The iREP Report
Energized Spaces contd from P.2 But what relevance does United States of Hoodoo have for a non-Western, especially African, audience? Was any relevance intended? Did the film’s foray in Black American Culture alienate an African audience? Or could it have reinforced the conviction that African art, spirituality and magic has truly influenced the world? Perhaps only the final question is answered by the film. And perhaps it was never Hardt’s intention to question the authenticity of African spirituality when it has been transported to the West. Any person interested in keeping up with new nuances in the dialogue about African spirituality in the West might be interested in seeing this film.
Prof. Shaka’s thoughts, contd from P.3 Overall. his presentation focused on documentaries as tools of social change, an educative means of demystifying the hitherto unknown and a medium for broadcasting African culture. It decries the seeming disconnect from elements of our culture and seeks to inspire experienced and aspiring documentarians, and encourage them to continue producing educative material to propagate African culture, in spite of the numerous challenges ahead.
A Platform for Young Documentary Filmmakers By Opeyemi Balogun In line with its mission to create a platform for encouraging documentary production, this year's IREP dedicated a session to the ten (10) finalists in the Afrinolly Short Film Competition's documentary category. The session was anchored by Chike Maduegbuna, the MD/ CEO of Fans Connect Online, developers of the Afrinolly mobile phone app. The cross-platform app has changed the way Africans consume music and movies as it is hinged on the increase in the use of mobile devices across the continent. The collaboration with IREP was to bring the work of budding African filmmakers who struggle to get funding for full-length feature films to the fore. Some of the ten documentary films that made the final selection were screened at the festival, such as Tongeri Furusa's Wheels on the Bus, Stanlee Ohikhuare's
Images from the Festival Biola Alabi presents Festival Award to Emeka Mba
The Revolution Will Be Televised By Michaela Moye In From Queens To Cairo, we take a journey with Egyptian American filmmaker Sherif Sadek that starts in street protests in Brooklyn and culminates on January 25, 2012 in the peaceful one-year commemoration of the Egyptian revolution. Sadek’s documentary is personal but the sentiments expressed by his subjects are familiar to international witnesses of the Arab Spring, and indeed, any nation that has endured corrupt leadership. Men and women are ready to die in the protest against oppressive regimes, and others, simply want their lives to return to normal, so that they can continue to eke out a living. Sadek’s wife and children make the trip with him from the United States. It is no surprise that the award-winning film talks
"The Deadwood", 'Boli Culture, Jagbe People', 'Artist Hustler', 'Gateway to Kano' and 'Bless-In.' In third and second place were Joseph Akwasi's 'Black and Gold' and Soji Oyinsan II's 'A SHORT Documentary' respectively. Bemigho Awala's "Hustle on A Mile" which took first prize in the Afrinolly competition was shot in the Mile 12 Market where the humanity of the sundry porters, traders and hustlers is splashed against the backdrop of baskets of produce, the buzzing energy of hagglers, muddy floors and the strong pull of commerce. Sani, an Hausa man from Kano whose brand of hustle gets the spotlight in this documentary, picks and sells tomatoes that drop from larger baskets being conveyed from trucks into the market. Through Sani, "Hustle on a Mile" paints the world of possibilities that shimmer under the expansive canvas of Lagos' skin where dreams can always be brought to life in vibrant colours.
Frieder Schlaich and Francis Onwochei discussing Project Presentation and Distribution
about love and sacrifice: for one’s family and one’s country. From Queens To Cairo also highlights the importance of the media’s role in civic, social and political activities, including the effects of misinformation and misrepresentation. Relevant sub-headings pull the plot together: from the ‘Politics Of Decay’ to ‘Parallel Society’ to ‘The Revolution Will Be Televised.’ Sadek draws on the personal experiences of Egyptians and their counterparts in the Diaspora. His lens takes us from the bloodsoaked Tahir Square to over-crowded hospital emergency rooms and the eyeless graffiti scrawled by disgruntled youth. “Is everyone depressed?” Sadek asks when he first re-encounters his childhood neighbourhood wondering if he is
only now noticing the condition of his city. This is a sentiment that is familiar to any person returning home from abroad with rose-tinged memories. “They like this chaos because they benefit from it,” explains a cab driver. Who “they” is appears to this reviewer to morph into whoever the dissenting voices in the protests consider as “the bad guy” – ultimately, everyone. One thing is certain: Sadek has told an honest story for posterity’s sake.
