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Introduction

Ousmane Sembène’s film “Xala” is a thought-provoking narrative that delves into the complex interplay between traditional and modern African values. The movie portrays the life of El Hadji Abdou Kader Beye, a wealthy and modernized Senegalese businessman who, after taking a third wife, becomes afflicted with a curse known as “xala.” This curse renders him impotent, symbolizing his loss of traditional African values. Some critics argue that Sembène privileges traditional African values over modernized ones throughout the film. In this paper, we will critically examine this viewpoint, providing an analysis of the film’s portrayal of the tension between traditional and modern values. By exploring specific examples from the film and drawing from scholarly sources, we will elucidate whether Sembène truly prioritizes traditional African values over modernized ones and discuss the problems associated with this perspective.

Traditional African Values vs. Modernized Values

To begin our analysis, we must first understand the distinction between traditional and modern African values as presented in “Xala” (Sembène, 1975). Traditional African values are characterized by a deep-rooted sense of community, spirituality, and cultural customs (Moudilou, 2018). In contrast, modernized values reflect the influence of Westernization, emphasizing materialism, individualism, and the abandonment of age-old traditions (Adeyemi, 2021). In “Xala,” El Hadji Beye embodies modernized values, with his opulent lifestyle, Western clothing, and business dealings (Sembène, 1975). As he grapples with the curse, his life spirals into chaos, revealing the tension between his modern outlook and the traditional values he once abandoned.

Privileging Traditional African Values

Sembène’s portrayal of El Hadji Beye’s downfall does suggest a certain privileging of traditional African values (Moudilou, 2018). The film paints a sympathetic picture of those who adhere to the traditional way of life, contrasting it with the shallowness and moral decay associated with modernization (Adeyemi, 2021). This is evident in the character of Rama, El Hadji Beye’s first wife, who embodies the traditional values of Senegalese society (Sembène, 1975). Despite her husband’s neglect and the growing distance between them, she remains loyal to her cultural roots and refuses to compromise her beliefs, making her a symbol of traditional African values (Moudilou, 2018). Furthermore, Sembène highlights the role of traditional healers in the narrative, who are sought out by El Hadji Beye to remove the curse (Sembène, 1975). This portrays traditional spirituality and customs as essential components of Senegalese society, implicitly valuing them over the modernized practices that El Hadji has embraced (Adeyemi, 2021).

The Problems with Privileging Traditional African Values

While it is evident that “Xala” emphasizes traditional African values, this view is not without its challenges (Owusu, 2019). One problem with privileging traditional values over modern ones is that it may oversimplify the complexities of societal change (Moudilou, 2018). Modernization often brings advancements in education, healthcare, and technology, which can lead to improved living standards and economic growth. The film’s focus on the negative aspects of modernization, through the character of El Hadji Beye, may fail to acknowledge these potential benefits (Adeyemi, 2021). Moreover, the film’s portrayal of El Hadji Beye as a victim of his modernized values might be criticized for not offering a more nuanced perspective (Owusu, 2019). It risks presenting modernization as inherently corrupt and traditionalism as inherently virtuous (Moudilou, 2018). In reality, the relationship between the two is more complex, and a one-sided portrayal does not fully capture the dynamics at play in contemporary African societies (Adeyemi, 2021).

Example from the Film

An example from the film that underscores the privileging of traditional African values is the scene in which El Hadji Beye seeks the assistance of traditional healers to remove the curse (Sembène, 1975). The ritual they perform is steeped in the cultural and spiritual practices of Senegal, emphasizing the importance of tradition in the face of modern problems (Adeyemi, 2021). The healers’ success in lifting the curse reinforces the idea that traditional values hold the key to resolving the conflicts brought about by modernization. Furthermore, the juxtaposition of El Hadji Beye’s two wives, Rama and Oumi, symbolizes the clash between traditional and modern values (Sembène, 1975). Rama, the embodiment of traditional values, stands in stark contrast to Oumi, the third wife, who epitomizes modernity (Moudilou, 2018). Rama’s unwavering commitment to traditional customs is portrayed as virtuous, while Oumi’s materialistic and Westernized outlook is depicted as problematic (Adeyemi, 2021). This stark dichotomy serves to amplify the privileging of traditional values.

Conclusion

In “Xala,” Ousmane Sembène juxtaposes traditional and modern African values, and it is evident that he privileges traditional values throughout the film. However, it is important to recognize that this view is not without its challenges. While emphasizing traditional values, the film may oversimplify the complexities of modernization and fail to acknowledge its potential benefits. The one-sided portrayal of El Hadji Beye as a victim of modernization also lacks nuance. “Xala” serves as a valuable conversation starter about the tensions between tradition and modernity in African societies, but it is crucial to approach the subject with a more balanced perspective.

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