Midterm 1

Question 1

Film: Great great great grandparents’ music, dir. T.L. Rosellini, 108 min., 1998 (UCSDReserves/TritonEd)

Answer 1

• Film clip: Great Great Grandparents Music
  
  • ethnographic film of djeli (griot) tradition in Kone family
    
    • live and meet people for years, turn cameras on and let story unfold
  • 5 languages spoken:
    
    • Diola, Bamara, Bwamu, Moore, French
  • process of transmitting knowledge without using written record
    
    • practice with dad from young age- repeat
    • considered a gift/talent
    • girls dance while boys drum
    • girls braid and sing
    • learn how to make drums (bala) from grandpa
    • women only dance parties- can dance more freely without men looking at them
  • learning is done in school and musical learning is learned through daily life

Question 2

CAMERA ANGLE:

Answer 2

Angle of view on the subject as established by the position of the camera. HIGH ANGLE means that the camera is looking down on the subject. LOW ANGLE means that the camera is looking up at the subject.

Question 3

CLOSE-UP

Answer 3

A shot in which a small detail or a face fills the frame, taken either by setting the camera close to the subject or by using a long focal-length lens. In relation to a human subject, close-up usually refers to a shot of the face alone although, of course, there may be close-ups of hands or feet, or any other part of the body.

Question 4

COMPOSITION:

Answer 4

The aesthetic arrangement of all the graphic elements within the screen image to achieve a desired distribution and balance of light, mass, shadow, color and movement.

Question 5

CUT

Answer 5

1) Noun: A transition made by editing two pieces of film together. 2) Verb: To edit a film by selecting shots and splicing them together.

Question 6

DEPTH OF FIELD:

Answer 6

Distance between the nearest and furthest points at which the screen image is in reasonably sharp focus.

Question 7

DUB

Answer 7

To record dialogue or other sound to match action in shots already filmed.

Question 8

EDIT

Answer 8

The splicing together of separate shots.

Question 9

ESTABLISHING SHOT

Answer 9

A shot showing the location of a scene or the arrangement of its characters, often the opening shot of a sequence.

Question 10

EXTREME LONG SHOT

Answer 10

A shot notable for the extreme distance of the camera from the subject.

Question 11

FLASHBACK

Answer 11

A shot or sequence which takes the action of the story into the past, either as a reminder of an earlier event the audience has witnessed or to indicated the recollections of one of the characters.

Question 12

HAND-HELD SHOT

Answer 12

A shot made with the camera not mounted on a tripod or other stabilizing fixture.

Question 13

HIGH-ANGLE SHOT

Answer 13

HIGH ANGLE means that the camera is looking down on the subject.

Question 14

JUMP CUT

Answer 14

A cut that jumps forward within a single action, thus creating a sense of discon­tinuity. An ellipsis in time without the bridging effect of a cutaway.

Question 15

LONG SHOT:

Answer 15

A shot taken with the camera at a distance from its subject.

Question 16

LOW-ANGLE SHOT

Answer 16

LOW ANGLE means that the camera is looking up at the subject.

Question 17

MEDIUM CLOSE-UP

Answer 17

A shot taken with the camera at a slight distance from the subject. In relation to a human subject, usually refers to a shot of the head, neck and shoulders.

Question 18

MEDIUM LONG SHOT

Answer 18

A shot taken with the camera at a distance from the subject, but closer than a long shot.

Question 19

MEDIUM SHOT:

Answer 19

A shot taken with the camera at a mid-range point from the subject. In relation to a human subject, usually refers to a shot of the human figure from the knees or waist up.

Question 20

MISE-EN-SCENE

Answer 20

A term used in reference to the staging of a scene in a play or film when considering as a whole the settings, the arrangements of the actors in relation to the setting, the lighting, etc. Commonly used in film criticism to describe the impact of the arrangement of elements within the frame of a single shot in contrast to the impact of cutting or editing.

Question 21

MONTAGE

Answer 21

1) French: The joining together or splicing of shots or sequences–in a word, editing. 2) American: A rapid succession of shots assembled, usually by means of super­impositions and/or dissolves, to convey a general visual effect, such as the passing of time. 3) Russian: The foundation of film art. “The building up of film from separate strips of raw material” (linkage)–Pudovkin; or “An imagist transformation of the dialectical principle, montage as the collision of ideas and `cinematographic’ conflicts”—Eisenstein.

