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Last Updated: Feb 14th, 2008 - 15:53:29 |
In 2007, Abderrahmane Sissako’s “Bamako” generated critical acclaim throughout several film festivals, both within and outside the United States. With strong poetic force, Bamako rejuvenated discussion about international monetary policy and the way in which Africa’s societal and economic problems are framed. Instead of myopically focusing on abject poverty within Africa, the film probes some reasons why African nations do not prosper from their own natural resources. “Iron Ladies of Liberia,” shown recently at the African Diaspora Film Festival in New York City, is another film that explores issues of debt and development but also gives an extensive insight into leadership and gender dynamics within African countries. Through the tangibility of a documentary, it conveys promise for African countries under neo-colonial conditions.
By casting several female characters, Abderrahmane Sissako provides a sympathetic, insightful representation on gender politics, although “Bamako” mainly focuses on institutional violence. In the multi-family backyard where the World Bank and IMF are put on trial, one young mother, Mele, looking annoyed or simply indifferent, asks a bystander to fix her dress before she goes to her singing job at a nightclub. Her non-verbal gesture is as informative as it is ambivalent. These repeated, mild interruptions can lead to multiple interpretations that can be, in relationship to each other, conflicting and valid. Her motive behind such an interruptive action can be out of spite towards the attendees, who hold such court procedures and pontificating in high regard. Her actions also reminds everyone that there is physical work to be done—not unlike that done by other women who in the background performing domestic duties. I am reminded of poignant these scenes when watching “Iron Ladies of Liberia” because both films show women’s resiliency in nations filled with unrest.
“Iron Ladies of Liberia,” co-directed by Liberian native Siatta Scott Johnson and Daniel Junge, documents President Ellen Johnson-Sirleaf’s first year in office and the transition of Liberia from a country stricken by a 14-year civil war to that of a country that democratically elected its first woman president, marking a historical moment for both Liberia and the continent. Johnson-Sirleaf embarks on her presidential term with aims to rectify corrupt governmental organizations and console a society dealing with post-traumatic war experiences. In fact, in her inaugural speech, she acknowledges innocent women who were gang raped during the war as a form of torture and political repression. The film opens with external footage of events in Liberia during the civil war—scenes of public executions, child soldiers and maimed victims— and thereafter tell a story that is more uplifting but has not received much coverage from the international news media.
As an economist, Johnson-Sirleaf has held positions dominated by men and thus gained the reputation of the “Iron Lady.” The arguable “masculinalization” of President Johnson-Sirleaf becomes modified by a maternal identity; she is referred to as “Ma” by even some of her most vocal opponents. She adopts this maternal identity when she attentively listens to a group of discharged soldiers who are dissatisfied with what they perceive as an unjustified delay in their compensation. She listens with extreme care and then reinterprets their grievances with great eloquence. She lyrically memorializes their significance to their country, further reflecting a motherly compassion. Nevertheless, to the soldiers’ surprise, she rebuts their claim to quick compensation by evoking the plight of the people in the rural areas who were left impoverished due to the destruction caused by some of the very same soldiers. Humbled, the soldiers accede to her position. She does not allow motherly altruism to been seen as vulnerable or incompetent. Her maternal quality transforms into a form of matriarchy without a threat of castration to men. This dual persona proves to be essential in such a charged nation.
Internationally, Johnson-Sileaf’s dual identity becomes less of a central trait. The film follows the tenuous steps taken by her in order to receive debt cancellation for loans given to previous leaders. In a meeting with international creditors, she challenges the legitimacy of the economic transactions, which Liberia’s citizens must inherit. Despite her legitimate reasons for such inquiries, these meetings reach a standstill. Johnson-Sirleaf then looks for more productive diplomatic allegiances to achieve international respect. Her meeting with China results in an agreement to receive funding from China on specific projects. The United States, Liberia’s long-time ally, later agrees to cancel the country’s debt. Reaching this moment in the film, through the guiding narrative of Johnson-Sirleaf, provides one suppressed narrative of how poor countries were able pressure wealthier nations to perform such “benevolent” gestures
Scholar and activist Obioma Nneaemeka identifies an emerging feminist engagement particular to African countries that is evident in this film. Nneameka names this specific form of feminism as “nego-feminism” where the prefix, nego, signifies negotiation and the elimination of unyielding self-righteousness, or “no ego.” In this respect, this feminist engagement is deeply rooted in humility without seeming docile. Nnaemeka explains that this feminist practice “knows when, where, and how to detonate patriarchal land mines; it also knows when, where, and how to go around negotiate with or negotiate around patriarchy in different contexts.” To that end, nego-feminism is fundamental to Johnson-Sirleaf political manoeuvres. Also, the notion of an “iron lady” and, by extension, nego-feminism, extend to include key women in the new administration. Sirleaf appoints two women in high administrative posts, the Minister of Finance and the Minster of Justice. The directors do not fail to see how these women are equally impressive.
Siatta Scott Johnson also proves to have an iron lady identity. Initially, she expresses her obligation as a journalist to uphold objectivity and distance, yet the film documents her personal struggle. In an attempt to improve her domestic situation in Liberia, Scott Johnson purchases property in hopes to better provide for her daughters. She later realizes that a current governmental official, close to the President, allegedly maintains legal rights to that land. The filmmaker challenges this officer in court, although she ultimately abandons the land dispute and purchases new poverty. Her personal victory fosters optimism towards the future of Liberia, where having a dissenting views does not automatically equate to a death sentence. Johnson’s sentiments after the court procedure allude to some of the conclusions that the labouring women in “Bamako” might have also made. The court procedures appear to be a patriarchal landmine that Scott Johnson must go around.
This documentary drives on an undeniably positive, feminist theme while inadvertently hinting at the increasingly complicated international gender dynamics. It provides the necessary visuals that allow audiences to familiarize themselves with discourses on race, gender and feminism by witnessing the interaction of two Black women who hold high administrative posts in their respective nations. In several scenes, U.S. Secretary of State Condoleezza Rice interacts with President Johnson-Sirleaf; in one scene, Rice announces the cancellation of Liberia’s debt. The filmmakers do not comment about these visual sites, where race intersects with gender and international power structures because the Liberian context structures the film. These cryptic scenes, nevertheless, encourage us to have more precise language that would help explain gender, race, and leadership in contemporary politics. For American audiences, this film comes at a period when gender and race still are still dealt with in a mutually exclusive manner when it comes to national leadership.
“Iron Ladies of Liberia” was named as the best feature film by a woman director at the 15th annual African Diaspora Film Festival. The organizers will be screening the best films from this past film festival at the Brooklyn Academy of Music from February 23-28. Iron ladies will be travelling to several cities before its premiere on PBS on March 25, 2008. For more information, go to: http://www.pbs.org/independentlens/ironladies /getinvolved.html
Astride Charles is a writer living in New York City
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