MEDI1TV Afrique : 2024, le Best-of des invités - 28/12/2024
Category
🗞
NewsTranscription
00:00And it is with great pleasure that I meet you again for the last of the year 2024 and
00:15on this occasion we are going to come back on the best interventions of these guests
00:21who made us vibrate in this year 2024, literature, cinema, Africa, always on the front of the
00:29scene, a question of closing this year 2024 in beauty before meeting you again for the
00:34year 2025 and I take this opportunity to wish you all my wishes of happiness, health, success
00:42and 2025 without fault.
00:43And today we have the immense pleasure of receiving a great name, Boubacar Boris Diop,
00:57an intellectual, professor of philosophy, but also of literature, journalist, essayist, novelist.
01:03He is the origin of one of the most beautiful books of African literature of this 20th century,
01:08Mourambi, so free from bones, he is with us, hello.
01:13Yes, hello, hello.
01:16Thank you for being present at our invitation and it is true that we have an immense pleasure
01:22today to welcome you on our African culture stage, a great name of African literature,
01:28one of the greatest names of the 20th century and I would like to know how this very beautiful
01:35adventure of writing began for you.
01:42We are young, we can reserve, we take refuge in reading.
01:50For me, it started with a library, my father's library, which was inside the house.
01:59I was there all the time and by reading, I had a lot of admiration for the authors
02:08who gave me so much emotion and I said to myself that later, because I was very young
02:14at the time, that later I would be like them, I would become like them.
02:19And you became one of the greatest names, as I said, of the 20th century of African literature.
02:26And you have this need to testify, to leave an indelible mark, to put words on words.
02:35For you, has literature always been like a kind of heritage that we must absolutely leave?
02:45Yes, I don't think we start, when we start writing, we don't say to ourselves,
02:53I'm going to try to solve the problems of my society, or even less those of humanity.
03:01I think we are first influenced by what we have read.
03:06I read a lot when I was young, Victor Hugo, for example, Les Misérables.
03:14And so we see the capacity of literature to place itself on the side of the poor, on the side of the oppressed.
03:22And then we have a path. I had a political path.
03:27I would rather say that we are all militants, interested in the issues that affect the continent.
03:37My generation, we were all more or less Marxists.
03:44The Marxist philosophy had a very strong impact on us.
03:50And when we write novels, in a very spontaneous way, we take the side of those who are oppressed, the side of the weak.
04:06We tend, it can be a big mistake, to take the side of those who are oppressed,
04:15and to fight against the powerful, to help the weak and the orphaned.
04:24And I would like to know...
04:26We try to do things well, yes.
04:29Yes, I would also like to know, since you are talking about your generation,
04:33which has been paramount in the rise of African literature around the world.
04:39And we see today all these new feathers emerging in our continent, especially abroad.
04:46What are your views on these new writers?
04:50What touches you?
04:51And what is the difference, perhaps, between your generation and this new one?
04:56The difference, for example, I will go back further than my generation.
05:05If you take the first novel, never written in French by a Senegalese,
05:14by someone from sub-Saharan Africa, Force Bonté,
05:20and you compare it to the very last novel published by the new generation,
05:26you realize that these kinds of texts are in their prime.
05:40I think that even in terms of quality, they are much stronger texts.
05:46That said, the authors of my generation and the new feathers we are talking about,
05:54there are big differences, but we remain in the same world of writing.
06:03It is true that most of these authors are settled abroad,
06:10in particular in France.
06:14But the differences are not as important as that.
06:23I am in Senegal, but in general, the authors we are talking about are out of the continent.
06:34It's the same with football.
06:37It's a trend of our time.
06:41I would also like to know, you were in Morocco recently, Mr Diop,
06:46and there is this desire for you to write in Wolof,
06:50to return to the Wolof language, something that is particularly close to your heart.
06:55Can you tell us about it?
06:58Yes, of course.
07:00Very recently, we had the author of Kenyan, Ngugi Wa Thiong'o,
07:05the author of Decolonizing the Mind, and myself.
07:10We took advantage of the change of power in Senegal
07:15to write an open letter to the new president of Senegal, Bassilou Gemay Saïd.
07:24In this open letter, we really put the emphasis on the question of African languages.
07:33I think it's very important.
07:35Africa is the only continent where authors write their novels, their plays,
07:43in languages, English, Portuguese, French, that their compatriots cannot understand.
07:50So, for whom do they really write?