Question 22

PANNING SHOT

Answer 22

A shot in which the camera remains in place but rotates horizontally on its axis so that the subject is constantly re-framed.

Question 23

SCORE

Answer 23

Music composed for a film.

Question 24

SET

Answer 24

An artificially constructed environment in which action is photographed.

Question 25

SOUND TRACK

Answer 25

1) A recording of the sound portion of a film. 2) A narrow band along one side of a print of a film in which sound is recorded in the form of a light trace of varying widths.

Question 26

VOICE-OVER

Answer 26

Commentary by an unseen character or narrator.

Question 27

WIDE-ANGLE SHOT

Answer 27

A shot in which a camera lens of shorter than normal focal length is employed so that the depth of the projected image appears protracted.

Question 28

ZOOM

Answer 28

The simulation of camera movement toward or away from the subject by means of a lens of variable focal length.

Question 29

The First Artists/Prehistoric Art (T/L):

Answer 29

• National geographic’s “First Artists”
  
  • how did they paint in caves- probably brought fire
    
    • animals might’ve looked like they moved with the light and shadows
    • very very early films
  • cave in zambia that has pigment and paint-grinding that dates back to 400,000 yrs ago
• early Homo sapiens emerged in Kalahari Desert in sub-saharan Africa about 50,000 yrs ago
• symbolic expression: 100,000 yrs ago in africa
• used firelight
  
  • made paintings look like they were moving
• ornaments
  
  • little sea snails strung together
  • bone tools
  • rocks marked with cross-hatchings
  • stenciled handprints
  • later on: animal figurines
    
    • instruments
    • carving of imaginary creature
• bigger populations—> collective brain using symbols
• populations died down—>groups isolated—>innovation died
• neanderthals might have painted in caves first

Question 30

North Africa After Arab Spring (R):

Answer 30

• middle east uprisings in 2011 (Tunisia, Egypt, Libya)
  
  • not smooth transition to democracy
  • Egypt: wanted end of regime of President Hosni Mubarak
    
    • fell after a few weeks
    • elections: Mohamed Morsi (freedom and justice party and muslim brotherhood) won
      
      • those parties also hold majority in parliament
      • military claims executive powers, judiciary claims elections were invalid
    • conflict- protests
  • Libya: fall of Muammar Qadhafi in 2011 by rebel movement after civil war
    
    • smooth elections but qadhafi supporters challenge new gov

Question 31

Why Africa Matters to West (Part 1 and 2) (R):

Answer 31

• weak states and security
  
  • not enough control
    
    • ex: Somalia- gov doesn’t have total control, pirates attacking ships
    • warlord states: bandits caused chaos in Liberia, Sierra Leone, and Somalia
  • americans don’t usually interfere but they should because of
    
    • terroism
      
      • weak states—>terrorism
        
        • islamic fundamentalist movements live where government is scarce
        • Ansar Dine: islamic group in mali that massacred christians in Nigeria
        • Al-qaeda has relations with countries in africa
          
          • Al-qaeda in the islamic maghreb started in Algeria and spread to Mali, Niger, and Mauritania
    • social problems
      
      • war on drugs- illicit drugs shipped through west africa
        
        • black market thrives with little gov
        • gov cant even govern the pharmaceutical drugs
      • gov can’t stop pandemics - could spread across world
• energy
  
  • lots of oil (ghana and uganda) but the african countries don’t get a lot of profit
    
    • China vs US for supplies (bargaining power for Africa)
      
      • china: non intervention in africas affairs
      • US: universal human rights

Question 32

Griot Tradition (L):

Answer 32

• Griot Tradition: people in senegal are “born” into the drumming profession- like a caste, entire family plays
  
  • characteristics:
    
    • historian/storyteller
    • oral tradition
    • musician
    • case servant
    • west african
    • typically male
• West african musical tradition
  
  • polymetric: beats and tempos are happening on multiple levels
  • improvised
  • complex
  • pluralistic
  • socially integrated

Question 33

Family and Kinship Ties in Wolof Culture (R):

Answer 33

• Wolof culture
• gewel=griot
• learning environment: family, includes all relative
• hereditary:
  
  • moms side: blood, flesh, character, intelligence, illnesses, witchcraft, kill and eat souls of other humans
  • dads side: bones, nerves, courage, supernatural vision
  • inherit drumming from both sides
• family is transmitter of knowledge and performance troupe

