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Human Rights Education
Through Ciné Débat
Johanna Richter

Human Rights Education

Through Ciné Débat
Film as a Tool to Fight Against Female
Genital Mutilation in Burkina Faso
Johanna Richter
Berlin, Germany

OnlinePlus material to this book can be available on

http://www.springer-vs.de/978-3-658-12723-7

ISBN 978-3-658-12722-0 ISBN 978-3-658-12723-7 (eBook)

DOI 10.1007/978-3-658-12723-7

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If you communicate with someone and that person does not understand
what you mean, you should not condemn the person. Instead, you should
be angry with yourself, because you did not find the right strategy to
make yourself clear. (Interview with Moumini Ouédraogo, Ouagadougou,
February 2008)

5
Thank you

I would like to thank you wonderful people around me who have sup-
ported me during the preparation of this book.

Particular thanks are due for the professional advice and honest feedback
from Prof. Dr. Karl Peter Fritzsche, Prof. Dr. Illona Wuschig, Prof. Dr.
Stefan Thomas, Kareth Schaffer, Aljoscha Brell, Susanne Richter, Timo-
thée Picarello and, of course, my parents.

A special thank goes to the German Economy Foundation for the finan-
cial support of this study.

My research in Burkina Faso would not have been possible without you:
Madame Gybére, Madame Ouédraogo, Tassére Derra, Günther Lanier,
Inga Nagel, Eva and Werner Neuhaus, and my ‘burkinabé family’ Karfo
in Ouagadougou.

Thank you for the professional translations from Mooré into German and
French: Salamata, Elise, Kwaku and G.

I dedicate this book to my mother and Sanne, the two most important
women in my life.

7
Table of contents

Abbreviations………...………………………..…………………….15
Project partners………………………………..……………………..17
Frequently used terms.…. ……………………………………….....19

1 Introduction…………………………………………………………21

Part one: Theoretical background………………………………………….33

2 Female genital mutilation (FGM)………………………………...35

2.1 Note on terminology .......................................................................... 36
2.2 Types of FGM ...................................................................................... 39
2.3 Complications due to FGM ............................................................... 41
2.4 FGM from a human rights perspective ........................................... 43
2.4.1 Human rights and women’s rights perspective ...................... 44
2.4.2 Children’s rights perspective ...................................................... 48
2.4.3 The right to health ........................................................................ 50
2.5 Universal rights of physical integrity versus cultural
relativism .............................................................................................. 51

3 FGM in Burkina Faso………………………………………………59

3.1 Socio-economic conditions ................................................................ 59
3.2 Types and appearances of FGM in Burkina Faso........................... 61
3.3 Statistics on FGM in Burkina Faso.................................................... 62
3.4 Reasons for the continuation of FGM in Burkina Faso, with
examples from other African countries ........................................... 64
3.5 Attempts to abandon FGM in Burkina Faso ................................... 72
3.5.1 Strategies and challenges of tightening the law....................... 72
3.5.2 National and international engagements against FGM
in Burkina Faso ............................................................................. 77

4 Film as a tool for Human Rights Education (HRE)?....................83

4.1 A short introduction on HRE ............................................................ 83
4.2 Films and human rights ..................................................................... 86

9
5 Ciné débat……………………………………………………………89
5.1 Ciné débat as an innovative tool for awareness-raising ............... 90
5.2 Experiences with ciné débats ............................................................ 92
5.3 Traditional communication in Burkina Faso, a basis for
social change ........................................................................................ 95
5.3.1 Joking relationships ..................................................................... 97
5.3.2 Palaver............................................................................................ 99
5.4 Applying a film to the target viewers ............................................ 101

Part  two:  Methodology…………………………………………………………………….105  

6 Research design: Participatory Action Research (PAR)………107

6.1 Why use the PAR approach?........................................................... 109
6.2 Research Structure ............................................................................ 113
6.2.1 Qualitative Research .................................................................. 113
6.2.2 Triangulation............................................................................... 114
7 Film production……………………………………………………117
7.1 Access to the field - Preconditions for the production of
the film ................................................................................................ 117
7.2 Sampling – interviews with the protagonists of the film ............ 118
7.3 Editing the film L’excision, un thème pour tout le monde ......... 121
7.4 Screening of the documentary with its protagonists ................... 126
7.5 Evaluation of the documentary during a workshop ................... 127
7.5.1 Execution of the workshop with local experts ....................... 127
7.5.2 Adjusting the strategy – Outcomes of the workshop ........... 130
8 Film presentation………………………………………………….135
8.1 Access to the field - Implementing ciné débats in five villages . 135
8.2 Operational structure of ciné débats .............................................. 136
8.3 Sampling – Project partners for the execution of the
ciné débats.......................................................................................... 139
8.3.1 Members of the Association Féminine Song-Manegré
pour le Développement (AFD) ................................................. 139
8.3.2 Clubs d’écoutes ........................................................................... 142
8.4 Research techniques ......................................................................... 145
8.4.1 Research techniques during the implementation of the
ciné débats ................................................................................... 145
8.4.2 Follow-up: two years after the ciné débats ............................. 148

10
9 Reflections on the research process and challenges
encountered………………………………………………………...151
9.1 Critical reflections on being a ‘white female researcher’ ............ 151
9.1.1 During the film production....................................................... 151
9.1.2 During the ciné débats ............................................................... 152
9.2 Difficulties encountered ................................................................... 153
9.2.1 Use of the camera for the production of the documentary .. 153
9.2.2 Particularities during the conduction of interviews with
the protagonists of the documentary ...................................... 155
9.2.3 Challenges during film editing ................................................ 157
9.2.4 Challenges during the ciné débats ........................................... 158
10 Expert interviews for the in-depth analysis of the social
context……………………………………………………...……….161

11 Methods used for the evaluation of the interviews…………..163

11.1 Documentary method ...................................................................... 163
11.2 Interpretation of the text .................................................................. 165
11.2.1 Formulating interpretation ..................................................... 165
11.2.2 Reflecting interpretation ......................................................... 167

Part three: Results from the in-depth analysis of the social

context  (expert  interviews)……..............…………………………………………….169  

12 The traditional anchoring of FGM in Burkina Faso: the

decisive role of community………………………………………171
12.1 FGM as a requirement of the social system .................................. 171
12.2 Collective welfare earns greater acceptance than individual ..... 174
well-being ........................................................................................... 174
12.3 Recapitulation of central aspects .................................................... 176

13 The social role of women in sustaining the family…………...177

13.1 FGM as sign that women meet social requirements .................... 177
13.2 Protecting women as a guarantee for the development of
the community – Arguments against FGM .................................. 179
13.3 Recapitulation of central aspects .................................................... 188

14 Achieving the end of FGM in Burkina Faso through the

awareness of human rights………………………………………189

11
 14.1 Traditional perception and meaning of human rights in
Burkina Faso ...................................................................................... 189
14.2 Women’s rights and the well-being of the community ............... 194
14.3 How should human rights regarding FGM be
communicated? ................................................................................. 197
14.4 The right to health in abandoning FGM in Burkina Faso ........... 198
14.5 The recognition of human rights acts ............................................ 200
14.6 Recapitulation of central aspects .................................................... 203