07:54And we think, as a disciple of Cheikh Anta Diop,
07:58we think it is time that literature in African languages
08:06is taken seriously, encouraged, since it is about preaching by example.
08:14Ngugi writes in Tikuyu, he is from Kenya.
08:18He is one of the most famous contemporary authors of Ngugi Wa Thiong'o.
08:23Myself, I am Senegalese, I write in Wolof,
08:27and contrary to what one might think,
08:30literature in Senegalese languages,
08:34whether it is Serer, Foulard, Wolof,
08:37is just as important as literature in French.
08:46In Kenya, there is a lot of fiction, in Tikuyu and in Swahili in particular.
08:56Before we leave, Mr Diop, one last question.
09:00Are you currently writing a new novel,
09:04or at least an idea that is already growing in your head?
09:09Actually, I just published a novel on March 7th.
09:13So, it's been almost two months, I think,
09:18exactly on March 7th.
09:20The second novel I wrote in Wolof,
09:23I translated it into French.
09:26I am my current publisher, I am published in Paris,
09:29and it is set in Togo, Kigali.
09:33Moreover, it is very much revisited by critics,
09:38we talk a lot about it.
09:41So, I am more in the management of the release of this book
09:47than in the planning of the novel.
09:50I write very slowly.
09:53This book, it took me five years to write it in Wolof,
09:58and it took me five years to translate it in French.
10:02I don't write a lot.
10:05So, I'm working on it.
10:10We will be in touch, of course, at the time of publication,
10:13and as soon as we can, of course, discover it.
10:16Thank you in any case, Mr. Diop, for being with us.
10:19It was a pleasure to have you.
10:21You're welcome.
10:22We were very happy to speak to your Moroccan viewers,
10:27and to everyone.
10:29Thank you very much.
10:31You're welcome.
10:34CINEMATOGRAPHY
10:37And today, we have the immense pleasure
10:40of welcoming one of the pioneers of cinema,
10:42Moroccan, Islamor, woman and woman,
10:45my thirsty body, Saad Charaibi.
10:47He is with us.
10:48Hello, Saad.
10:49Hello, Amna, and hello to the viewers and viewers of Média TV.
10:54It is true that it is an honor and a pleasure
10:56to welcome you today on our set.
11:00Today, we have very good news,
11:02both cinematographic and literary,
11:05since in 2018, you had already published a novel,
11:11but this time, you come back with a fragment of a scene.
11:15And it is true that this has challenged us a lot.
11:18And to begin with, why a fragment of a scene?
11:21Why this title?
11:22What does it evoke for you, precisely?
11:25Well, since it is a memorial story,
11:28you know that memory is always a bit fragmented,
11:30it is never compact.
11:31So, when we write from memory,
11:34we will look for such a moment, such a time,
11:37such an event, such a situation.
11:40And they cannot be continuous,
11:43they cannot be chronological,
11:45they cannot be compact.
11:46So, they are fragmented.
11:48And that is what inspired the title.
11:50And the genesis of this book,
11:54how did the idea come to you?
11:56Why the desire to move on to literature?
12:02It is something that has been in me for a very long time.
12:05People who follow my work know that,
12:08as I come from a film club,
12:10I have always been interested in reading films,
12:13in writing about films.
12:15The first book, by the way,
12:17which was called Fragments of Cinematographic Memory,
12:19takes up all the history of what we have lived in Morocco
12:25from a cinematographic point of view.
12:27This second one is a bit broader,
12:30it is not just about cinema.
12:32In fact, this one, Fragments of Cinema,
12:35we can say that it is a story,
12:37a story for children or for young people,
12:40but a contemporary story that addresses adults.
12:44First of all, it is a book
12:48that traces 60 years of Moroccan history,
12:51whether it is social, political, historical,
12:56familial, I would say.
13:00It is a text that has been in me for a very long time,
13:03since my youth.
13:04But the trigger was the COVID period.
13:08Everyone knows that during the COVID period,
13:11we were locked up in our homes for several months.
13:13And I had the choice between two hypotheses,
13:17either to sink into anxiety, into depression,
13:22or to produce something.
13:26And that's where the idea of writing this text began.
13:30Its writing began in 2020,
13:33and then it lasted three years,
13:35three years and a few,
13:36and so it has just been published,
13:38for three weeks now,
13:40in terms of edition.
13:42And you, who are a filmmaker,
13:46and it is true that we are in the image,
13:49but before there is the image, there is an idea,
13:51there are the words that make up a scenario.
13:53And what is the difference between writing a script
13:58and writing a book?
