#nianankoro

[itswadestore]

Nianankoro from Souleymane Cissé’s film Yeelen, 1987.

[xbbyfub]

Content warnings for: discussion of CSA, SA, incest, suicide, victim blaming, nonconsensual sexual behaviour, harassment, ableism/sanism, & inappropriate relationship dynamics with minors & youth. 

Biel / @/pooyngalfuturo / @/lelwafuturo223 / @/nianankoro / groomed me for over 10 years, attacked & denied my CSA/SA trauma during my suicidal mental crisis, victim blamed me, sexually triggered me, & more.

just as the title says. i've decided to finally open up about this, after weeks of processing my traumas with my support system, & after listening to other (ex-)mutuals of Biel's who've experienced or witnessed similar patterns of behaviour (most prominently grooming) from her over the years. i write this post as both a warning for other survivors who know Biel about her actions towards me & others, & also as me standing up publicly for the first time ever about the predatory foundation of our 10 year long friendship that I was too scared, passive & inexperienced to be able to talk openly about until now. 

her current & past social media handles include: tumblr: @/pooyngalfuturo / @/bielzabussy / @/yariima / @/anarcho-bussyism / @/rosenfant / @/oreoxian / @/panaghiotis223 / @/princesshexadecaroon; twitter: @/lelwafuturo223 / @/quriaqos223 / @/yaariyan223 / @/bint_samay; discord: @/nianankoro / @/yaariyan / @/6ingelpamarel; instagram: @/kuriakon223; tiktok: @/ta3anugiyyah223

a folder for all receipts & images used in this call out are linked here. another document of extended info is linked here & throughout the call out. summary & details are in the rest of this document: 

[screenscholars]

Yeelen

Yeelen directed by Souleymane Cissé is distinctively African that uses one of the most western cultural forms, film, to speak and present its non-western mind. Yeelen has guaranteed a place for the medium of film in the folklife of Africa. The film allows the audience to make new interpretations of African cinema and question or challenge their expectations and preconceptions regarding African cinema.

Yeelen is about a young man, Nianankoro, who sets on a journey across Mali to fulfill his destiny and challenge his tyrannical father Soma who fears his offspring’s magical powers. Niankoro flees with his mother and attempts to stay ahead while his father tries to track him down. Setting off on a journey to ask his uncle for advice his power matures with the help of the Peul and Dogon peoples, and after acquiring the sacred Wing of Kore, he engages in an epic battle with his father for the fate of the entire country. The film can be interpreted as the appropriation of the history and myth of Mali. Although the film is set in an unspecified time, it is widely believed that the film is based on the legend of Sundiata Keita, the thirteenth-century founder of the Malian empire who used magic to defeat an oppressive ruler.

The film walks a fine line between cultural specificity and universal appeal and can be regarded as an anthropological film. Yeelen immerses the viewer in a worldview that can only be fully comprehended through extensive study. The mere complexity of the rituals of sorcery, which include spitting, powerful wooden boards and amulets, symbolic human and animal figures, and distinctive patterns of speech and mimicry, invites audiences to linger over the foreignness and inherent beauty of Bambara culture. Every film reflects a distinctive cultural orientation that may make it difficult for many spectators to access or understand as subtle politics and experimental indigeneity cannot be grasped without also grappling with the politics of mainstream Africa. The film has a very deliberate and distinctive pace which is achieved through long takes, minimal editing, and shots that highlight the mise en scène and natural elements.

Furthermore, the film also contains thematic repetition of imagery that allows the visuals to operate symbolically. An example of this is when Attou takes her turn bathing in the purifying springs of the Dogon territory, we may recall the visual effect of a prior scene of ritual purification, as Nianankoro’s mother prays for her son’s protection. Another cinematic effect that could be considered is the blinding light. It plays an important role in the film, particularly in the climactic confrontation between Nianankoro and Soma. Cissé considers this endless cycle of the consolidation, destruction, and recreation of knowledge by each generation Yeelen’s most ‘universal aspect.

Yeelen has taken the art of film and reshaped it according to what they know. Its voice is not distant not objective it is simply telling a story that is true to their world.

[siya-mahlobo-blog]

Yeleen(1987) Film Review

Souleymane Cisse is an African film director, who is recognized as part of the first era of African filmmakers who made films about being African and took the time to delve profoundly into traditions and cultures, seeking to make them central themes in their films. This type of inventiveness can be seen in Cisse's 1987 film Yeleen. which should serve as inspiration to the rest of us Africans as to how our histories should or can be told.

Yeelen tells the story of a young African man named NIanankoro, who is essentially a wizard with mystical powers inherited from his ancestors. He sets out into the world to flee his villainous Father Souma, who uses his magical abilities to do evil. On his journey, he saves a village from invasion, betrays a king and thus acquires a wife, and later obtains a powerful magical fetish from his uncle, which he uses to defeat his father but sacrificing himself in the process. The plot of the film itself sounds strange, but it also manages to integrate other genres. While Action is the dominant genre, it also features a few additional subgenres. such is science fiction, romance, and unexpected comedic reliefs.