Question 34

Percussionist Families in Senegal (R):

Answer 34

• rivalry among them- drumming contests during colonial time
• Ndiaye Family
  
  • famous senegalese percussionist
  • family tours together
• Sing-Sing Family
  
  • famous person’s percussionist
  • created own group Sing-Sing Rhythme
• Mbaye Family
  
  • house
    
    • people congregate in salon
    • 7 bedrooms
    • 1 drum room
    • 15-20 people living
  • Macheikh Mbaye: head of household, retired but still drums
    
    • born in gewel family- inherited drumming
    • became a popular drummer- toured
    • taught younger generations
    • started taking care of Thio Mbaye
    • colonial time, drum competitions
  • Sitapha “Thio” Mbaye
    
    • born in griot family
    • traces drumming through mom and dads lineages- women played too
    • toured
    • career in mbalax scene
  • Lamine Toure
    
    • griot blood through mom’s lineage
    • drummed as a kids
    • went to mali and learned other traditions
    • joined his uncles group
    • his uncle is Thio
    • learned from him too
    • successful career
    • mbalax band
  • all proud of ancestors
  • Agida Seck: first woman to play sabar in senegal
  • culture: little room for mistakes, harsh criticism, no formal lessons, families play together

Question 35

Film: Wend Kunni (God’s Gift), dir. Gaston Kabore, 70 min., 1982. (Kanopy)

Answer 35

• Wend Kunni: historical film (not ethnographic)
  
  • set in pre-colonial africa during Mossi empire
  • content: young boy adopted by family
  • context: cultural cohesion and cultural memory
  • consciousness: how does a cultural deal with crisis or tragedy?
  • critics:
    
    • appreciated long shots (space) and long takes (time), non linear narrative, and soundtrack
    • tension in film is built around Wend Kuuni’s silence and his inability to tell his own story to his new family
  • missing narrative: not unified movie until wend kunni recovers his own story through a communal crisis, not self-reflection
  • rebellious young wife and young girl
  • need voice and audience to tell story
  • symbols:
    
    • trees can be places of shelter but both deaths occurred at a tree
    • mother is last word and first word he says
• film: Wend Kunni “God’s Gift”
  
  • director: Gaston Kabore
  • 1982
  • Burkina Faso before colonialism
  • not ethnographic film
  • used local actors
  • content: young boy adopted by family
  • context: importance of cultural cohesion and cultural memory
  • consciousness: how does the representation of the past reflect on the present society? How does the culture deal with “crisis” and tragedy?
  • long shot (highlighting nature) and long takes
  • tension built around Kunni’s silence and not being able to tell his story
  • 3 storytellers:
    
    • filmaker
    • voice-over narration
    • Wend Kunni
  • missing narrative: non-linearity, highlights importance of speaking; trigger (communal crisis not through own willpower) of remembrance is important
  • adoption- blessing of whole group
  • going off screen- going out of 180 degrees
  • creates flute- filmic signifier
  • personal trauma and trauma of the elder lead to recover

Question 36

Early Civilizations and Empires in Africa (R):

Answer 36

• nile valley settled by 5000BC
  
  • centrally organized society by 3000BC (egyptians)
    
    • religion: animal forms—> Re (ornate carvings on a 4 sided structure)
      
      • first beliefs in life after death—> ways to preserve body (tombs used geometry)
    • writing: hieroglyphics, early alphabet —> literature
    • invaded by Assyrians, Persians, then Greeks
• Carthage (Tunisia and Algeria): africans and middle eastern
  
  • fought with sicily and sardinia and won
  • conquered by Rome by 122 BC
• Arab invasion in east brought islam
• Morocco: trading posts, roman province, conquered after fall of romans, islam came with invaders
  
  • expanded in 12th centry- went all the way to spain
  • Moors: mixed Arab-Berber people
• Sudan: giant stone formations for temples
  
  • some conversion to christianity then adoption of islam

Question 37

The Arabs and Ottoman Turks in North Africa (R):

Answer 37

• Almavorid: Arab-Berber rules of North Africa
  
  • Almohad dynasty
  • central power—>local leaders
• Turkish Ottoman Empire:
  
  • control of egypt and libya (16th century) until ww1 (except egypt)
    
    • tribute paying states
  • wars with europe
    
    • british teamed up with Mohammed Ali against france
      
      • Mohammed Ali: ruled Egypt as Pasha
        
        • Khedive Ismail: grandson; king
          
          • borrowed money from europe to build suez canale- couldn’t repay, British took over ruling egypt (start of colonization
            
