perspectives on the DRC for an article on JM Kibushi's animations....

BBC Timeline of DRC

For more information on Kibushi and other African Films with articles on FESPACO click here:
clapnoir

Urban Congo - with a short article on Kibushi's work Prince Loseno...URBAN CONGO

A collection of examples of Congolese films/ documentaries and animations can be found on a DVD set (2) YAMBI - I am still looking into whether this DVD can be ordered from the site cinergie.be : you can read about the DVD collection on the link provided:
CINERGIE.BE

also related site to this collection of films see the event YAMBI Congo

kagablog : portal to art/ film/ photography and more

For an insiders look at the south african film industry and related themes see:

state of industry

also see observations and remarks on south african media vs West importation by Sabelo

kagablog_rest vs west

more from kagablog on Africa in Motion click below...

AMotion

Jean Rouch, the ethnographic filmmaker with his penetrative and performative camera

Les Maitres Fous (1954)

A timeless controversial film, Les Maitre Fous depicts the Hauka (West African) religious ceremony, predominantly found at the time to be practised amongst the Songhay and Djerma of the Niger river Basin. Described as ritual exorcising of colonialism.

from the Documentary Educational Resources;
The imagery in Les Maitres Fous is powerful and often disturbing: possessed men with rolling eyes and foaming at the mouth, eating a sacrificed dog (in violation of taboo), burning their bodies with naming torches. Beyond the imagery, the themes are also powerful, and have had an impact in our own culture:Jean Genet's The Blacks was modeled upon the Hauka inversion in which blacks assume the role of masters, and Peter Brook's Marat/Sade was influenced by the theatricality and invented language of Hauka possession. Yet, as Rouch reminds us in an interview in Cineaste, possession for the Hauka cultists was not theater but reality. The significance of this reality is left ambiguous in the film, although Rouch's commentary suggests that the ritual provides a psychological release which enables the Hauka to be good workers and to endure a degrading situation with dignity. The unexplored relation of the Hauka movement to their colonial experience 1-S perhaps the most intriguing issue raised by this ceremony in which the oppressed become, for a day, the possessed and the powerful.

In order to truely be able to contextualise this film and read it within a specific cultural context, Paul Stoller's article "Horrific Comedy; Cultural Resistance and the Hauka Movement in Niger (Ethos, Vol 12 No. 2, 1984) is recommended. Stoller states,

In this paper I consider the Hauka movement of Songhay possession
dance as a dramatic form in which the deities practice horrific
comedy. This comedy, I suggest, provides a symbolic means by
which the Songhay anchor themselves culturally in a world which
the way of the European is rapidly changing. By aping the European
they have resisted culturally the way of the European and have expressed
metaphorically their preference for the traditions of their
ancestors. In so doing the Songhay have used symbolism to protect
their cultural identity from the ever expanding encroachments of
European civilization.

"If a cultural institution is laughed at, its meaning cannot be taken at face value. Laughter must be regarded as a denial of cultural automation and the affirmation of a complex human freedom to follow, change or create culture"(Codere 1956:349-350). The comedy of paradox is therefore a major tool which can be used by people to resist culturally the influence of powerful foreigners.

interview with rouch...


les tambours d'avant Tourou et Bitti - Rouch

hollywood, bollywood, nollywood and now riverwood???

Nigerian Nollywood...

The invasion of the video-movie in Nigeria: With the advent of video related technologies in the 90's, filmmaking became largely accesble to a home market and offered an affordable alternative to both the producers of the film as well as the consumers, home-viewers. The article by Francis Harding in the Journal of African Cultural Studies (Vol 16, No. 1, June 2003, pp69-94), Africa and the moving image: television, film and video, provides a good overview of the benefits of the recent developments of this market in Nigeria (and Ghana), identifying key aspects that have encouraged this industry to emerge and become greatly popular not only amongst the local market but across the continent and within diasporic communuities world wide.