15 Cinematic and cultural preconditions for ciné débat in

Burkina Faso……………………………………………………….205
15.1 Oral traditions and established habits of debate as major
components of the culture of Burkina Faso .................................. 205
15.2 ‘Film: A major cultural and political marker of Burkina Faso ... 208
15.3 Ciné débats: the origin of cinema in Burkina Faso ...................... 211
15.4 Recapitulation of central aspects .................................................... 215
16 Ciné débat as an integrated tool for combining traditional
debating habits with awareness-raising activities…..………..217
16.1 Ciné débat as an adapted method for opening up informal
discussions ......................................................................................... 217
16.2 Advice for the implementation of ciné débat ............................... 222
16.2.1 Discussion – the basis for change .......................................... 222
16.2.2 What needs to be considered when making a film for
presentation in ciné débat ....................................................... 226
16.2.3 How to apply ciné débat ......................................................... 228
16.2.4 Knowing the needs of the target group – How to
approach the locals .................................................................. 231
16.2.5 Approaching local authorities as a prerequisite for easier
access to the villages ................................................................ 236
16.2.6 Organisation of screenings ..................................................... 240
16.2.7 Repeated discussions in the villages ..................................... 244
16.2.8 Challenges during interactions in the field .......................... 245
16.3 Possibilities and essential characteristics of the film
L’excision, un thème pour tout le monde ..................................... 252
16.4 Recapitulation of central aspects .................................................... 256

12
Part four: Results from the execution of the ciné débats………………259

17 Implementation of the ciné débats……………………………...261

17.1 Outcomes of the questionnaire ....................................................... 261
17.2 Participant observation and findings from the SWOT ................ 265
17.3 Outcomes of discussions with members of the clubs
d’écoutes............................................................................................. 273
17.4 Recapitulation of central aspects .................................................... 277

18 Main subjects during the ciné débats…………………………..279

18.1 FGM and its consequences .............................................................. 279
18.2 The role of women in society .......................................................... 286
18.2.1 Lack of desire for sexual intercourse leads to marital
friction ........................................................................................ 286
18.2.2 FGM keeps women from having illegitimate sexual
intercourse ................................................................................. 291
18.2.3 Having children as an indicator for the acceptance of
women in the community ....................................................... 295
18.2.4 Unhealthy women are excluded from the community ...... 300
18.2.5 Women’s fears of not complying with traditional
gender roles ............................................................................... 301
18.3 How can FGM be counteracted? .................................................... 309
18.3.1 Education ................................................................................... 309
18.3.2 Involving elders and heads of families ................................. 314
18.4 References by the AFD team and the audiences .......................... 317
18.5 Recapitulation of central findings .................................................. 325

19 Follow-up evaluation two years later…………………………...329

19.1 Questionnaire for the clubs d’écoutes............................................ 329
19.2 Final interview with AFD representatives .................................... 333
19.3 Recapitulation of central aspects .................................................... 342




Part  five:  Summary  and  conclusions………………………………………………..345  

20 Outcomes…………………………………………………………...347
20.1 The inclusion of the community as an inevitable factor for
engaging against FGM in Burkina Faso ........................................ 347
20.2 The eradication of FGM as a first step in changing the
perception of the woman’s role in society..................................... 351

13
 20.3 Ciné débats as food for thought and reflection ............................ 356
20.3.1 The applicability and potential of the documentary
L’excision, un thème pour tout le monde ............................. 356
20.3.2 Follow-up two years after the project implementation ...... 360
21 Long-term Perspectives…………………………………………...365

22 Bibliography……………………………………………………….371

23 Tables……………………………………………………………….383

14
Abbreviations

AU (OAU) African Union / Organisation of African

Unity (in 2001, the OAU legally became
the African Union)
AFD Association Féminine Song-Manegré
pour le Développement
CAP-MGF Capitalisation et Vulgarisation des
Bonnes Approches pour la Promotion de
l’Abandon des MGF
CEDAW Convention on the Elimination of All
Forms of Discrimination against Women
CNLPE Comité National de Lutte contre la Pra-
tique de l’Excision (National Committee
against the Practice of Excision)
CRC Convention on the Rights of the Child
DEVAW Declaration on the Elimination of
Violence Against Women
DED Deutscher Entwicklungsdienst
DHS/ EDS Demographic and Health Survey/
Enquête Démographique et de Santé
e.g. exempli gratia (lat.)‘for example’
FESPACO Festival Panafricain du Film et du
Télévision du Ouagadougou
FC Female Circumcision/ Cutting
FGC/ FGM Female Genital Cutting/ Female Genital
Mutilation
GIZ / GTZ Gesellschaft für Internationale (formerly:
technische) Zusammenarbeit
GDP Gross Domestic Product
HDI Human Development Index
HRE Human Rights Education
HREA Human Rights Education Associates
IAC Inter-African Committee on Traditional
Practices Affecting the Health of Women
and Children

15
ICE International Congress on Education for
Human Rights and Democracy
ICPD International Conference on Population
Development and
i.e. id est (lat.) ‘that is’, ‘in other words’
INAFEC L’Institut Africain d’Education
Cinématographique
IRIN Integrated Regional Information
Network
MGF Mutilation Genitale Feminine
MICS Multiple Indicator Cluster Surveys
RESEAU Reseau pour le Développment Socio
Economique et Social du Burkina Faso
UDHR Universal Declaration of Human Rights
UN United Nations
UNDP United Nations Development
Programme
UNESCO United Nations Educational, Scientific
and Cultural Organisation
UNFPA United Nations Population Fund
UNHCR United Nations High Commissioner for
Refugees
UNICEF United Nations Children’s Fund
USAID United States Agency for International
Development
VDPA Vienna Declaration and Programme of
Action
WHO World Health Organisation

16
Project partners

AFD The state-recognised NGO Association

Féminine Song-Manegré pour le Développe-
ment (AFD) was founded in Nanné by
Claire Gybére and works against FGM in
the Bam region of Burkina Faso.

RESEAU The state-recognised NGO RESEAU pour

le Développment Socio Economique et Social
du Burkina Faso was founded 1998 by Tas-
sére Derra in the region Niou/ East
Burkina Faso. RESEAU concen- trates its
actions on the social and economical de-
velopment of the country.

MWANGAZA ‘Mwangaza’ means ‘clarity’ in Swahili.

With 30 years of experience,
MWANGAZA is based in Ouaga-
dougou. The organisation intervenes in
the domains of mothers’ health, FGM,
family planning, and all sorts of violence
against women in Burkina Faso.

17
Frequently used terms

Ciné débat (this term is French and has no direct

English equivalent) The term describes
the production and presentation of films
in the local languages of Burkina Faso,
particularly used for educational purpos-
es. Teams travel around the countryside
presenting the films to the mainly rural
population. Screenings reflect topical
problems of local populations while
showing the reality of their behavioural
patterns. Subsequent discussions are
meant to trigger self-awareness and to fi-
nally change behavioural patterns.

Club d’écoute (this term is French and has no direct

English equivalent) In Burkina Faso soci-
ety, many women are scared to speak
openly in the company of men. Clubs
have been established in order to function
as a ‘mouthpiece’ for the local community
and AFD. These groups support women
and give them the opportunity to listen to
each other and learn from the struggles
and challenges others may face.

Joking Relationship The term describes the relation between

two persons in which one is by custom
permitted to tease or make fun of the oth-
er, who in turn is required to take no of-
fence.