            • Suez Canal: to make british a shorter route to india

Question 38

“The Missing Narrative in Wend Kunni” (R):

Answer 38

• time and space are fundamental principles of a vision of the world
• Gaston Kaboré’s Wend Kuuni
  
  • summary:
    
    • first shot: interior of a hut with a mother crying, woman is being forced to remarry, wants to escape
    • son is abandoned and taken by a merchant and adopted and becomes mute
    • son’s name is Wend Kuuni (gift of God) (outside of time and outside of space)
    • missing narrative between bullets 1 and 2- shown at end of movie when Wend Kuuni get’s speech back
      
      • shots of farther and dead mother
      • recovers speech
      • remembrance, time and space are united
  • film uses oral tradition to reflect on time, redundancy and alternation
  • types of scenes:
    
    • domestic scenes: daily life/repetition
    • scenes of exchange: crowds or individuals whose actions stand out, mediatory space between family and the bush (perceived speech and longing speech)
    • scenes in the bush: place of return; symbolic; incomplete narrative

Question 39

“Print” vs. “Folk” Art (T/L):

Answer 39

• print: square (photograph, book, computer, phone); history under colonialism-understood only by artist
  
  • artists are special people, specialized; quick to judge
  • art is property of artist
  • art is “escape” from normal routine
  • art is defined in terms of aesthetics
  • 180 degrees
  • art has linear progression
  • man is able to change by self-will
  • time is objective
• folk art: circle (moon, sun, calendars); community
  
  • artists are gifted but interwoven in community; slow to judge
  • art is held by community
  • art is collective engagement
  • art is defined in terms of context
  • 360 degrees- fluid boundaries
  • art has cyclical progression
  • viewer participation
  • man in unchangeable alone, must be linked with community
  • time is subjective

Question 40

Film: Jean Rouch and His Camera in the Heart of Africa, dir. P. Bregstein, 1986 (Kanopy)

Answer 40

• Jean rouch and his camera in the heart of africa: documentary
  
  • traditional documentary filmmaker
  • observe rouch
  • rouch resists being topic
  • doesn’t believe in time, learned patience
  • people in niger aren’t afraid of death
  • vision was to train people in niger to make their own films
  • independence in africa in 1960s
    
    • first african film (african director) made in 1963
  • les maitres fous: short film, trickster, not giving history
    
    • acting out colonial exchange in attempt to disempower colonial government
    • unclear if it was staged or organic
    • spirit possession
    • making fun of colonial ceremony
  • show us that films are usually packaged and not always true
    
    • never really know the truth- whatever you believe
    • trickster
    • back to fake new idea

Question 41

Gold Coast Migrations (R):

Answer 41

Migrations to the New Worlds

• Gold Coast: Ghana
• poor workers migrated
• Rouch- ethnographic research project on migration in Ghana
  
  • noticed 2 worlds in Ghana
    
    • traditional: kinship, rites of magic
    • Europe: social dislocation and industrial factories
  • 2 films: Jaguar and Les maitres fous
  • didn’t like surveys
  • how he collected data on migrant society:
    
    • interviewed migrants as they worked
    • organized large group meeting
    • questionnaire
  • history of “the road”
    
    • before migrations of Akan (12th century), lamlam lived there
    • Portuguese in 1471- brought european culture and slavery from north
    • war during 19th century
    • european domination changed slave routes into commercial passage ways
    • lots of migrants to the gold coast searching for fortune
      
      • trip took 1.5 months
    • world wars —> migrations being routine
    • 1969: foreign laborers expelled
    • super tribal categories of people based on geography instead of ethnicity
    • itinerary of migration was based on reputation of customs stations
    • ethnic groups specialized in certain occupations
    • many migrants liked sending lavish gifts home
    • 3 types of prostitution
      
      • tutu: divorced Ewe women
      • jaguar: unmarried women from thee coast
      • karua: divorcees from niger
  • gold coast became center of Hauka spirit movement
  • theory that they migrate to get away from french policies

Question 42

Ethnographic “Reality” in Jaguar (R):

Answer 42

Jaguar

• seasonal migrations of Songhat men to Guinea coast
• 3 protagonists: all want to see Gold Coast, consult diviner to find out if path is safe
  
