité, sa famille, son autonomie financière et au delà de toute expérience, sa vue. « Awoudou ways of seeing » est un film sur la vie quotidienne d’Awoudou dans le camp de Zamai, Mayo Tsanaga, Cameroun. Il révèle son combat continu pour sa survie malgré les différents dilemmes. Son enthousiasme pour la survie va au delà de son handicape. Il a su créer des relations qui le lient à la population. Créant ainsi une lueur d’espoir, de joie et des épaules sur qui comptés. Malheureusement, l’appartenance à un autre groupe ethnique et religieux ne facilite pas son admission dans le camp.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126751866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Pèrè people is a ethnic group who lives on the Pere plains. Their territory is divided by the Nigerian Cameroonian border. Their traditions are threatened of desperation by a strong islamization process and by migration into the cities. At the regional radio station CRTV Adamaoua, in Northern Cameroon, do they have redaction on various local languages. This film follows of the Pèrè redaction and its work to take care of the traditions of its people and to facilitate communication between its people and the modern world. The film is shot on SD (DV-CAM).
{"title":"The World has not Changed","authors":"Trond Waage","doi":"10.15845/jaf.v5i02.3418","DOIUrl":"https://doi.org/10.15845/jaf.v5i02.3418","url":null,"abstract":"The Pèrè people is a ethnic group who lives on the Pere plains. Their territory is divided by the Nigerian Cameroonian border. Their traditions are threatened of desperation by a strong islamization process and by migration into the cities. At the regional radio station CRTV Adamaoua, in Northern Cameroon, do they have redaction on various local languages. This film follows of the Pèrè redaction and its work to take care of the traditions of its people and to facilitate communication between its people and the modern world. The film is shot on SD (DV-CAM). \u0000 ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"18 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114006573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Omid is a 15 years old refugee from Afghanistan. He and his family escaped persecution in their homeland and started their trip to Western Europe. They managed to reach Greece, but in the summer of 2016 the borders closed. His family was split. Now he lives in a refugee camp in Athens with his mother and sisters waiting for the family reunification decision. A short film about a young refugee, trying to come to terms with the liminality of the waiting status in a refugee camp in Greece.
{"title":"...In Between...","authors":"C. Stefanou, Nikos Katsos","doi":"10.15845/jaf.v5i02.3175","DOIUrl":"https://doi.org/10.15845/jaf.v5i02.3175","url":null,"abstract":"Omid is a 15 years old refugee from Afghanistan. He and his family escaped persecution in their homeland and started their trip to Western Europe. They managed to reach Greece, but in the summer of 2016 the borders closed. His family was split. Now he lives in a refugee camp in Athens with his mother and sisters waiting for the family reunification decision. A short film about a young refugee, trying to come to terms with the liminality of the waiting status in a refugee camp in Greece. ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126077560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Chasing Shadows” offers an intimate portrait of the current practice of the prophetic movement called Kyangyang in Guinea-Bissau. Kyangyang means “the shadows”, but its followers also call themselves “Children of God”. The members of the movement, belonging to the Balanta ethnic group, communicate with their ancestors, who transmit messages from the high God through prophetic writing, glossolalia, divination rituals, and spirit possession. Guided by the ancestors, they heal and give advice in collective ceremonies. This film delves into the creative and poetic world of Kyangyang by giving voice to its members, young and adults, men and women. It also explores the relations between Kyangyang and Balanta cosmology and between the prophetic movement and the two main "world religions" in the country: Islam and Christianity, in its Catholic and Evangelical modes. Original idea and Research: Ramon Sarró and Marina Temudo Direction, camera and sound: Roger Canals Editing: Jordi Orobitg Production: University of Oxford and Jordi Orobitg Produccions
{"title":"Chasing Shadows","authors":"Roger Canals","doi":"10.15845/jaf.v5i02.3306","DOIUrl":"https://doi.org/10.15845/jaf.v5i02.3306","url":null,"abstract":"“Chasing Shadows” offers an intimate portrait of the current practice of the prophetic movement called Kyangyang in Guinea-Bissau. Kyangyang means “the shadows”, but its followers also call themselves “Children of God”. The members of the movement, belonging to the Balanta ethnic group, communicate with their ancestors, who transmit messages from the high God through prophetic writing, glossolalia, divination rituals, and spirit possession. Guided by the ancestors, they heal and give advice in collective ceremonies. This film delves into the creative and poetic world of Kyangyang by giving voice to its members, young and adults, men and women. It also explores the relations between Kyangyang and Balanta cosmology and between the prophetic movement and the two main \"world religions\" in the country: Islam and Christianity, in its Catholic and Evangelical modes. \u0000Original idea and Research: Ramon Sarró and Marina Temudo \u0000Direction, camera and sound: Roger Canals \u0000Editing: Jordi Orobitg \u0000Production: University of Oxford and Jordi Orobitg Produccions","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130743701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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