14:01What are the differences, or maybe the similarities,
14:04and what is the most complicated, in the end?
14:07I think that one feeds the other.
14:10You know, when you have the experience of writing a script,
14:14it makes it much easier to write,
14:18even literary, but also visually.
14:21Among the friends who have already read the book,
14:25they have all noticed that this writing was rather visual,
14:30and not cerebral, not confused, not opaque.
14:36On the contrary, all those who have read it,
14:39who have reminded me, or who have given me information,
14:42have told me that they have read it in an easy and pleasant way,
14:47at the same time.
14:48Instructive, of course, but easy and pleasant.
14:50The difference, of course, is huge
14:53between writing a script that obeys precise rules,
14:57timing, location, setting, situation,
15:02whereas here, when you can afford to write 300 pages,
15:06you can give free rein to your memory,
15:09and let it develop, not in a profound way,
15:14but I would say that you can wander in this memory,
15:18and you can look for the key moments,
15:21the important moments that the narrator lived,
15:24and that he decided to relate.
15:26Whether they are social events, as I said at the beginning,
15:31political events, historical events,
15:35and also personal and family events.
15:39By feeding the writing,
15:45it has become a kind of river that feeds on itself.
15:49The shorter the river, the more the ideas flow,
15:53and the more they can be transcribed on the computer keyboard.
15:59And what was the first goal in writing this book?
16:05Was there really a goal?
16:07Did you say, it's time to do it, I have to do it,
16:10or was there something at the end that was already in mind?
16:14Yes, of course there was a precise goal.
16:19First, the duty of memory.
16:21That's the first point.
16:23The duty of memory.
16:26The people of my generation,
16:28I feel that we have this duty to relate,
16:32to inform the current and future generation
16:36of what happened in Morocco.
16:38The second objective, precisely,
16:42is to enlighten the current generation,
16:45the future generation,
16:47and also the generation that has experienced all these events
16:50for sixty years, since Morocco's independence.
16:55From a point of view, I would say,
16:57objective, lucid, without bias,
17:01without animosity, but rather to say,
17:03here are the striking facts that have happened in this country
17:07for sixty years,
17:09and I think it is also a duty to transmit
17:14this kind of information to the current and future generations,
17:17as I said.
17:18And alongside this very beautiful literary news,
17:22there is also a cinematographic news.
17:25Where are you with this?
17:27There is a new baby that will be born soon.
17:32Yes, the new film that was shot last year,
17:35which is also a pretty story.
17:38Yes, it is finished.
17:40We are preparing its release.
17:42I don't have a precise date yet,
17:44because we will see with the distributors on site
17:46what the date will be.
17:48The film is a new step, I would say.
17:51It is a film with a musical theme.
17:54It is a film that is also a tale
17:58between a grandfather and his little daughter,
18:01who are both musicians.
18:03The grandfather is a meloune musician,
18:06and his little daughter is a classical musician.
18:10And we tried to build a story
18:13that could establish a bridge between the generations,
18:17but this time a musical bridge.
18:20The beautiful surprise came to us
18:22in November last year,
18:24and it really was a very good surprise.
18:26While the theme of the film is, among other things,
18:28the music of the meloune,
18:30we learn that UNESCO has just inscribed this music
18:33in the world's intangible heritage.
18:37And that made us really happy.
18:39I hope that when the film is released
18:41and that it will be in theaters,
18:43that the melomanes,
18:45and not only the melomanes, but the others,
18:47will follow this new musical trajectory, I would say.
18:53A very good news,
18:55both literary and cinematographic,
18:57for you, Saad Chereibi.
18:59Thank you again for being with us.
19:01It was a pleasure to receive you.
19:04It is reciprocal.
19:05I would just like to clarify one thing.
19:07The book, Fragments du Thème,
19:09was released three weeks ago,
19:12but it is not available in bookstores.
19:14It is only available on platforms.
19:16For now, we have chosen two platforms,
19:19livre-moi.ma and kitep.ma.
19:22So, readers who would like to read it
19:25will find it on these two platforms.
19:28Thank you very much.
19:32Thank you to the spectators,
19:34viewers and viewers of Mediain TV Africa.
19:46And today, Diane,
19:47we have the immense pleasure
19:49of receiving a great artist
19:51constantly on the threshold.
19:53She dialogues through her art
19:55with the unconscious she makes visible.
19:58Leila bin Halimah is with us.
20:00Hello, Leila.
20:02Hello, Hemna.
20:03Thank you for welcoming me to Mediain TV.
