Variant Sexualities and African Modernity in Joseph Gaye Ramaka's Karmen Geï

Drawing from the extant critical literature about the controversial Senegalese film Karmen Geï which has been written since the movie's debut in 2001 and its censure in the native country of the talented director Joseph Gaye Ramaka, this essay attempts to shed light on the picture by placing it in the broad context of the history of variant African sexualities and modernities. This essay hopes to suggest the complexity of a film that disrupts strict and exploitative notions of sexuality, morality, and power while respecting the importance of traditions and religions. By walking a fine line between tradition and modernity, Karmen Geï opens up new possibilities for modern African sexualities and identities without denying the importance of spirituality and its accompanying traditions.