Relais Relais are two individuals (a woman and

a man) residing in a village where the
AFD team is engaged. They have been in-

19
 troduced by the AFD team and are re-
sponsible for the preparation of the ciné
débat in their own village. AFD modera-
tors approach them a few days before
their arrival.

20
 1 Introduction

Female Genital Mutilation (in the following: FGM) involves the partial or
total removal of female genitalia and the resulting damage to the female
genital organs. The great majority of women in Burkina Faso have un-
dergone FGM (75,8%, see: DHS 2010, chapter 3.2, and chapter 3.3), alt-
hough the international community criticises that this practice violates
numerous universal human rights concepts: e.g. the right to health, to
freedom from torture or cruel or degrading treatment, and, in some cas-
es, the right to life (see chapter 2.4). In contrast to this widespread notion
of individual human rights, however, lies the basic conviction that cul-
tures define their own values, beliefs, and ethics (refer to chapter 2.5).
How can one balance the relation between the right to physical integ-
rity and the right to preserve cultural traditions? And how is it possible
to counteract FGM while both respecting traditional values and codes of
behaviour and encouraging Burkinabé in remote villages to develop a
critical look at this ancient tradition? This study emphasises the need to
comprehend and acknowledge the motivations of those who continue the
practice, while also developing a promising approach for stimulating
locals in Burkina Faso to rethink their own perceptions regarding FGM.
During the preparatory work of this study, the focus was put on the
question of how to tackle FGM in Burkina Faso while taking Human
Rights Education (HRE) into account. HRE aims at developing the ability
to appreciate one’s own rights in order to be able to advocate the rights of
others. HRE means more than the provision of information on human
rights. Instead, it encompasses a long process by which people learn to
respect the dignity of others and the significance and methods of ensur-
ing that respect within a democratic society (refer to chapter 4). However,
the analysis of this research study will demonstrate that the premises of
HRE are not applicable to todays’ Burkinabé community. Findings of this
study provide strong arguments that learning to appreciate one’s own
rights and the rights of others are not sufficient for reaching a cessation of
the custom of FGM in Burkina Faso. It is elaborated that HRE especially
reflects a Western notion of human rights, putting a great emphasis on
individual needs and rights. This research finds that concentrating on the
encouragement of individual human rights is not suitable for the tradi-
tional context of Burkina Faso, where the locals attach greater value to

21

© Springer Fachmedien Wiesbaden 2016

J. Richter, Human Rights Education Through Ciné Débat,
DOI 10.1007/978-3-658-12723-7_1
community rights than to individual rights (refer to chapter 12.2). The
human rights discourse is the foundation for international researchers
and activists to take a clear position against FGM: It will be depicted in
chapter 2.4 that international human rights documents provide strong
arguments for the abolition of the practice. Nevertheless, the outcomes of
this study will show that although international human rights treaties
and thought structures might deliver strong arguments against FGM, this
does not automatically mean they provide socially and culturally ac-
ceptable tools of how to engage and act in opposition of FGM.
The aim of this study is to develop and critically reflect on a strategy
that combats FGM while including local thought structures and tradi-
tional logics of the local communities in Burkina Faso. The study de-
scribes the application of a particular cinematic awareness-raising in-
strument: ciné débat. Native social workers travel with educational films
to remote villages in order to discuss social and health topics. The goal of
these ciné débats is to motivate the attendees to share viewpoints, experi-
ences, and concerns with the group during debates, instead of merely
being presented with prefabricated opinions (see chapter 5). The study
investigates if and to what extent ciné débat could be a promising tool for
sensitising people in Burkina Faso. Also, making and presenting a film as
a substitute for books and written pamphlets might be useful in tackling
FGM in Burkina Faso: the vast majority of the Burkinabé public is illit-
erate. In Kongoussi, the research area of this study, an estimated 98% of
the inhabitants cannot read or write (Deutsche Welthungerhilfe, 2013).
Thus, this research does not only theoretically analyse the potentials
and challenges of this inventive tool, but it also describes how a docu-
mentary film on FGM in Burkina Faso, L’excision, un thème pour tout le
monde,1 was produced and presented in collaboration with local partners.
It needs to be made clear that the film as a first version was produced as
a main part of my master’s thesis. The present study, including the prac-
tical work with the film, is based on the findings of this master’s thesis.
The goal of the film production was that the people involved would be
enabled not only to form their own opinions on the custom, but also to
publicly share their thoughts with the other attendees during the ciné
débats. This research aims to use film as a tool for finding solutions in the
traditional context of the country, not to dictate or instruct behaviour
patterns to the locals. It is believed that the critical reconsideration of
one’s own thoughts represents a prerequisite for changing habits. That
implies that only if people are willing to discuss and maybe even change

1
English translation of the title is: ‘FGM, a topic that involves everyone’.

22
their own convictions can a progressive change of habits be possible. In
this context, the expectations of women in Burkina Faso and the im-
portance of complying with traditional gender roles will be depicted.
Because the practice is based on a long tradition, it is assumed that any
intervention against FGM has to involve the perceptions and convictions
of those approached. Adapted to local viewing habits and to the unique
perception of cinema in the country, this study aims to explore whether
and, if so, how to use documentary film as a means of tackling FGM in
rural Burkina Faso. Hence, the aim of this study is not primarily to de-
crease the percentage of excised women. Instead, the focus is put on the
following: a) the local socio-cultural context of Burkina Faso, including a
discourse on community and gender; b) the production process of the
film; c) the film’s presentation before audiences in the five villages; and
d) the potential impact of the documentary L’excision, un thème pour tout le
monde when used for awareness-raising actions against FGM in Burkina
Faso, and the resulting lessons learned.
This explorative study is empirically oriented and based on two pil-
lars: theoretical analysis and practical experiments with the film produc-
tion and film presentation. The study was conducted with qualitative
methods, including a manifold triangulation (refer to chapter 6.2.2),
which resulted in different perspectives being integrated into the re-
search process. This research also included face-to-face interviews with
experts discussing FGM and the social system of Burkina Faso, the role of
women, and the possibilities and difficulties of ciné débats (refer to chap-
ter 10). In the frame of ciné débats, this research also describes why and to
what extent traditional communication tools of Burkina Faso (joking rela-
tionships and palaver, see chapter 5.3.1 and 5.3.2) are an essential part of
the film’s production and the implementation of the subsequent presen-
tation in the villages. The final film presentations (in the form of ciné dé-
bats) and the subsequent outcomes of the study primarily focus on the
geographical Bam region in the north of Burkina Faso, concentrating on
five villages near Kongoussi (Kougsabla, Nanné, Rissiam, Sanghro, and
Zoura). Each of these five villages involved in this study had earlier been
approached by other awareness-raising campaigns relating to FGM (refer
to chapter 3.1.2). It would not be possible to measure the direct impact of
the five ciné débats on the incidence of FGM in the region, because the
intervention in the frame of this study cannot be considered inde-
pendently of all the other projects against FGM that have been imple-
mented in the research area. Instead, the main goal of the study is to un-
derstand the complex thought structures of local communities concern-
ing FGM, and to observe how to achieve a critical reflection on the sub-
ject while aiming to break down established structures. The study exam-

23
ines how audiences critically reflect on the topic of FGM, and how men
and women become involved in a debate on traditions and customs. Al-
so, the study investigates how defenders of the practice can be encour-
aged to speak openly about their opinions on FGM.
Although this study is results-oriented and permits rich and fruitful
outcomes, the conclusions reported in this research may not be generally
applicable and cannot be generalised to other research areas. This scien-
tific work endeavours to correspond to the reality of local Burkinabé and
tackles three inter-related research questions:

1. How can a documentary on FGM be produced that is attuned to

the socio-cultural context of Burkina Faso?