20:07It is always a pleasure to welcome you, Leila.
20:10And here is a very beautiful news
20:12with Auriflame,
20:14an exhibition that has already opened
20:16on the 7th of November.
20:18So, for the whole month of November,
20:21we will be able to admire your works
20:24at Tanger Mème.
20:25And this very intriguing title,
20:27a bit like the language of birds,
20:30Auriflame, Lame.
20:32What is the meaning of this title for you, Leila?
20:37Well, Auriflame is already a title,
20:42a nod, first of all, to Auriflame,
20:46which are the flags that we had in time,
20:50during wars.
20:51We know about wars now,
20:53but it is the inner war that we can live,
20:56the war against personal events.
20:58And then it is a play on words
21:01between Auriflame and Lame,
21:04because my work is very spiritual.
21:07It is an introspection
21:10and a discussion with my soul,
21:13with the souls of my ancestors.
21:15So, here it is, Auriflame, Tanger,
21:18which started on the 7th of November.
21:21And before Auriflame, Tanger,
21:24there was Auriflame, Dakar,
21:26which took place in October.
21:28And for me, it will be, I hope,
21:31the beginning of several Auriflames
21:33that will mostly travel to Africa.
21:35It is a wish that is very dear to me.
21:39And here I was going to come to Auriflame, Dakar.
21:44What were your impressions?
21:47How did you experience this event?
21:49But also the public there today in Tanger.
21:54What is your feeling
21:57about this event,
21:59but also the event that has already passed?
22:03Well, the public was very encouraging.
22:09They had the time to look at me
22:12with a deep reflection.
22:14I was accompanied by my exhibition commissioner,
22:20Leila Abelhaj, who is an art critic
22:23and an art philosopher,
22:26and who helped me to present my work,
22:31to present an in-depth vision
22:35of this mythical approach
22:37that I have of unconsciousness.
22:39The public was very receptive,
22:41very intrigued at the beginning
22:44by a world where man meets the animal,
22:48where sweetness meets violence,
22:51where the dream is present,
22:53where colour is also very strong,
22:56referring to our African origins
23:01and creating a bridge,
23:03a discussion between Maghreb
23:06and sub-Saharan Africa.
23:09Leila, I would very much like to know
23:13the genesis of this exhibition,
23:16how the idea was born in you,
23:19and then this continuous work
23:22on unconsciousness, its place in us,
23:25but also how we dialogue with it
23:28in a way that is unconscious
23:30every day of our lives.
23:32How did the idea for this exhibition come to you
23:35and how long did it take you?
23:40It was a very long work,
23:43as it started in 2020.
23:46And of course, like all artists,
23:49inspiration comes from the path
23:52that we have as people.
23:55World events,
23:57difficult family situations
24:01have shifted my view of life,
24:06in general, my view of humanity.
24:09And I needed to exercise my art
24:13as a therapy.
24:15So it's actually a therapy art.
24:18And every day I take the time
24:22to lay down my dreams,
24:24to lay down my hopes,
24:26my fears, my disappointments.
24:29And fortunately,
24:31because this work allows me
24:34to keep a resilient approach
24:37to events that are very painful to me,
24:40and also to make a positive film out of it,
24:43because it allows me to travel
24:46in this ancestrality that we all have.
24:49And sometimes, and often,
24:52I even say,
24:53I interpret my work once it's finished,
24:56because I start it with total freedom.
24:59And once the work is finished,
25:01it tells me a story,
25:04either of my past,
25:05of my future,
25:06or of my present.
25:08It's quite special,
25:10frankly, special.
25:12And I don't think I could have had
25:15this free approach
25:18if I didn't have an exhibition curator
25:21who followed me,
25:22like Leila Belhage,
25:24and a great Senegalese painter,
25:28Mr. Zolombey,
25:30whom I salute
25:32and whom I thank for always being present
25:35and kind in his reading of my works.
25:40And so we'll meet again
25:42to admire your paintings,
25:46this very beautiful exhibition,
25:47very promising.
25:49So, Hori Flamme, in the heart of Tangier.
25:51It opens on November 7th,
25:52so you have the whole month of November
25:55to meet the unconscious,
25:57the universe of Leila Belhage.
25:59Thank you very much for being with us.
26:01It was a pleasure.
26:03Thank you, Amna,
26:04for your support to the artists
26:06and your listening
26:07and your constant encouragement.
26:09Thank you to Mediapédé
26:10for being there for us, for Africa.
26:16Mediapédé
26:20Mediapédé