A powerful new documentary at France's Fipadoc festival reveals Western Sahara's fight for independence through the story of Mariem Hassan, whose music became the voice of her people's resistance until her death in 2015.
The film Haiyu – Rebel Singer Mariem Hassan and the Struggle for a Free Western Sahara, chronicles Africa's last colony. This resource-rich territory of 266,000 square kilometres, with valuable phosphate deposits and fishing waters, is home to 600,000 inhabitants.
Since Spain ended its colonial rule in the mid-1970s, the region has remained caught between Morocco and Mauritania's territorial claims, while Sahrawi independence fighters backed by Algeria continue their push for sovereignty.
At its premiere in Biarritz's elegant Casino theatre, half the audience admitted they had never heard of Western Sahara. By the end, all applauded the film's rare archival footage presenting an unprecedented Sahrawi perspective on the conflict.
RFI interviewed Mohamedsalem Werad, co-founder of the online platform Saharwi Voice and one of the film's four directors, about the challenges of making the documentary and the story it tells.
RFI: Why is Western Sahara considered Africa's last colony?
MW: Western Sahara remains colonised because superpowers like France and the United States provide Morocco with the support it needs to maintain occupation. Morocco does their dirty work in return for military and political protection at the UN Security Council. At the same time, they exploit the region's natural resources for their benefit.
RFI: What was the goal of the documentary?
MW: The purpose of the documentary is to tell the story of Mariem Hassan and, through her, the story of the Sahrawi people and their fight for a free and independent Western Sahara.
RFI: Was Mariem Hassan the main symbol of Sahrawi resistance?
MW: Mariem Hassan was one of many figures in our struggle – and I insist on "one of". There are many other legendary Sahrawis, from politicians to artists, who dedicated their lives to our cause. If we must speak of a Che Guevara for Western Sahara, it would be El Ouali Mustapha Sayed, the Polisario Front founder. He launched our revolution at 23 and was killed at 27.
RFI: How did music and culture play a role in Sahrawi resistance?
MW: We have a slogan: "Culture and music in service of liberation". During Spain's 90-year colonial rule, they deliberately limited Sahrawis' access to education. Only a handful of people could read or write, so our nation relied on oral traditions like poetry and song. Music was essential for communicating messages of freedom, touching people's hearts and strengthening their convictions.
From her refugee camp, Hassan sang against occupation, forced displacement and Morocco’s 2,700-kilometre defensive wall, built with American and Israeli expertise and known to Sahrawis as the "wall of shame". Her song Arrabi al Arabe became an anthem for peace and unity.
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RFI: What were the challenges of making this documentary?
MW: The film represents 10 years of work. We had no budget and faced enormous challenges. I worked from a refugee camp, another director was in Spain, and two others were in Sweden. We handled everything ourselves, from archive research to production, travelling only when we could raise funds.
RFI: Why are Sahrawi artists largely unknown outside the region?
There are so many barriers. We're a small, divided nation, and even in the refugee camps, we only received electricity in 2015. We spent 40 years without development, making it impossible for our voices to be heard outside. Major powers have no interest in amplifying Sahrawi artists. It would expose their role in Morocco's occupation and their exploitation of our resources.
RFI: What is Mariem Hassan's legacy?
MW: When Sahrawis face difficult times, they find refuge and renewal in her music. She left us an extraordinary musical legacy that we must preserve.
In her final recorded message before her death in 2015, Hassan urged her people to continue to keep and develop our culture and arts. Through her music, she continues to inspire new generations to carry on the struggle.
We fight not just for her and past generations but for those to come," Werad said, "so they won't endure the same suffering she witnessed.
This story was adpated from the original version in French by Siegfried Forster