The first research question demands the exploration of the social back-
ground of the country. What needs to be considered in order to engage
against FGM in Burkina Faso? As FGM mainly involves a violation of
basic women’s rights, it is of utmost importance to understand the role
and the acceptance of women in the research area. In addition, the socio-
cultural specificities of Burkina Faso must be analysed. During the analy-
sis one focus will be made on the influence and significance of the per-
ception of ‘community’ in the country.
This research question also involves the history and significance of
film in Burkina Faso. It is necessary to understand the local structures
and preconditions of film projects, as well as to comprehend its central
social components for the communities of Burkina Faso. The study criti-
cally analyses the tool ciné débat and relates it to traditional communica-
tion habits (joking relationships and palaver). It also examines the applica-
tion of ciné débat in the geographical area of the research, with its specific
adaption to the needs and expectations of the target group.
Particular attention is paid to the methodological approach of this
study. The approach of Participatory Action Research (PAR) allows a
continuous reflection on the research procedure, and includes the simul-
taneous adaptation of the findings to the local reality and the elaboration
of the study. Preconditions of the actual research design and theoretical
foundations will also be summarised.

2. How can locals best be approached with the film? What are the socio-
cultural conditions in Burkina Faso?

The second research question tackles the possible discrepancy of univer-

sal values and local customs. Is there a striking discrepancy between
‘universal human rights concepts’ regarding the significance to preserve

24
the physical integrity of the female body, and the traditional perception
of human rights in Burkina Faso as a basis for peaceful cohabitation?
While FGM is a serious violation of human rights, the practice still
continues due to traditional belief structures. This research question puts
a special focus on how to approach locals with the documentary
L’excision, un thème pour tout le monde. In addition, the collaboration with
local partners (RESEAU,2 AFD,3 and local clubs d’ecoutes)4 will be critically
analysed. They give insight into the methodology used to examine the
film presentation. Central components of the rural and traditional struc-
tures in Burkina Faso must be defined and analysed, with the wider ob-
jective of making the film applicable for local citizens. In this regard,
special attention is drawn to the traditional anchoring of FGM in Burkina
Faso. With the help of expert interviews and literature research, the deci-
sive role of community, as well as the importance of family units within
society, must also be critically analysed.

3. How is the film received in the five rural communities studied? Is this form
of awareness-raising promising for engagements against FGM?

The answer to this question requires a critical reflection of the research

process and includes an evaluation of different actors’ chains of thought.
The question concentrates on the analysis of both the perception and the
acceptance of the film in the context of each of the five villages where the
film was presented: Kougsabla, Nanné, Rissiam, Sanghro, and Zoura.
Here, especially the topics that aroused attention in the audiences must
be represented and evaluated. This question addresses the perception of
women in Burkinabé society and will critically observe traditional gender
roles in the country. Interviews with the moderators of the film, with
representatives of the Association Féminine Song-Manegré (AFD), and with
local clubs d’écoutes give insight into the structures of thought within local
communities as well as their main topics of interest. With its numerous
qualitative research tools, this study focuses on how the locals react to
the documentary in order to conclude with recommendations of how to

2
RESEAU is an abbreviation for RESEAU pour le développment socio économique et social du
Burkina Faso This state-recognised NGO was founded in 1998 in the region Niou/ East
Burkina Faso.
3
AFD is an abbreviation for Association Féminine Song-Manegré. The organisation was
founded in Nanné (in the Bam region), the birthplace of its president Mrs. Claire Gybére.
4
A short description of local project partners is given on p. 15.

25
approach the topic of FGM within this complex social structure in the
future.

Procedure of the research

The following figure visualises the design of this research and depicts the
four stages of the study (A-D). The activity of each stage is divided into
two parts: explanations of the survey instrument and information on the
method of data evaluation. The arrow on the left side of the figure demon-
strates that the entire research was conducted through PAR, with its
basic functions of ‘action’ and ‘reflection’ (refer to chapter 6).
It is essential to combine theoretical-scientific approaches with state-
of-the-art tools against FGM used in Burkina Faso by local and interna-
tional organisations. This research is using ciné débat as a methodological
tool for awareness-raising on FGM in Burkina Faso.

26
Figure 1: Procedure of the research

Source: own diagram

27
Stage A was focused on the exploration of the research field. It contains a
theoretical outline of the research topic (including a representation of the
historical and social insights of FGM in Burkina Faso, a debate on cultur-
al relativism, and a reflection on traditional discussion tools in the coun-
try with a focus on ciné débat). This stage broadened the understanding
for the unique structure of society in Burkina Faso and for its local values
and communication tools (joking relationships and palaver).
Stage A also consisted of the making of the film. Here, multiple sur-
vey instruments were implemented. Each step of the filmmaking process
was analysed and specified (refer to chapter 7, 8, and 9). After the film
was completed, local experts were invited to reflect on how it could best
be adapted for reception amongst Burkinabé. The film is a product of
cooperation between the local NGO RESEAU and myself, and was criti-
cally evaluated during a workshop in Ouagadougou, Burkina Faso by
nineteen participants of nine local NGOs. The content and structure of
the film was discussed in working groups after a screening of the film.
Numerous aspects of how the film could be improved in order to attain
the goal of stimulating discussions on FGM in rural areas were discussed.
Furthermore, discussions on the content led to the necessity of changing
some aspects of the film (refer to chapter 7.5.2).
After the monitoring and reviewing process, numerous changes of
the film had to be made. It was necessary to re-edit the film in order to
make it more acceptable for future viewers.
After the re-editing of the film, the activity of stage B focused on an
in-depth evaluation of the social context. The film deliberately did not
include experts on the topics of women’s rights, film, or ciné débat in or-
der to better portray the opinions of villagers in Burkina Faso. The goal
was to let locals speak about the topic, not to present experts that share
their theoretical and academic knowledge. Stage B therefore intends to
accomplish an in-depth understanding of the social context of Burkina
Faso. It raises questions of society and culture, of the perception of hu-
man rights and FGM in Burkina Faso, as well as of the cinematic aware-
ness-raising tool ciné débat. In order to attain a vast understanding of the
complex social structure of the country and its specific preconditions for
sensitisation activities, it was essential to acquire knowledge from ex-
perts. Results taken from these interviews can be found in chapter 12.,
13., 14., 15., and 16. Their findings enable central conclusions in terms of
what needs to be considered before engaging against FGM in Burkina
Faso, especially regarding the significant role of the community for any
change process and the importance of acting according to the local gen-
der perceptions.

28
 Stage C involved the actual film presentation in the five villages of
Burkina Faso. After the film was re-edited, the goal was to observe its
outcome and its usefulness for the stimulation of discussions on FGM. In
cooperation with the local NGO AFD, five presentations of the film were
organised in March 2011 as ciné débats. The debriefing sessions with the
AFD team after each ciné débat were also recorded and evaluated. The
main objective was to observe and analyse the following:

- How the AFD team guided the discussions;

- What kinds of topics were raised within the groups;
- Lessons learned from this explorative and empirical research.