Lagos City Hall, 30, Catholic Mission Street, Lagos Island. 01-7746888,
The iREP Report 2013 iREP Newsletter Vol. 1
Revisiting a Glorious Past By Aderinsola Ajao Reconnecting with the ancestors' rhythm was the thrust of Professor Awam Amkpa's keynote address delivered at the opening of the 3rd edition of the IREP International Documentary Film Festival. With a four-day event schedule taking place at Freedom Park, Lagos the festival maintained its theme of 'Africa in Self Conversation', with 'Reconnections' as its sub-theme. Titled, 'Africa's Post-Colonial Journey to Identity' Prof. Amkpa's paper called for a divining and revisiting of lost traditions in order to enhance our visual literacy and the quality of our narratives as storytellers. Posing a number of questions to the audience, he asked, "How do we reread, conserve and utilise" what was developed in the past for the future?, Quoting Kwame Nkrumah, he also questioned, "How can we remember a continent that has been dismembered?"
Prof. Awam Amkpa generational collaborations, Prof. Amkpa who is an Africana Studies professor in the New York University, said the influences on J.D. Okhai Ojeikhere's photography can also be seen in Nigerian film and that by extension, all African films are related. "All films are trying to articulate who we are," Prof. Amkpa Citing the strengths of cross- said. Story continues on P.2 cultural and crossDocumentary films, he said, were an important addition to "the way we represent and tell our stories." The IREP festival therefore offered a platform that improves the comprehension and appreciation of visual narratives and also represents a body of knowledge that contributes to our human existence.
Goethe-Institut Nigeria at iREP 2013 Never change a winning team – this somehow popular slogan fits nevertheless very well to the cooperation that Goethe-Institut Nigeria has with the iREP Documentary Film Forum. 2013 marks its third edition and we are very happy to partner again with this young and dynamic festival that has set its goal in widen-
ing the filmic experience by presenting new images, new styles and new narratives in documentary filmmaking to the Nigerian audience. new styles and new narratives in documentary filmmaking to the Nigerian audience. One of the most visible outputs of this partnership is the presence of German films and directors, producers, distribu-
tinue, that the growth of infrastructures and awareness for documentaries will go alongside with the professionalization of the industry. That is as well the aim of Goethe-Institut Nigeria. We want of course to present German perspectives on African topics, but as well share experiences and enable networking on infrastructural projects, look at the different perspectives of filmmaking and promote the intercultural dialogue. This is why we invited as well a representative from Dokfest.Munich, the second largest documentary film festival in Germany. This festival is planning a special focus on African documentaries and the exchange going between iREP and Dokfest.Munich seems very promising. But what would a festival be without all the discussions on the films, without a proper film critique that enables the dialogue between filmmakers and audience? For the second year in a row Goethe-Institut Nigeria supports the newsletter of iREP festival; seven young film critiques are writing tireless on all the films and events happening during the four days of the festival. The results can be seen here. And I’m very happy about the quality of these reviews – we hope to see more of them as well outside of the festival. This could not be possible without the major coordination effort and support by Derin Ajao whom I want to thank sincerely. Thanks as well to Aderemi Adegbite for putting this newsletter together and to all the writers for their work. And of course iREP for their support But now, enjoy the reviews and above all, the films!
tors, and other professionals at the festival. Together with AG Dok, the German association of independent producers, we were able to invite them to participate in the exchanges, in the meetings, and share their experiences and knowledge with their Nigerian counterparts. Thomas Frickel, chairman of AG Dok (he was present at last year’s festival) sends his warmest regards to his Nige- Marc-André Schmachtel rian colleagues and wishes Director of Goethe Institut, that the exchange will con- Nigeria.