"The creation of a localised genre of African video-movies, whose themes are the violent chase, gangsters, romance, and religion and whose location and setting, dress and narratives are highly localised."

Kenyan emerging film industry...

some clips from african films....

african film la vie est belle in two parts...

From the CaliforniaNewsReel -

La Vie est Belle takes us inside the vibrant music scene of Kinshasa, the Congo's exhilarating and exasperating capital whose back alleys and clubs pulsate to the beat of some of the most influential music in the world. The film, starring Soukous music legend Papa Wemba, tells the "rags to riches" story of a poor country musician who seeks fame in the city's vibrant music industry. This lively farce illustrates the Congolese faith in Systeme-D or debrouillardise, fending for yourself to survive in the face of overwhelming obstacles. If there is a commercial cinema in Africa's future, then La Vie est Belle may be one of its precursors

Pfaff in the book, The Cinema of Ousmane Sembene writing on the use of sound and limited music in his films writes;

In some instances, sounds are used rhythmically and melodiously to create a musical effect without the help of a musical instrument. Concerning the greatest part of the musical score of Ceddo, Sembene specifies that "it is not exactly music. It is a repetition of sounds and rythmns. It is done with bottles. Why not harmonise sounds and rythmns, why should we always resort to traditional African music for our films?"

the great sembene, sengalese acclaimed writer and filmmaker....a short clip from his film La niore de..



more clips from borom sarret, moolade, yeleen

africa and filmmaking...bits and bobs and other related thoughts...

Tsotsi
South African film that has won a host of awards at various international film festivals including the Edinburgh Film Festival, Los Angeles AFI Film Festival, Toronto Film Festival.

The synopsis taken from the official website (see link above) states the following

Tsotsi n. thug, gangster, hoodlum

Set amidst the sprawling Johannesburg township of Soweto - where survival is the primary objective - TSOTSI traces six days in the life of a ruthless young gang leader who ends up caring for a baby accidentally kidnapped during a car-jacking.

TSOTSI is a gritty and moving portrait of an angry young man living in a state of extreme urban deprivation. His world pumps with the raw energy of "Kwaito music" - the modern beat of the ghetto that reflects his troubled state of mind.

The film is a psychological thriller in which the protagonist is compelled to confront his own brutal nature and face the consequences of his actions. It puts a human face on both the victims and the perpetrators of violent crime and is ultimately a story of hope and a triumph of love over rage.

"Tsotsi" literally means "thug" or "gangster" in the street language of South Africa's townships and ghettos. "Kwaito" is South Africa's answer to American Hip Hop.


For more video clips go to the official website - it gives both comprehensive documentation/ press releases/ reviews etc but also other video clips on the "making of" the film, and related areas such as Kwaito Music.







U-Carmen
This is what the Barbican had to say about ...

This impressive adaptation sets George Bizet's masterpiece in the underworld of a South African township, and won the Golden Bear at last year's Berlin Film Festival.

Theatre director Mark Dornford-May has effortlessly translated the famous love story of Don José and the sensuous cigarette seller Carmen from Spain to Cape Town, and the libretto from French into the local Xhosa.

Acclaimed, local-born opera singer Pauline Malefane is a revelation in the title role, supported by a magnificent cast from the acclaimed Dimpho Di Kopane theatre company.

South Africa 2005 Dir. Mark Dornford-May 127 min.


to listen to an interview with the south african star and co-writer Pauline Malefane... go to the BBC collective - click here
Also a good link to an interview with the Director on the film see the BBC film network - or click here









DV8 Project talking about the film industry in south africa...







FESPACO

To find out more information about the FESPACO Film Festival, Journeyman Pictures have a short clip on the film festival to be found on Utube - which can also be ordered as a DVD format. Unfortunately the clip is not embeddable but you can watch it on youtube / click here






....in this clip on African Cinema and Revolution, Zola Maseko (Drum, 2004) discusses revolution in African cinema at the Here & Now African & African American Art & Film Conference. Seated (L to R) are Jacquie Jones, Moussa Sene Absa, Maseko, and NYU's Institute of African Studies Chair Manthia Diawara.