  • Damore Zika: Zerma bandit tax collector, becomes foreman
  • Lam Ibrahim: Fulan herder, muslim, leads herd of cattle to slaughter
  • Illo Goudel’ize: Niger river fisherman, becomes laborer
• The Other: Somba, natural state, primitive
• see beach
• open boutique together
• “jaguar”= “cool”,”with it”
• time to go home
  
  • changed by adventure
  • have stories and gifts
• improvisational cinema
  
  • filmed the trip
  • had to film without sound
  • fiction derived from real elements in ethnographic research
• about social transformation
• africans in past were seen as savage, idolatry (not believing in godhead), fetishism, heathenism, cannibalism
  
  • displayed in western writings
  • jaguar was kind of a response to this racism
• moral: primitive is whatever isn’t your culture or habit

Question 43

Jean Rouch’s “The Camera and Man” (T/L):

Answer 43

• Camera and the Man and his rules for ethnographic filmmakers
  
  • soundman must speak language
    
    • radical at the time
  • cameraman must be the ethnographer
    
    • prioritizes image over sound
  • ethnographer must spend a long time in field before beginning to shoot
    
    • standard ethnographic practice
  • handheld cameras preferred to tripods
    
    • can’t move around with a tripod
    • flexibility, spontaneity
    • cinema verite
  • all filming required editing in collaboration with the ethnographer
  • use original sync sound and narration (rather than subtitles); resist using music to “fill in” the gaps

Question 44

French Colonialism in North and West Africa (R):

Answer 44

• North Africa: Algeria, Morocco, Tunisia
  
  • Ottoman empire had arabic-speaking north african countries in early 18th century
  • got morocco
    
    • french chose sultan: Sidi Muhammad —> nationalism —> Throne Day and anti french sentiments
    • then they wanted to depose the sultan —> uprising
    • became independent in 1956
  • algeria:
    
    • wanted to colonize
    • communism spread after ww2
  • tunisia:
    
    • gained power
    • post ww2 sense of nationalism
  • arabs and berbers fought back
  • ruled through local leaders
  • ww2 lead to new french leader of northern africa, then the allies invaded north africa and got control
• The South Sahara: Mauritania, Mali, Upper Volta, Niger, Chad
  
  • reason for colonization: connect other more valuable colonies and exclude other foreign colonial effort in the region
  • ruled through local tribal leaders
  • colonial rule didn’t affect lives of people
    
    • no immigration of europeans, only military presence
  • not involved in WW2
  • internal autonomy in 1958 and independence in 1960
• Coastal West and Equatorial Africa: Senegal, Guinea, Ivory Coast, Togo, Dahomey, East Cameroon, Central African Republic, Gabon, Congo
  
  • had factories/trading posts along the coast
  • interest peaked because france wanted metal ores and gems
  • Senegal:
    
    • natives resisted but then subdued
    • british had gambia river
    • french citizens with right to elect representative to parliament in paris
    • recruited soliders to fight in ww1
  • Guinea: lots of resistance
  • Ivory coast- resistance, conquered 1915
  • Togo: gained after ww1; converted into mandate by league of nations
  • Congo, Gabon, Central african republic formed French Equatorial Africa
    
    • failed education because teachers didn’t want to live in africa
  • great depression had great impact
  • ww2, nationalism in africa, political extremism
• algeria communist rebellion
• Overseas Reform Act: colonies had internal autonomy

Question 45

King Leopold and the Belgians (R:

Answer 45

• The Belgian Congo, Ruanda-Urundi
  
  • Henry Stanley: born in Wales, migrated to US, adventured to africa
  • King Leopold hired Stanley to colonize the congo
  • used force labor and torture
  • 8 million africans died
  • Europe and US found out and forced belgium’s to annex the congo
  • belgium was assigned Ruanda-Urundi after ww1
  • granted independence in 1960

Question 46

Observational Mode (L):

Answer 46

• observational mode (socio/cultural)
  
  • ethnographic orientation (observer of another culture)
  • synchronous sound
  • long takes
  • “present tense”
  • non-authoritarian/“ethical”
  • ex: Great, great, great grandparent’s Music and Jaguar (but not exactly)

Question 47

Reflexive Mode (L):