The iREP Report that are socially and culturally relevant. Also on piracy and Nollywood, he inthe experience viewers are bound to have "We need to transcend language barriers sisted that it was hard for both to be during the 100-minute film. The essential and learn from the film's visual lan- separated as Nollywood's history and premise of the film – or the basic assumpguages," he added, calling for an inclu- success was steeped in piracy. tion it seems to make – is that there are sion of Francophone and Lusophone African spiritual influences in the lives of films into school syllabi and on film and people living in the Western world, which TV broadcast as well. He also made ref"We should be authors of our sometimes they acknowledge, and someerence to the Invisible Borders Photograhistory rather than simply retimes they do not. phy project as a good initiative in dissponding to funds and grants. mantling borders between African naThe country makes enough The film’s strength is how it transforms tions. money to take cultural producsound into “vision.” The viewer is stimuStressing the tediousness of telling stolated from the opening encounter; as one tion seriously." ries, he nevertheless called on the audiencounter leads to another, the music that ence to hold their storytellers accountProf. Amkpa ended his presentation with accompanies each scene is a combination able especially those whose mission of the actual music the viewer hears and seem continuously to hint at religious an excerpt from Birago Diop's Breaths. sociopathy and ethnic intolerance. "We It resonated with the subject matter of should be authors of our history rather 'Reconnections' that sets the tone for this than simply responding to funds and year's IREP Documentary Film Festival. grants. The country makes enough money to take cultural production seriously." Taking cultural production seriously was however not to be the government's sole A Review of United States of Hoodoo preserve as Prof. Amkpa suggested that By Emmanuel Iduma the resilience with which young filmmakers demand a better deal in the in- Oliver Hardt’s United States of Hoodustry should reflect in their passion for doois a film about voodoo’s influence filmmaking leaving no room for excuses on pop-culture in America. The film’s regarding lack of funding or logistic narrative is formed around the personal one that possibly have a deeper, spiritual support from corporations. exchanges between American writer meaning for the interviewee. The importance of research was also not Darius James and a number of voodoo to be undermined he said. "When a stu- practitioners, shamans, scholars, collec- Yet where it succeeds in creating an undent writes a bad essay, it's because they tors, musicians, Mississippi Blues men, forgettable soundscape, the film fails in haven't read," he said. He encouraged and healers. James, who narrates the sustaining the curiosity of its viewers in practitioners to learn to work across mul- film, makes a road trip to the spiritual learning about Darius James’ road trip to timedia platforms and not to be restricted sources of Black American Culture, and the spiritual sources of Black American by "means of output." his encounters form a visual experience Culture. It fails in part because certain Leaving little untouched in his brief ad- for the viewers of the film. exchanges become prolonged to the point dress and the interactive session that of dreariness. One reason for this could be followed, Prof Amkpa also indicted lec- One is entranced from the first encoun- that, in an attempt to reveal the depth of turers in Nigerian universities who were ter with Shantrelle Lewis (aka Val James’ encounter, the film’s narrative short-changing their students and in ef- Jeanty), a part-DJ part-spiritualist from does not take into consideration the jourfect the country by denying them the Haiti, who speaks about “energized ney that the viewer is making alongside, basic knowledge needed to progress pro- spaces” and hence aptly captures the or will eventually make. fessionally and the relevant history that experience viewers are bound to have Story continues on P.4 should equip them to tell more stories
Revisiting a Glorious Past, from P.1
Energized Spaces
Homeless in their Homeland by Amarachukwu Iwuala Set in apartheid South Africa, The Dispossessed is an excruciatingly painful tale of white super-ordination in the Rainbow Nation. Several times in the film, there were allusions that black people in that era in South Africa were regarded as beasts of burden. Unemployment reached alarming proportions among blacks just as there was no job security for those who were employed. Children and women worked on the farms of white farmers in order to feed with no monetary reward for their services while their chil-
dren received inferior education. There was common belief that schools, which white children attended were built to accommodate increased enrolment while nobody cared about the black population. In 1977, there was a pseudoindependence to con South African associates abroad while black people remained foreigners in their own land. The wealth created by black South Africans was exclusively enjoyed by the white population. Independence in Angola, Mozambique and Zimbabwe raised the resistance of South Africans to apartheid.
Of course, it was only time before the grinding poverty would further the cause of an independent struggle. According to the narrator, "Poverty and unemployment [were] not accidental but results of years of endless massive resettlement." The pertinent question to ask is: why did this kind of injustice take place in the 20th century? More importantly, do we have such in today’s globalized world? Syria quickly comes to mind and one only needs to see the numbing visuals in The Dispossessed to imagine the Syrian situation and realize that whatever our race or creed, we are all one.