Manthia Diawara's book, African Cinema: Politics and Culture - is a recommended read for anyone who is interested in contemporary issues surrounding the African cinema.

on independant filmmaking in africa

Balufu Bakupa Kanyinda discusses independent filmmaking in Africa at the Here & Now Art & Film Conference. Seated, L to R, are John Akomfrah, CCH Pounder, and Kanyinda

Beyond Freedom : Animated Documentary

poetry as a political voice

Afrimation Event at SOAS, 20/10

On Saturday the 20th, we held a day of screenings of African Animations, with a retrospective of Jean Michel Kibushi's work, with a discussion later with the filmmaker himself - at SOAS, Russell Square, London.

Although like most events, we had some inconvenient mishaps, such as our guest speaker arriving later than expected - it all went off smoothly in the end. Attracting various people, whether academics, general public, and some festival organisers, and representatives from film bodies - this event also provided people with the opportunity to network and establish potential links for future projects. The intention behind this event, was greatly to dispell the myths that are created around animation: such as it being targeted largely at children, being closely related to Disney, and (in the case of African Animation) as it presenting orientalist imagery that would conform to stereotypical assumptions surrounding African imagery per se. The program of screenings made an attempt to present examples of animation, that challenge these assumptions.
They vary in form - from Stop-motion and traditional techniques, to high-end cutting edge 3D computer generated imagery, as in the case of the talented Peter Mute from Kenya - and in content presenting a myriad of issues, from current local social concerns and political critique to traditional legends.

The collections of shorts screened included a collection of some of the "Africa Animated" projects run by UNESCO, independant animators such as Tessa Comrie and Cartoonist Mike Scott from SA, some diasporic work by Victor Osula and Tessa Lewin.

The retrospective screened three of Kibushi's films: Le Crapuad Chez ses Beaux Parents; Muana Mboka, Prince Loseno. J.M. Kibushi gave a short account of his early developments in this form, the decisions he made earlier in his career to dedicate himself to his art, and retain the qualities of the auteur, in so doing rejecting any possibility of working within the commercial sector. His production company, StudioMalembeMaa, is based in two locations Brussels and Kinshasa, between which he travels regularly. His production process generally involves training artists in Kinshasa to be able to work on the productions. His film Prince Loseno, took five years to make, involving a production team of about 100 people from various specialisms, working on pre-visualisation, concept design, cinematography, to model making, animators, set designers etc. He is currently in the early development stages of his first feature length stopmotion film which will go into production next year in Kinshasa, DRC.

His loality to his craft and art has enabled him to develop his techniques and move from 2 D cut-out animation to the more complex techniques of stop-motion using 3D sets and silicon modelled characters. When asked what his main influences in his work are, of course he explained he looked at other European practioners like Harry Hausen and Tim Burton, but in terms of inspiration, he claims, that comes from his life experiences and memories of archetypal characters he encounters on an everyday basis in his home town, Kinshasa. In fact he goes on to say most of his characters in the film Prince Loseno, are modelled around people whom he personally grew up with or knew. The stories sometimes variations of myths and legends he grew up with, or based on a local saying... as in the case of Prince Loseno, and even Muana Mboka. Muana Mboka interjects aspects of contemporary Kinshasa, whilst interweaving with mythical imagery and beliefs such as the surreal sequences with the tortoise and grandfather.


He also views his work as having a documentary ability such as his work on the Atelier Graphuoi project, which resulted in the animation, Sebtembre Noir. This animation was produced with limited animation techniques, in this case chalk on black paper. The artist worked alongside street children, who drew their memories of the miliatry coup that occurred at the time. Here the animation became an account or document of the events that were ongoing in Kinshasa at the time. The children, Kibushi claimed, were able to present an honest account, lacking the political awareness of adults, they presented a document of a time. This animation, Kibushi says, was later used by European new agencies, to depict the attrocities that were occuring / and give an account of the events. The Western media at the time had no means of entering the country, under the Mubutu regime, the animation therefore provided access into what was truely happening at the time.

animation journal

Animation: An Interdisciplinary Journal : great read for anyone interested in animation with a focus on cultural studies, theory, reviews, and alternative narratives - Highly recommend it worth a read!!

