Over the past decade or so, historians have explored the extent to which the. I will highlight ways in which Western/secular education facilitated the early diffusion of this genre of reform. This essay examines the relationship between Western notions of modernity and Wahhabi-inclined Islamic reform in Ghana and Burkina Faso (Upper Volta until 1984) during the early decades of independence. It also argues that these films distinctly engage diasporic crises of identity through their exploration of misandry, expanding discourses on African cinema and diaspora aesthetics, in turn. This article argues Aato’s films constitute a destabilised discourse of Somali masculinity in the diaspora. Special focus on myth, masculinity, and Islamic morality demonstrates these films’ renegotiation of traditional Somali culture, gender roles, and identity after the fall of the Somali nation-state. Wife Araweelo, 2006), this article examines the recent phenomenon of Somali narrative cinema as a nationalist cinema in the post-conflict Somali diaspora. Through formal and narrative analysis of several films by Somali film-maker Abdisalam Aato, especially Xaaskaayga Araweelo (My. Other African cinemas, however, continue to be overlooked. Recent scholarship on African cinema has expanded the discourse’s historical focus on Francophone West Africa to address other regions, transnational cinemas, and film media on the Continent and in its diasporas.
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