Stage D describes a follow-up process of the research, which was accom-

plished two years after the execution of the ciné débats. I returned to the
research area and conducted a final interview with two representatives of
the AFD, obtaining information on how the project had evolved since its
implementation in the region of Kongoussi. Through a questionnaire that
I handed out to the local clubs d’écoutes, further information on the audi-
ences’ perception of the film was obtained.
The findings of these research stages were sorted out through the
documentary method and opened up insights that form a basis for possi-
ble future research projects. In the following, a short outline of this study
will be given.

Part one (stage A): Theoretical background

Part two (stage A): Methodology
Part three (stage B): Results from the in-depth analysis of the
social context (expert interviews)
Part four (stage C&D): Results from the execution of the ciné
débats
Part five: Summary and conclusions

Part one: Theoretical background

The study begins by discussing central aspects of the practice of FGM in

general and in Burkina Faso (refer to chapter 2 and 3), as well as high-
lighting the socio-economic conditions of the geographical area of re-
search (refer to chapter 3.1). The theoretical background of this study also
contains a critical evaluation of the scientific literature currently available
relating to the tension between cultural rights and universalism regard-
ing FGM (refer to chapter 2.5).

29
 In the frame of human rights, the government of Burkina Faso has
ratified numerous treaties that explicitly outlaw FGM (refer to chapter
3.5.1), yet no relevant decrease in the prevalence of excised women can
be noted. This present study shows that despite the legal measures taken
by the state, FGM remains a major issue in the country. It becomes obvi-
ous that imposing human rights concepts on Burkinabé with a top-down
approach directed by the states through laws and conventions has not
achieved the desired effect. Therefore, this study recommends corre-
sponding to local communication habits and to match awareness-raising
methods to the cultural reality of the countryside of Burkina Faso. The
approach of ciné débat, which is directed to the local people themselves
and consequently follows a bottom-up strategy, is introduced (refer to
chapter 5). In subsequent parts, this study critically analyses and evalu-
ates the usefulness of this tool, and how the local communities receive
this approach.

Part two: Methodology

Through the application of PAR, this research was conducted in a multi-

staged process (refer to chapter 6). This study is based on extensive quali-
tative data: interviews, participant observation, questionnaires, and
group discussions. Because of the detailed and multi-step research pro-
cedure, the methodology part of this study is necessarily very detailed
and elaborated.
The study involved different actors in the planning and the pursuing
of the action. It remained flexible and responsive to situations and people
in order to be able to change strategies and adjust them to the local reali-
ty. The study was conducted to be with the people and for the people, so
as to directly apply to the challenges in the local community. Applying
the PAR approach was an attempt to achieve understanding and change
at the same time. The approach centres and reflects on the experiences of
the people that are directly affected by FGM. Using PAR helped to adapt
to the cultural reality of Burkina Faso, as it takes the locals and their in-
terests seriously. The goal was to do research with the locals, not merely
on them (refer to chapter 6.1). In order to attain this objective, it was es-
sential to continuously and critically reflect on the research procedure
and to, if necessary, adapt it to the reality found on the ground. Any ac-
complished action was always followed by critical reflection, putting
questions like: ‘What worked? What have we learned?’ onto the agenda.
Likewise, this reflection was always followed by an adapted action.

30
 The section on methodology consists of two parts. First, it provides a
clear description of the research procedure, including an explanation of
all methods used during the film production, presentation, and evalua-
tion. Second, this section also contains an explanation of specific aspects
of the research. In order to acquire reliable data, it was important to con-
tinuously and critically reflect my role as a white female researcher com-
ing from a foreign cultural background (refer to chapter 9.1). Likewise,
the use of the camera as well as challenges during the research proce-
dure, are examined in this part.

Part three: Results from the in-depth analysis of the social context (ex-
pert interviews)

This part of the study contains outcomes from the interviews with the
experts on society and culture, human rights in Burkina Faso, FGM, and
ciné débat. Here, the accent is put on the cultural preconditions for an
engagement against FGM: the requirements of the social system in
Burkina Faso, as well as the importance of preserving collective welfare.
The influence and the significant role of the community for any process
of change is analysed. In addition the role of women for maintaining
family stability in Burkina Faso is discussed. This chapter points out that
those who engage against FGM must be aware of and act according to
local gender perceptions, even if such actions appear to solidify tradi-
tional gender roles in the short term.
This section also examines the preconditions for structuring and or-
ganising ciné débats in Burkina Faso. It evaluates local communication
and debating habits in combination with awareness-raising activities.

Part four: Findings from the execution of the ciné débats

This part analyses the results of the screenings of the film L’excision, un
thème pour tout le monde that were held in five villages. Explanations and
reasonings are examined and evaluated from both the AFD team that led
the ciné débat in each village, and from statements of the audience mem-
bers who watched the documentary. In addition, my participant observa-
tions as well as the outcomes of the discussions with members of local
clubs d’écoutes are evaluated.

31
 Two years after the implementation of the ciné débats held in neigh-
bouring villages of Kongoussi, I conducted a final interview with the
president and the vice-president of the AFD. In addition, I prepared a
questionnaire for each club d’écoute that was completed by its members.
The findings provided valuable data for the final discussion and outlook
of this study.

Part five: Summary and conclusions

The final discussion conflates all major findings of this study. It is point-
ed out that the needs of the community have greater importance in
Burkina Faso than the ‘Western’ concept of human rights. For the tradi-
tionally patriarchal society of Burkina Faso, the needs of the community
outweigh the rights of women. Thus, it is argued that for Western re-
searchers and organisations that work against FGM, it is important to
keep the concept of human rights as an inner compass – even if, for cul-
tural reasons, conveying the idea of human rights to Burkinabés does not
lead to the desired results at the present time. Ultimately, the sensitisa-
tion method (ciné débats) presented in this study is conceived as a prag-
matic first step to encourage a dialog amongst the different members of
the society: In this way, ciné débats prepare the ground for further debate
about the value of every human being.

32
Another random document with
no related content on Scribd:
 RESPUESTA DE VASQUIRAN
INTERROGANDO
Á FLAMIANO
Bien me plaze hauerte oydo lo
que dizes. Veamos agora,
Flamiano, ¿tu mal e tu passion no
es e nace del demasiado amor
que a Belisena tienes? Si. Tú no
dizes qu'el bien que la quieres en
estremo te trae en lo que estas?
Si. Tu desseo que es galardon de
tus seruicios? Si. Y este galardon
que desseas que se ver cumplida
tu voluntad? Si. De qué te
quexas, de que su voluntad va
lexos de lo que la tuya queria? Si.
Tú no quieres, segun dizes y es
razon, más a ella que a ti? Si.
Pues desta manera o tú no sabes
lo que quieres o es falso lo que
dizes. No dizes, como es, que en
ella está el fin e medio comienço
de toda la virtud, e nobleça e
perficion? Si. Pues si tal es, como
es, e tu voluntad e desseo
fuessen buenos, no
desconformaria dello su voluntad,
por consiguiente, o ella no es qual
tú dizes, o tu desseo es malo; si
es malo, ¿cómo dizes que bien la
quieres e le desseas mal?
Hagamos agora que tu voluntad
fuesse buena y la suya buena
como es, no dizes que la quieres
mas que a ti? Pues si más que a
ti la quieres, razon es que quieras
más lo qu'ella quiere que lo que tú
quieres, pues si lo qu'ella quiere,
quieres, no ternás de quexarte; no
teniendo quexa no ternás mal, no
teniendo mal, ganado haure yo la
question.