Trailer for Zambezi... watch out all!!

This is a short trailer for the animated feature film Zambezia, which is being produced by Triggerfish Animation in Cape Town, South Africa

Cineminuto Festival de Cine Africano

Animation in Senegal

Studio d'animation Pictoon de Dakar by Nzwamba

africa animated goes online....

Watch Out here comes Africa Animated 3.... Great news its happening again... one great experience for budding African Animators, the Africa Animated project is running in Nairobi Kenya this Ocotber. Each year a host of artists produce some amazing work that you can see posted here and in the links provided. Can't wait to get there... and meet up with all my African buddies - KwameMunti here I come!!

Zimbabwe Film Festival... what a blast

WATCH OUT ZIMBABWE HERE WE COME.....
watch this space for news on the Zimbabwe International Film Festival!!...

gone and come back - what a great time. Must thank everyone in Zim for making me feel welcome and feeding me well! Met lots of great budding animators, although the situation in Zimbabwe right now is not as prolific as it could be. Saying that the few that I met have an incredible drive and want to get things off the ground, for that I take my hat off to them. Carl Ncube, my facilitator but also as it turns out a local celebrity in his own right, famous for his Nyame Nyame animation which was a great hit locally... and the guys at Limited Edition, Shinghi and Francis who are definitely on the right track when it comes to having a proffessional attitude towards animation productions.

amazing link from Nina's page

I've just been reading Nina's blog and came across this link... I love the sound track, I think it makes a brilliant exercise in lip-synching.

http://www.ninapaley.com/therevolutionwillnotbeTiny.mov

news from Alfred in Stuttgart

13th International Trick Film Festival (Festival of
Animated Film), Stuttgart 2006 (www.itfs.de)
___________________________________________________

It’s very difficult to sum up my impressions of
Stuttgart and Berlin. I met so many people and was
exposed to so many experiences that will take me a
while to Digest. I will however try and share some of
the things that I enjoyed from the trip.

It was ice cold when I got off the Inter City Express
at Stuttgart on 28th April. And thanks to a
miscommunication on my part I had to wait for 2 hours
as the festival organizers organized my ride to the
hotel (which I later discovered was only 3 minutes
away). I had to take a short nap to get my mind
straight before leaving for the festival. My screening
was at 3 in the afternoon, so I could afford 2 hours
to catch a nap.

Making my way to the festival office I came across the
main screening area at the Gloria Theater on
KonigStrasse (King’s street) which is Stuttgart’s main
pedestrian-only shopping avenue. The organizers had
gone all out with a red carpet complete with a
lighting rig leading into the theater. The set up was
glamorous; fitting for the place that would be
animation focus of the world animation for 6 full
days.

At the festival office I got my tag, program, and
invites for several parties; standard festival
equipment. Half an hour later I was making my way to
the Metropol Theater for the screening when I met a
whacky bespectacled character in a white suit worn on
top of a white and red polka dot cycling kit and
crowned with a garland of flowers. He knew my name and
where I was from! Later on I found out that he would
be the host (as well as participant) of the category
in which TOTO’s journey was screened (tricks for
kids). His name was Jurgen Haas.