There is precise blocking and editing for the magical effects in the film, such as when Nianankoro Froze or paralyzed the Kings warrior before they could attack him. This is indeed a good and comprehensive use of Mise-en-Scène because the audience understands this same person wasn't frozen due to editing or post effects, but it was simply based on the performance of being frozen. African Magic is typically a divine and indescribable entity that several people within cultural identities know not to mess with or explain as shown in this film, I believe the in-camera effects worked well in showing an original view of how magic has been portrayed in films which shows the film’s originality.

Subjective Symbolism is prominent in the film, particularly in the usage of animals. This is a type of intensity of effects that serves as a universal cultural link. This is particularly evident in Niankoro's journey, in which he begins with the Hyenas and finishes up as a mighty lion fighting his father, the ancient and wise elephant. The picture has a level of complexity that evokes nostalgia in Africans who have shared similar folk tales or legends, as well as a sense of patriotism among Africans because it is a highly valued film that must be viewed.

[vinnie990406]

Film review 3 Yeelen

"Yeelen," the most well-known film by director Souleymane Cisse and widely considered as one of the best African films, is a heavily mythical, allegorical, subconscious, and conceptual experience, a fantasy art-film, yet not quite as grand as some critics' superlatives would have you believe. Cisse directs the entire film in an astringent,'scarce' style reminiscent of A. Tarkovsky and W. Herzog, one that evokes both latent themes, such as a young man attempting to flee his father's desire to kill him as a 'rite of passage' ritual, and a fascination with nature. However, although his film is stunning, his narrative and plot are at times too hermetic and perplexing. Since the actor who played the father allegedly died during filming, Cisse resorted to the trick of having the father take on the form of the uncle in the scene where he encounters the king, causing some misunderstanding.A great addition to the film was the blurred line between realism and fantasy; the opening sequence showing vile animal cruelty vs the epic showdown between father and son. In my view, the film has a few small shortcomings. For example, about halfway through the film, "Yeelen" lingers too long on a 10-minute sequence of shamans conversing in nature; the main protagonists, Nianankoro and Attou, are underdeveloped characters because they are just archetypes, not completely formed personalities. Nonetheless, the film has creativity in these fantasy elements and uses them to highlight certain character traits. For example, Soma, the father, uses animal sacrifice for his sorcery, showing his greedy nature, while Nianankoro uses only a bone for a spell, preventing harm. The duel between Soma and Nianankoro in the finale is mildly underwhelming and too thin—since the entire film leads up to it, it seems rushed—yet it still gives a "cinematic voice" to all of these Malian legends that inspire meditative awe in Western audiences.

[helloclarissaq]

Yup, that was bright.

Yup, that was bright.

Name of film: Yeelen (Brightness) 1987

Director: Souleymane Cisse

Starring: Issiaka Kane, Aoua Sangara and Niamanto Sanogo

Genre: Fantasy adventure drama

 This was an interesting film. I did laugh a couple of times and other times I was captivated in the adventure, wondering what’s going to happen next. It is a light-hearted film and easy to watch. The film’s overall style is very light and bright. Thus, the name of the film. The style of the shots is not very artistic or experimental. There are certain scenes that carried on for longer than I would have liked. The sound supported the theme, look and feel of the film. I would say the theme for this film is good always overcoming evil. And also, that tradition can be broken over years and new tradition can arise. I do feel that the film was worth screening. It also opened my eyes to other traditions and cultures that we are not aware of or get to do with on a daily basis. It was really interesting. And yes, it is also a little strange.

This film is about a young man, Nianankoro (Issiaka Kane) who needs to flee from his father, Soma (Niamanto Sanogo) who wants to kill him. Because Soma saw a vision that his son, Nianankoro would kill him. Nianankoro, with the help from his mother, steal a couple of his fathers sacred fetishes. These are powerful and give Nianankoro powers. His mother sends him away to go and find his uncle. He can keep Nianonkoro safe. Soma has a magic wooden pole, with strange stones on it. This is his artifact that he uses his powers with. With this pole he tracks down his son to kill him. Nianankoro travels far and helps a village along the way. He also meets a woman. He eventually reaches his uncle, Djigui, who has been turned blind by the power of his artifact. He gives Nianankoro the artifact to go and battle his father.

I would say that this film teaches us a life lesson. That tradition can be changed and can also sometimes be for the better. And if you don’t want to change it, that’s fine to. But that one should not be blinded by what you’ve been taught. Instead find your own way and your own traditions. It’s not wrong. The set was mostly the open bush-veld and the small villages of the people. It’s very simplistic yet it adds to the environment and feel of the film very well. I get the feeling that there wasn’t a lot of artificial lighting used. To make it feel as natural as possible. There were magic scenes and these were executed well by the actors. There were a lot of medium close-ups and long shots. In the long shots we could see the environment and in the medium close-ups the emotion. There wasn’t a lot of dialogue, but more facial shots conveying the emotions of the characters.  

This is an easy film to watch. Strange indeed with all the magic and moments when the audience laughed, even though it might not have been intended to be a comedy. But it’s a fun film and teaches you about other cultures. This film gets my stamp of approval and also a thumbs up.