FLAMIANO A VASQUIRAN
No me contenta lo que dizes
porque no satisfaze a lo que digo;
yo te digo que ninguna cosa se
haze sin esperança de algun fin,
como vemos claramente.
Dexando agora lo de arriba que
no es razon que en ello
hablemos, pero en lo de acá;
¿porqué seruimos al rey a quien
deuida obligacion nos obliga? ¿no
le seruimos por lo que somos
obligados? Si. Si pues le somos
obligados, ¿porqué nos
quexamos si de nuestros
seruicios algun seruicio no nos
haze, e si de nuestros fauores
algun galardon no alcançamos? Y
por consiguiente de nuestros
mismos padres lo mismo
queremos e si no lo hazen lo
mismo quexamos, y aun como el
vulgo dize, a los santos no querria
seruir si galardon no esperasse,
pues para seruir a estos no nos
fallesce amor, pero si satisfecha
no es nuestra voluntad no nos
falta quexa, e quanto mal
nuestros seruicios e voluntad han
sido, tanto más nos da pena e
congoxa lo poco que nos es
agradecido. Luego ¿qué hare
qu'en satisfacion de lo que bien
quiero soy aborrecido que es el
mayor mal, en pago de mis
seruicios e passion no alcanço
mas de disfauores, menosprecios,
desdenes e mill ultrajes? Pues si
mi querer no puede mudarse, mi
passion no puede afloxar,
esperança de más no la espero,
remedio no le hay ni le hallo, qué
mayor mal quieres quel mio?

VASQUIRAN A FLAMIANO
Harto es poco tu mal si más razon
no tienes de la que dizes para él;
muy lexos van tus palabras e
razones de tus congoxas, pero o
hagamos que sea como dizes, o
llevemos las cosas por razon;
digamos lo que dizes que sea
razon, que sin la razon que nos
obliga seruir al rey deuamos
esperar mercedes e satisfacion
de nuestros seruicios e hagamos
ygual este seruir con lo que a
Belisena sirues; yo quiero que
assi sea como dizes e ansi te
mostraré como en una manera no
tienes razon de quexarte y en otra
te mostraré como eres satisfecho.
Digo que no has razon desta
manera. Los seruicios que tú al
rey hazes en que le sirues? O le
sirues en sus guerras y
conquistas en guarda e defension
de su persona y estado, o en
acrecentamiento de sus reynos
con peligro de la tuya, o le sirues
en la paz acompañandole e
siguiendo su corte con mucha
costa que te cuesta, de manera
que todos tus seruicios son
buenos e merecen hauer bien.
Pues veamos a Belisena si la
sirues en nada de esto. Digo que
no. ¿Pues en qué la sirues?
¿Sabes en qué? En apocar su
honrra, en alterar su fama, en
poner en juyzio de mal
sospechantes su bondad, en
todas las cosas que peor juyzio le
pueden hazer, en dessear por tu
bien su mal, o por tu voluntad su
mengua. Y quiereslo ver? El
mayor bien e mas honesto que en
tu desseo pudiesse hauer seria
que sin cargo alcanzasses lo que
de otra dama que ygual te fuesse
alcançar podrias; pues eso no se
podria hazer sin que ella de su
estado al tuyo baxase, luego mal
le desseas. Podrias dessear que
Dios te subiesse a tanto que
ygual le fuesses? La pena que
desto recibirias no te la da ella
sino lo que en ti falta. Luego sin
razon te quexarias. Tornando al
proposito digo que si al rey
siruiesses en cosa que le
perjudicasse, ni él te lo deueria
agradecer, ni tú quexarte de su
ingratitud. Pero aun de otra
manera digo que eres satisfecho
de lo que te quexas; bien sabes tú
que hay muchas maneras de
seruicios en las quales hay
algunas que en la misma obra
dellas está el galardon, estas son
aquellas de que obrandolas
ganamos honrra, pues que esta
es la cosa mas desseada como
sea señalarse el hombre en una
batalla de campo o de tierra, en
otra semejante afrenta hecha en
seruicio de señor o persona tal o
de que el que la haze, assi por
señalarse, como por la calidad de
aquel a quien sirue, queda
honrrado. Pues parecete a ti que
solo este nombre sea poca gloria
e fama e honrra? tú sabes que es
mucha ser seruidor de quien eres
siendo más publico que oculto, no
pueden tanto merecer tus
teruicios que esto no sea más; no
seran jamas tan grandes tus
passiones e tormentos que esta
gloria mayor no sea; ningun dia
puedes tanto penar que su vista
no te dé mas descanso, ninguna
congoxa te puede dar tu desseo
que tu pensamiento no te dé
mayor gloria. Mi mal es de doler
por que en él no hay remedio; en
los plazeres agenos yo peno; en
las passiones e males de los
otros, los mios se doblan, y esto
te basta para que esta question
baste, e acabo.

RESPUESTA DE FLAMIANO
Poco a poco me echarias de la
tierra con tus argumentos de
logico, ante que lo fagas quiero
tornar al comienço de nuestra
question e digo que nunca mis
males menos de grandes los
senti, ni nunca los tuyos más de
pequeños los juzgué; desta
manera que a mi se me figura
como nunca otra cosa conoci, que
mal es que ningun mal con el mio
se yguala.
La lengua es vn instrumento en
qu'el dolor del coraçon suena, e
desta manera la mia haze el son
que oyes. A ti como el plazer has
perdido figurasete que tienes
mucha raçon e que pues que la
raçon es mucha que la causa es
grande; assi que te quexas como
quien mucho bien ha perdido, yo
me quexo como quien mucho mal
ha passado e passa y el bien
nunca vió. Pues si tú has habido
bien e grande, yo mal e grande, tú
has sabido qué es bien, yo sé que
es mal; agora tú sabes qué es
bien e mal; yo mal e mal; claro
está qué más mal es el mio que el
tuyo. A mi me parece qu'es tanta
mi pena que con el más penado
trocaria, creyendo que no es tanta
la suya. Tú goçando tu bien tan
contento estauas, que con el más
gozoso no trocaras, creyendo que
no hauia más bien que goçar. Yo
querria saber a qué sabe por
juzgar tu perdida quanto es
grande, porque a mi se me figura
que el mayor daño mio es el mal
con que tú lo hazes menor,
diziendo que pues nunca tuve
bien, que no puedo sentir qué es
mal; yo digo que harto mal es
saber qué es bien, despues
passar mal, pero mayor es nunca
saber qué es sino mal, y aun te
digo vna cosa, pues los consuelos
que tú me das bastarian para vn
rustico que nunca de ningun bien
gozó e poco del le pareceria
mucho, o para un grosero que en
su entendimiento no entra ni lo
que dessear se deue, ni lo que
penar se puede, que este con
cualquier cosa que le acaeciesse
seria satisfecho como tú quieres
que yo haga, pero para mi que
desseo lo que dessearse puede
de bien e padezco lo que padecer
se puede de mal, no me parece
que yerro como dizes, ante que
tengo raçon de llorar de mis
males su dolor e de los bienes
agenos su enuidia. E assi estó
puesto en el estremo que vees
para no poder venir en
conocimiento de tu raçon, porque
todo lo que hablamos tiene dos
sentidos; tú les das el que te
parece ó sientes, yo les doy el
que parece o siento, e assi seria
insoluble nuestra porfia. Ponerla
en manos de quien la determine
no la consiente su causa, mejor
seria dexarla suspensa.