Jurgen was a marvelous entertainer. He managed to keep
the audience (mostly kids) thoroughly entertained with
his antics in between the screenings. Apart from the
festival judges, there was a special panel of judges
consisting of kids (very tough critics) and also the
audience would vote for their favorite films after the
session. Out of the 6 films screened that day, TOTO’s
journey managed just 1 vote. We got thoroughly
white-washed by an Argentinian stop-motion maestro
that day. However, even I would concede that he
deserved all the votes. In fact out of all the movies
shown at the festival, Toto’s Journey was the shortest
at 1 minute and 57 seconds. Technique-wise I was
impressed by a Russian film maker called Julia
Aranova, who managed to make her movie (a Beetle, a
Boat and an Apricot) by shooting up to 9 layers of
glass. The movie is a dream-like account of how a kid
spent their holiday.

After the screening we had a Q and A session with the
audience where we talked about the films. The kids
asked all sorts of questions and managed to surprise
us as film-makers with some of their questions. One
kid even asked us all how we managed to make money off
animation. Good one. I’m still trying to figure that
one out.

Later that evening, I was making my way past a café at
the Gloria passage when I got stopped by a mature man
who had given me directions earlier. I joined him and
a group of animators for a drink in the passage.
Later on in the festival that the man who stopped me
was actually a famous British animator named Phil
Mulloy. He had a special screening of his first
feature film the next day called ‘The Christies.’ The
feature was made as a series of shorts each episodes
of a family in the UK. The amazing thing is he drew
just 40 frames and several backgrounds and managed to
keep the audience involved in the film with lively
dialogue, and clever directing. I never met a more
humble man at the festival. He later challenged me to
put aside all my fears and make my own feature film.

Other renowned animators in the festival included
oscar winners Chris Landreth (Ryan), Benjamin Adam
Elliot, also in attendance Pritt Parn, Konstantin
Bronzit, and Marv Newland among others.

On a sad note Mr. Landreth fell ill during the
festival and was unable to perform jury duty as he had
to be admitted. When I left, I heard that he was
recovering though.

Those few days flew by as I caught screenings and
attended parties and had deep philosophical
conversations with other PASS A category attendants
(film makers). I even got to meet one of GADO’s tutors
at the Vancouver Film School! And in another highlight
I got to tour STUDIO FILM BILDER in Stuttgart and see
the animators at work there (yes they use Moho for
some shots too.)

On the last night there was the awards ceremony. Our
category had 4,500 euro up for grabs. That went to
Johannes Weiland and Saschka Unseld for their film
Oli’s Chance, a film about how children die while
playing near Germany’s high-speed railways. At the
time I felt that the award was undeserved considering
the film’s tone and also considering that many of the
other films were funnier, but I later discovered that
the film had been commissioned by the government so
that kids can learn to stay away from the rail tracks.
It gets the message across very well.

I think that festival attendance should be part of
animation training. It’s important to learn how to
keep the energy going after days of partying and
conversing and taking in new ideas during screening!
Seriously though, I managed to thoroughly enjoy myself
and make very good friends and contacts at the
festival. But for me, ITFS was only one part of the
equation. I needed to extend my stay and attend the
11th Conference on Animation, Effects and Realtime
Content (FMX-06). That’s a whole different story.

update from Alfred

Hello everyone. Animators. Pals.

My name is still Alfred Muchilwa. I am animator from
the aa2.0 series... and im off to Stuttgart, Germany
tommorrow fro the screening of TOTO's JOURNEY!

Seriously, up till a few hours ago I wasn't really
sure that i'd make the trip. I had to hustle left
right and center to get money for the plane ticket.
Just managed to make the amount needed an hour,or so
ago. But it was worth it (speaking in future tense
here)

So catch up with all the action on www.itfs.de. In
addition, I will be attending a special effects
festival called fmx (www.fmx06.de). I want to see all
those folks from ILM and DREAMWORKS animation in
person. Apparently Nina Paley will be there too! (most
o' y'all don't know her, she was on AA 1.0.

After that, well I go to 2 other cities and run my ass
back home.

some more research on African animation...

If anyone is going to be in Texas over the month of July, look out for the SAS Conference, which this year features a paper on Iranian Animation by Hosseini-Shakib, from Farnham, Surrey...
Society of Animation Studies