The iREP Report
A Land Apart by Wome Uyeye Tobias Lindner's ORANIA is a featurelength documentary about culture, identity and a thin line between selfdetermination and discrimination opens with a good number of images covering the lush picturesque landscape of this quiet, sleepy, world-famous village in post-apartheid South Africa known as Orania. Even after the film moves away from this landscape to the scene where some of the town's residents cross-examine a young lad, Christo, who is new to the community, the interior walls of the space are still lined with framed landscape images yet. So, we get it: Oranians are so proud of the ‘’flower power’’ they have created over the years (Orania was established in 1991) that in order to keep the community looking as pretty as a picture, they carry out annual gardening competitions. Who would ever have thought that Orania was once a remote, deserted village out in the barren centre of South Africa?
Which brings me to what I’d like to refer to as the ‘’Oranian fact file.’ These people have some very interesting rules they live by. The Oranian community is for Afrikaans-speaking whites only, meaning blacks and mixed-race people are probably not welcomed to live, work or study in Orania. The only religion practiced here is Christianity and it is held in the highest esteem. Excessive drinking is prohibited and so is loud partying. Men are not allowed to wear earrings nor wear their hair longer than a certain length. I find myself comparing this people to the Amish people or Mormons: a set of people who are prepared to preserve and stay true to their culture, heritage, religion, et al right smack in the centre of an ever-changing world. Hard work and discipline are common words around these parts. You’ll quickly discover that you become a threat to this community if you do not posses these virtues and will be unanimously thrown out if you prove unrepentant. Bonafide weed-smoking, trash-talking bad boy Baksteen from Johannesburg is made a
scapegoat as he kicks against the system repeatedly but also nearly manages to ruin the life of the new kid on the (rehab) block: the young and impressionable Christo. One comes away from this film feeling like applauding the Oranian people for their relentless efforts at creating their very own idea of an ideal world: a “ spotless and safe” society. Then you remember their seeming aversion to Blacks and mixed-race people and suddenly they are not so 'spotless' anymore. In an interactive session that followed with the director Tobias Lindner, he took questions about the film's production and how easy it was for him to film in the Oranian community. He said it took him three months filming on location in Orania and that his work was probably made easy by the fact that he was white and also spoke Afrikaans. However, he said, while the Oranians appear to outsiders as "a pretty backward thinking racist community but a closer look just might tell you something different."
A TOUR OF PROFESSOR FEMI SHAKA’S THOUGHTS By Adefoyeke Ajao When at the last minute, Professor Femi Shaka decided to change his presentation topic from “Documentary Film and African spirituality and politics” to “Documentary film and the projection of African identity”, one would have wondered his reasons for doing so. We did not have to wait long as the professor of Media Studies began his presentation by tracing the origin of documented content to African griots and storytellers - custodians of history who were, saddled with the responsibility of teaching culture and tradition through folklore. He delved into Bill Nichols’ definition of a documentary as a representation (and not a reproduction) of the realities of the world we live in. Professor Shaka focuses on the works of John Grierson, a WWI veteran, who in 1926, pioneered the usage of the word “documentary” in his review of Robert Flaherty’s ‘Moana’ - an ethnographic record of life in 1920’s Samoa - as a description of the film’s educative value. Grierson’s eventual foray into the world of film-making laid the foundations of modern-day documentary mak-
Prof. Femi Shaka ing. He described Grierson as a man who believed film could be used to foster relationships between Britain and her colonies, and saw the potential of film as a medium of socio-cultural development. While searching for sponsors for his work, he began a workshop for aspiring film-makers willing to create documentaries for educative purposes, an action similar to the iREP initiative. According to Shaka, Nigeria’s documentary culture began in 1929 when William Sellers, a colonial medical officer used film to scientifically explain the cause of a plague in some parts of the country. The first mobile cinemas
were used to propagate the documentary’s message of attitude change. This was later adopted by business men who used it to advertise their products, and in the process, the art of film-watching became a part of Nigerian life. Years later, in spite of the advancements in, and exposure to technology and its benefits, the documentary culture is yet to be embraced as a lucrative field. The professor blamed Nigerians for preferring to engage in arm-chair criticism rather than exploring the wealth of material – festivals, masquerades, and rituals –bestowed on us by our culture. Television stations and academic institutions are also culpable as they do not appreciate the value of documentary production and screenings. A belief reinforced by the academic’s experiences at the hands of colleagues. When tackled by members of the audience about some contentious aspects of his presentation, Professor Shaka passionately explained the personal challenges he has faced in trying to popularise the academic study of documentary making, and the limiting effect of his presentation topic. Story continues on P.4