RESPUESTA DE VASQUIRAN
No quiero, Flamiano, que
suspensa quede, sino que se
determine e que tú seas el juez, e
no quiero sino en breve darte la
determinacion que has de hazer,
y es que juzgues qual de nosotros
más mal padece, que esto es
todo el fin desta question. Tu mal
no puede ser mucho sino siendo
grande el amor que a Belisena
tienes, e si tal no es, no es tal tu
mal como dizes. Si tal no es,
como dizes, fingido seria, e assi
seria mayor el mio. Pues si tú
quieres mucho como yo creo e
creo que tu passion es grande,
mas digo que la mia es mayor. Tú
dizes que querrias saber a qué
sabe mi mal por mejor juzgarlo;
bien sé que no lo dizes por lo que
agora yo padezco sino por lo que
he gozado. Mal has hablado,
porque no podrias saber lo vno e
lo otro sino passando por todo,
pero pues que dicho lo has,
sobr'esto quiero hazerte juez de la
causa. Hagamos agora que la
uentura te ayudasse para que de
Belisena gozasses ni mas ni
menos que yo de Violina; que tu
gozo y el tiempo e vuestras
voluntades conformes fuessen
tanto e con tanto contentamiento
como el nuestro fue, con tal
condicion que Dios dende agora
te contentasse, e que a cabo de
otro tanto tiempo tu señora en tu
poder muriesse en tu presencia y
tú sin ella quedasses como yo sin
la mia he quedado qual me vees,
aceptarlo yas? Di la verdad e
conoceras que si mi gozo fue
grande, que mi mal es grande, e
que si tú agora tan gran gozo
alcançabas que seria mayor tu
bien que agora es tu mal; pues
desta manera quando tan gran
bien perdiesses, quál seria mayor
mal, el que entonces sentirias en
perderlo, o el que agora sientes
en dessearlo? No te quiero mas
dezir; juzga lo que querras, que si
esto niegas, quanto has dicho
negarás e seria fengido de lo que
padeces.

RESPUESTA DE FLAMIANO
Mejor seria, Vasquiran, qu'esta
question no houiessemos
començado, que no que a este
paso houiessemos llegado,
porque temo que la ponçoña de
nuestras passiones nuestras
amistades alteren.
No puedo responderte a esta
partida porque en mi boca no
puede caber tal raçon, ni quisiera
que en la tuya houiera cabido; no
ha hecho Dios los dias de
Belisena para que en nuestras
lenguas termino les pongamos,
no por comparacion como agora
has hecho. Baste esto, que
todauia me parece segund lo que
siento que es verdad lo que digo;
creo que lo mismo hazes. El mal
de los infernados tenemos, qu'el
menos penado trocaria con el que
más pena, juzgando mayor la
suya que la del otro; yo me refiero
a lo que he dicho e tú no menos.
Dexemos nuestro processo
abierto, determinenlo los que lo
leyeren, pues que ya está
determinado que cada vno de
nosotros tiene tan poca alegria,
que no nos cabe llorar duelos
ajenos.
Mudemos la platica en otras
cosas, que pues que tan poco
plazer tenemos, pesar no nos
faltará sin que le busquemos.
Bien sé que sabes que tu mal
más que a nadie me duele, bien
sé que mi descanso mas que otro
lo desseas. El dia que fuymos a
casa de la señora duquesa me
parece que te vi hablar con la
señora Yssiana; no me soy
acordado agora de pedirte qué
passaste con ella; agora que me
acuerdo, te aviso que te guardes,
que tiene mala mano. Podria ser
que si mucho la mirasses, que
como agora de tu mal plañes que
del mio llorasses, e quiça
entonces juzgarias de nuestra
question lo que agora no
conosces.

RESPUESTA DE VASQUIRAN
Bien sabia que a tal estrecho te
hauia de traer como has llegado.
En tu alteracion conozco lo que
en mi passion conoces, hacerte
quiero contento, mudasme de
nuevas, quiero te responder a lo
que pides. Lo que con essa
señora passé, fue que
hallandome la señora Belisena,
ella se llegó con nosotros e
dixome que me esforçase e me
allegrase, que no juzgaba menos
discrecion en mi seso, que dolor
en mi pesar, e que la fortuna me
pudo quitar lo que pudo, pero no
la virtud que en mí quedaua que
era más. Yo le respondi que Dios
le diesse tanta parte del bien en la
tierra, quanto de su hermosura le
hauia dado de la del cielo, pues
que estaua en ella más aparejado
el merecer para ello, que en mí el
consuelo para ser alegre, e que
bien sabia yo que si possible
fuera que en mí pudiera haber de
remedio para mi tristeça
esperança, que della a solas la
esperaua, pero que no solo me
faltaua remedio, mas esperança
dél. Respondiome que no hauia
cosa sin remedio viniendo, e que
lo mucho que le dolia verme tal, y
el desseo que tenia de verme con
menos tristeça le offrecia a
consentirme que la siruiesse, e
que dello seria contenta, e que
assi me aceptaua por su seruidor
con prometimiento de
fauorecerme de manera que sin
perjuicio suyo que algo de mi
congoxa afloxaria. Yo le respondi
que lo hauia por impossible. E por
no poderle más responder al
presente, la enbié despues estas
coplas sobre el caso mesmo.

COPLAS QUE VASQUIRAN

EMBIÓ
A YSSIANA SOBRE QUE LE
MANDÓ QUE LE SIRUIESSE
Tan llagada está mi vida
de los males de mi mal
que por ser la causa tal
no ay do quepa otra herida,
de manera
que si mi mal tal no fuera,
solo veros
me forçara de quereros
por cuya causa viuiera.
Mas estoy como el herido
que la raçon e natura
le descubren en la cura
no poder ser guarecido,
bien que cierto
vuestra beldad e concierto
daran vida
a quien la tenga perdida,
pero ya passo de muerto.
Porque si'l morir recrece
do la vida se dessea,
con la muerte se pelea
pues llegado s'aborrece,
pero quando
vive el viuo desseando
s'el morir,
aquel tal es de dezir
que es más que muerto
penando.
Desta suerte, dama,
muestro,
siendo vuestras gracias tales,
que la sobra de mis males
no m'an dexado ser vuestro,
ni soy mio,
porque mi franco albedrio
es verdad
que no'stá en mi libertad
mas está en el daño mio.
Pues si vos no me sanays
yo no quiero guarecer,
no quiero querer poder
aunque vos, dama, querays;
¿sabeys porqué?
Porque ya murió mi fe,
e pues no es viua
 no será jamas captiua
sino de quien siempre fue.
No, porque mi desuentura
con su mucha crueldad
a mi fe e mi libertad
las metió en la sepultura
con aquella
por quien viue mi querella
assi penando,
yo la muerte desseando
más que no viuir sin ella.