Answer 47

• reflexive
  
  • meta-commentary (not specific to story line, philosophical, beyond story line (wend kuuni has this - gender roles))
  • poetic- using language not just descriptively
  • self-aware- reflexive component, role as director, self aware, informants are also aware
  • representational- in jaguar it’s about migration but it’s representational of a trip someone could’ve made
  • process-oriented- content is secondary to how you make the film
  • non-linear (filmed at one point, sound track added later)
  • ex: jaguar and lumumba
  • film about a filmmaker- another level of reflexivity

Question 48

Film: Karmen Gei

Answer 48

• Karmen: dancing provocatively with prison guard
• chanting, ripping up clothes
• praised for seducing men and women
• sleeps with the prison women to escape
• drums are important part of ritual- griot tradition
• audience is 360 degrees
• karmen breaks into a wedding
  
  • calls upper class evil
  • feeds off of crowds reaction
  • dance off
    
    • notice how there are many layers of clothing but they lift and move them around seductively
    • gets arrested but laughs
      
      • seduces him (lamine) with her voice and then breaks free (pattern)
        
        • he gets arrested
        • shows her seductive power over people in power
      • kidnap him from prison
  • ma’s place
    
    • men are dancing
    • women are all put together- dirriankhe

Question 49

Leopold Senghor (R):

Answer 49

• flat plains, dry season, drought
• Dakar: capital, seaport
• islamic culture
• Leopold Senghor: senegal’s founding president, poet, and philosopher
  
  • Negritude: notion celebrating authenticity of African values and the contribution they make to the “civilization of the universal”
  • elected in Academic française in 1984 (cultural society), first black member
  • led senegal to independence in 1960
  • catholic but collaborated with islamic brotherhoods
  • authorized opposition parties but socialist party remained majority

Question 50

Contemporary Issues in Senegal (R):

Answer 50

• contemporary issues:
  
  • peanuts/ground nuts are major export
    
    • need to grow economically
  • rice is fav food- lots is imported
    
    • president wants them to eat more maise
  • fish stocks crashed because of over fishing
  • tourism- want to ban backpackers to get more money
  • doesn’t have a lot of natural resources
  • literacy rate is low
  • high infant mortality
  • unemployment—>illegal migration

Question 51

Wolof Caste Relations (R):

Answer 51

• dance: expression of resistance, but more complex
• taasu: poems that are read with dance
• entextualization: process of rendering discourse extractable from its interactional setting
  
  • taasu and dance are “texts” that can be recontextualized; usually have metaphors
• appropriateness: relation between form and context; set of relations linking alternative meanings and diverse situations
  
  • Wolof women’s balance between bodily and verbal expression of sexuality and honor (restraint)
    
    • usually women of lower class are less restrained
      
      • upper class depends on lower class to be unrestrained so that it shows how restrained the upper class is
    • audience actively participates in performances
    • gender, age, caste, and level of privacy determine if a women can dance
      
      • older women should dance less
      • males don’t really participate

Question 52

Social and Cultural “Politics” of Sabar Dancing (R):

Answer 52

• sabar: typically unmarried women dancing outside of home
  
  • tama player is only one who interacts with dancers- shows autonomy of women
    
    • tama incites suggestive behavior
      
      • linked to the devil
      • can induce possession trance
    • appropriate because
      
      • element of religious practice
      • symbol of senegalese national identity
    • nationalist sentiments —> government trying to control it
    • senegalese are trying to create commercial music
• Muslims have religious version of sabar dance:
  
  • males and females dance
  • symbolizes submission of disciple to religious master
• dance events: weddings, political rallies
  
  • shows lower class has some autonomy- push the limits

Question 53

Electric Fan Dance (R):

Answer 53

• electric fan dance (wantilater)
  
  • name comes from first line to taasu associated with dance
    
    • refers to modern commodities
  • fast spread of knowledge about new dance
  • one interpretation: power women may exercise through sexual practice
  • recontextualized to be appropriate for rallies- wanted to draw large crowds
    
    • can be seen as tradition
  • symbolizes hegemonic interests

Question 54

Dirriankhe (R):

Answer 54

• apparently karmen is in prison, escapes from Goree Island
• must be from lower class because of her contempt towards the upper class
• “female sexuality to contest and disrupt social and political order.”
• women (even in poor communities) try to look presentable
• women started supporting families when trade agreements changed
• dirriankhe: corporal, sensory, and visual spectacle of mature femininity
  
  • polished up, slow, seductive walk
  • lots of dress
  • do this to get (girl)friends in public- kinda disregard husbands wants
  • appearance above all else
  • “self sacrifice” and “self care”