Meet Tisa Chigaga, a Zambian biochemist and economist turned filmmaker whose journey from science labs to film sets is nothing short of inspiring. With acclaimed works like Frieda (2022) and the upcoming Bride of Zambia (2024), Tisa brings a unique perspective to storytelling, seamlessly blending intellect and creativity.
In this interview, Tisa shares the powerful feminist themes explored in Bride of Zambia, her latest film that challenges societal norms while celebrating Zambian culture. She also offers candid advice for filmmakers just starting out, drawing from her unconventional path and relentless pursuit of her passion for cinema.
You’ve been praised for your fearless storytelling. What personal or professional experiences gave you the courage to push boundaries?
Being raised by a bold and courageous woman has been one of the greatest gifts of my life. My mother is a human rights specialist, with a particular focus on gender. Time and time again I have watched her stand up to defend the weak and vulnerable, and she never backed down from even the fiercest resistance. Through her I learned to have the courage of conviction, to be honest, authentic and brave,
What motivated you to create Bride of Zambia and openly challenge traditional gender roles in your country?
This was a story dedicated to so many of my aunties, cousins, friends and sisters, but more so the women in my life from older generations. I witnessed the pain of societal expectations wearing many of them down, and was also disappointed by their willingness to uphold the very same harsh standards that were causing them grief. It is taboo to talk about these subjects, and sometimes pointless as not everyone will genuinely open up. So I decided to use film to speak.
You chose to focus on women as both upholders and victims of harmful norms. Why was this perspective critical to your storytelling?
The patriarchal indoctrination that bridal training fosters, teaches women the expectations of marriage. Yet, at the same time, the training also obscures the fact that these many of these expectations can be harmful. Blinded by this cultural blackmail, women are unable to see/admit exactly the true nature of the doctrines they then go on to hand down to their daughters. Hence, it has become critical to remove this opaque obscurity, so that women can recognise the ways that they have been harmed, and how they harm the younger generations. Through this recognition, change will come.
In what ways do you think Bride of Zambia empowers women to question long-standing cultural expectations?
First and foremost, by removing the taboo of even talking about these things. Culturally speaking, it is very taboo to speak of bridal counselling, least of all its consequences. But, look! Tisa made a film about this, and we all talked about it, and nobody died! So surely, this conversation can’t be that bad?
What do you hope Zambian audiences take away from the film, especially women who see themselves in these stories?
That we have work to do. In the film I tried to portray balanced arguments between the mother and the bride because I genuinely believe bridal training has many positive aspects, as well as some harmful ones. Our job now is to sift through it, keep what is good and disregard the rest. We must preserve our culture, but longevity only ever comes with balance. Hence, we must ensure that equity is accommodated for.
Why do you think it’s important for women to interrogate their roles in perpetuating gender norms before addressing broader societal issues?
Without tackling gender norms, women will continue to be excluded from addressing broader societal issues anyway.
For example, women are trained to “leave the men to speak,” and that only overbearing women insert their opinion while men are conversing. Even in the workplace, so many women fail to shake this off, and will not express themselves in meetings with colleagues. If we do not educate women that it is OK for them to take up space among men, that they can speak up instead of hiding meekly in the back, how will they get the chance to shape broader societal issues?
How do you measure the success of a film like Bride of Zambia—is it through critical acclaim, audience reactions, or cultural impact?
Depending on what your aims were for the film, probably all three! Personally, I was driven by the need to somehow make this plea to my fellow Zambian women. So, the reactions (I have received hundreds and hundreds of DMs from strangers) have been very extremely heartening. Furthermore, looking at social media and seeing women speaking out on the back of the film gives me hope that I have managed to contribute to the many others sowing seeds for change.
PS- It was quite a kicker to see my favourite feminist writer and filmmaker express great feedback on the film!
How can storytelling, particularly through film, serve as a tool to dismantle harmful gender norms in conservative societies?
When you speak in terms of characters and protagonists, (instead of “you,” “me,” “them”), conversations often become impersonal. The discussions become less emotionally charged, allowing more logic, rationality and truth to prevail. This paves the way for productive discourse. And if things still get a little spicy, what does it matter? It’s just a film anyway 😉
You’ve started an important conversation—what are the next steps for ensuring these discussions lead to real change?
Not letting the discussion die! For all the positive feedback Bride of Zambia received, there was still plenty of brutal criticism thrown at me. I was accused of having no respect for my culture and being ashamed of my heritage. Some even said I was using the film to court the west. But I got the message out there, and ultimately, that is all that matters. But my voice is only one in the crowd, and there are still so many points that need to be made. It is my hope that women will continue to use their gifts- be it art, literature, law, music etc. to stand up and boldly agitate for change. It will (hopefully) not kill you, but it will certainly make you stronger.
In your opinion, how can women filmmakers across Africa collaborate to amplify stories that challenge societal norms?
By creating a genuine network of support. Be your sister’s keeper! African women form the backbone of every society they are a part of. If we focus on supporting each other, there is truthfully no stopping what we could achieve (this is what many are also afraid of).
What advice would you give to young African filmmakers who want to use film as a medium for social change?
Just make the damn film! Use whatever resources are available to you, and use them the best that you can. My first film was shot on an iPhone!
Bride of Zambia itself was a micro budget film. Outside of the DP and sound mixer, no one got paid. My cast and crew were a group of loving and supportive friends. Location wise, two dear friends let me use their apartments to shoot. I had good relationships with my local pizzeria and they offered me a great rate to feed our cast. We took stock of what we had and tried our best to make it work. I think the message of our film was worth it!
Looking ahead, how do you see your work continuing to shape gender conversations in Zambia and across Africa?
I hope that it will continue to be used as a reference point, and that its reach will expand to further topics of conversation. There was one lady who reached out to me after she saw the film. She told me that while she was happily married, there was some advice in the bridal training that she found imbalanced, and did not exactly follow it in her own household. Months later she wrote to me again, to share a thought with me. She wondered if it was males that dowry/bride price was paid for (as in some other cultures), would the men also be excluded from discussing how the money should be spent/shared? Something told us probably not!
So summarily, I hope that my work continues to provoke stimulating conversations across this very broad, but critical, subject. I hope many beautiful minds connect and form further threads of equity ideology off the back of this film.