LO QUE SE CONCERTO
ACABADO LA HABLA
ENTRE ELLOS DOS
Assi pussieron silencio por
entonces en su contienda,
mudando en otras cosas su
passatiempo, e dende a pocos
dias, estando vn dia sobre tabla
razonando el vno con el otro,
Flamiano con muy ahincados
ruegos rogo a Vasquiran que
quissiese ser contento que los
dos tuviessen vna tela de justa
real, pues que avnque cosa de
fiesta e plazer fuesse para los
atribulados del mal que ellos lo
estauan, tanto para publicar sus
apassionados dolores daua
aparejo como a los alegres e
contentos de plazer les abria
camino. Porque no holgauan
menos los vnos en manifestar su
mal, que los otros en publicar su
bien con sus intenciones, e que
en esto no solo él haria señalada
gracia e merced, mas aun a todas
las damas haria gran seruicio. A
lo qual Vasquiran le respondio:
Verdaderamente, Flamiano, más
aparejo hay en mi para llorar
como vees, que no para justar
como quieres, pero pues que el
amistad nuestra me forço en tal
tiempo venir a verte, e el amor
que te tengo me obliga a
complazerte en todo lo que
possible me será. Assi que
ordena lo que te parecera, que de
aquello sere contento, no en esto
que es poca cosa, mas donde la
vida e honrra en todo peligro se
pussiese lo seria. En especial que
yo recibo tanta pena en ver la que
con la mia te doy, que desseo
hallar algo con que te pueda
complazer. Flamiano
agradeciendoselo mucho,
respondio: Si tan complido te
hiziera la fortuna de ventura como
de virtud, jamas viuieras
descontento. E assi los dos
caualgaron disfraçados e se
fueron a casa del cardenal de
Brujas que era vn notable
cauallero e mancebo, e tan
inclinado a las cosas de la
caualleria, aunque perlado,
quanto en el mundo lo houiesse,
e assi llegados a su posada,
retraydos todos tres a solas, su
pensamiento e a lo que eran
ydos, le hizieron saber, de lo qual
él holgo demasiadamente. Pues
en la misma hora, todos tres
vestidos de mascara, al palacio
del visorey se fueron. El qual con
mucho plazer los recibio, e assi
todos quatro en la camara de su
guarda ropa sentados a vna
ventana que sale sobre la mar,
hablaron todo el caso porque alli
eran venidos, e con mucho
contentamiento e plazer fue dello
contento. E hauiendo assi estado
vna gran pieça de la tarde, los
tres se tornaron a casa del
cardenal, donde cenaron con
muchos otros caualleros que alli
acostumbrauan venir a comer, y
en la cena se publicó la tela que
querian tener, lo qual puso en
mucho plazer e regocijo a todos.
E hauiendo cenado, en presencia
de todos, se ordenó el cartel con
las condiciones siguientes e
diosse a vn albardan que la
pregonasse.

LAS CONDICIONES DEL

CARTEL
Dado fue el cartel a vn albardan
para que lo pregonasse, el qual
con muchos atabales e trompetas
e menestriles, fue publicado en
todos aquellos lugares que les
parecio que publicarse deuia. En
el qual cartel se contenian las
condiciones siguientes:
Primeramente se daua al que
mas gentil cauallero a la tela
saliesse con paramento e cimera,
vna cadena de oro de dozientos
ducados. Dauase mas seys canas
de brocado al cauallero que con
lanças de fiesta mejores quatro
carreras haria, e que no pudiesse
justar a este prez quien al otro no
tirasse, esto es, sin paramentos ni
cimera. Dauase mas a la dama
que mejor e mas galanamente
vestida aquel dia a la fiesta
saliesse, vn diamante de cien
ducados de peso[288]. Mas al
galan que a la noche a la fiesta en
casa del señor visorey saldria
mejor e mas galan vestido, vn rico
rubí. A este precio de la noche los
tablajeros tirauan. Fueron juezes
de los caualleros el señor Visrey y
el principe de Salusana y el
almirante Vilander y el conde
Camposalado. Juezes de las
damas fueron la señora Reyna e
Nobleuisa e la señora duquesa de
Meliano e la duquesa de
Francouiso, todas tres viudas.
Tuuose el renque dia de Santiago,
que hauia quarenta dias desd'el
dia que el cartel se publicó hasta
aquel dia. En el qual tiempo todos
los caualleros e damas se
adereçaron de la manera que
adelante se dirá. De lo que en
este tiempo se siguio ninguna
cosa aqui se cuenta hasta el dia
de la tela.

COMO LAS DAMAS SALIERON

EL DIA
DE LA TELA
En el dia de la fiesta la señora
Reyna con sus damas, e la
señora duquesa de Francouiso se
vinieron a comer con la señora
duquesa de Meliano, porque assi
juntas se fuessen a la tela, donde
houo muchos galanes e muy
ricamente vestidos que hasta alli
las acompañaron e de alli hasta la
tela. De los quales atauios aqui
no se haze mencion, saluo que
hauiendo comido todas tres
caualgaron con sus damas e
salieron desta manera. La señora
Reyna salio vestida de negro
como siempre va; verdad es que
en vna gorra y en vnas mangas
de vna saya de terciopelo que
lleuaua, hauia muchas pieças de
oro e joyeles muy ricos e muchas
perlas.
Lleuaua vn cauallo blanco con
vna guarnicion rica e veynte
moços de espuelas vestidos con
sayos de grana guarnecidos de
terciopelo negro sobre raso
amarillo, con jubones de damasco
naranjado, vna calça negra e otra
azul e amarilla.
La señora duquesa de Meliano
salio su persona vestida de negro
con vn cauallo morcillo con vna
guarnicion de terciopelo negro;
doze moços d'espuelas vestidos
con sayos morados guarnecidos
de raso pardillo. Jubones de raso
negro con vna calça negra, otra
negra e morada.
La señora duquesa de Francouiso
salio vestida de negro. Los moços
d'espuelas vestidos todos de
leonado.
Salio la señora Belisena con vna
saya de brocado raso blanco
cubierta de raso negro, cortado
todo el raso de vnas cortaduras
muy espessas que se hazia dellas
vna obra como vnos manojos,
atadas todas las cuchilladas con
vnos torçales de oro, e de seda
encarnada con los cabos hechos
de perlas; vn collar de oro hechas
las pieças a manera de las
cortaduras de la saya, esmaltadas
todas las pieças de negro. Hauia
en la saya en cada pieça de
terciopelo vna pieça de oro de
martillo que hazia la obra de las
cortaduras, vna gorra de raso
encarnado guarnecido de las
pieças del collar; vn cauallo
blanco con vna guarnicion de
plata toda esmaltada con muchos
floques de oro y encarnado que
salian por las pieças de la
guarnicion muy largos. Doze
moços d'espuelas vestidos de
amarillo y encarnado.
La señora Yssiana sacó vna saya
de terciopelo leonado e brocado
pardillo hecha a tableros como vn
marro; estauan las costuras
juntadas con pestañas de tafetan
amarillo. Hauia en cada pieça de
la seda e del brocado vna cifra
trocada de lo vno en lo otro
bordadas con cordones de plata.
Vna gorra de raso leonado llena
de cabos de oro hincados a
manera de vn erizo, muy llena
con collar de pieças de manera
delas cifras.
Sacó la señora Graciana vna
saya de raso azul con vna reja
encima de terciopelo azul sobre
pestañas de raso amarillo, e con
vnas lazadas de vnas madexas
de hilo de oro que ataua las
juntas de la reja. Vna gorra de
terciopelo azul llena delas mismas
madexas trauadas vnas de otras;
vn collar hecho de madexas de
hilo de oro tirado muy rico.
Todas las otras damas de la
señora duquesa salieron vestidas
con saya de raso morado, con
barras de brocado negro sobre
pestañas de tafetan blanco; con