As Bollywood celebrates 100 years, we look at how the Nigerian film industry is stepping up to challenge its dominance.
The world is celebrating one hundred years of Bollywood, the triumph of an industry that continues to challenge the status quo of western storytelling. But Bollywood might have to watch its back, as the Nigerian film industry, Nollywood, steps up to challenge the eastern industry for the title of most productive film industry.
The fast-paced, high-turnover industry of Nollywood is revolutionising the movie-making model, and all without foreign aid or government subsidies.
Nigerians are telling their own stories and making movies their way. So, what has this meant for the Nigerian people?
Franco Sacchi, an Italian filmmaker whose fascination with the industry led to him making his award-winning documentary, Welcome to Nollywood, says:
“These filmmakers are incredibly courageous, and at some point in time, in the early, mid-90s they really felt they had no other options, [but] to just grab the available tools and start telling their stories.”
Sacchi explains how the digital revolution dropped the entry level for filmmaking, making it accessible to many storytellers who could film and edit their movies with affordable technologies. The low level of investment meant that the filmmakers also had space to experiment, explore and make mistakes.
Our second guest, Yewande Sadiku was an executive producer on the film Half of a Yellow Sun, adapted from Chimamande Ngozi Adichie’s award-winning book of the same name. Sadiku is an investment banker who used her skills to finance the bulk of the film locally.
“Because of my day job I understood what investors would like to see, I mean the word investment means you put money in something and you expect to get something back. The challenge with many Nollywood productions is distribution. It is extremely difficult to explain to anyone, to articulate how the returns will come back to them.”
A part of making the investment viable involved bringing in British actors Thandie Newton and Chiwetel Ejiofor - their star power made the film more appealing to an international audience.
Born in Nigeria, Biyi Bandele started working on his first novel in his early teens. He has been internationally hailed as an important literary figure and has written several plays as well as novels. Bandele decided he wanted to be involved in turning Half of a Yellow Sun into a movie after reading the book.
“The moment I read [Half of a Yellow Sun], about six years ago, I just fell in love with it. And I was paranoid that if it was done by anyone coming from the outside they would make a kind of movie about Africa, and I watch them and I want to hide under the seats. I wanted a movie that depicted Africans as human beings, and not just statistics from NGOs.”
In this episode of South2North, Redi Tlhabi asks about the future of Nollywood, and what to expect from the new generation of movie makers.
Sadiku says, “I think the future of Nollywood is very bright …. It has demonstrated what is possible …. If you write with a blunt pencil, and you write with a sharp pencil, your handwriting is exactly the same but it looks very different. That’s what Nollywood needs to move to - the next level.”
Decorre de 25 de Maio a 23 de Junho a décima edição do Festival de Teatro de Inverno, em Maputo, onde irão participar grupos de teatro das cidades moçambicanas de Maputo, Matola e Beira, e ainda de Angola e do Brasil. O festival, organizado pela Associação Cultural Girassol, conta com a participação de 19 grupos, amadores e profissionais, que irão actuar, até 23 de Junho, em vários espaços da cidade de Maputo: Teatro Mapiko, Teatro Avenida, Centro Cultural Franco-Moçambicano e Cine Teatro Gilberto Mendes. O evento, que começou no dia 25 de Maio, prevê, até dia 2 de Junho, no Teatro Mapiko da Casa Velha, as apresentações das peças: “Sete Irmãos”, “Vinte Minutos da Verdade”, “Kuphanda”, “A Face do Beirense”, “Vinte e Zinco” e “Skhendla – Os Mucavel”, protagonizadas respectivamente, pelas colectividades ECA/Teatro, Nkhululeko, Makwerinho, Malua da Beira, Ximbitana e Gumula. Nos dias 7 e 8 de Junho, os grupos Machava-Sede, Vana Va Ndleneni, Penumbra e Mundo do Teatro do Brasil actuarão no Centro Cultural Franco-Moçambicano e no dia 9 de Junho o Festival de Inverno volta ao Teatro Mapiko onde serão apresentadas as peças “Anjos e Demónios”, do grupo Makweru, e “Curandeiro à Força” do grupo Casa Velha. Nos dias 14, 15 e 16 de Junho, o Grupo de Teatro Gungu exibe no Cine Teatro Gilberto Mendes a obra “Salve-se Quem Puder”, enquanto “Os Indeferidos” e “Lá na Morgue”, dos Grupos Chamauarianga da Beira e Mahamba de Maputo, actuarão no Teatro Mapiko da Casa Velha. Para encerrar o evento, o Grupo Pitabel de Angola apresentará no dia 22 de Junho, o espectáculo “O Preço do Fato: I e II”, e o grupo Girassol de Maputo exibirá, no dia 23, a peça “A Candidata”.
A companhia de teatro de Coimbra “O Teatrão” traz a vários espaços da cidade, pelo segundo ano consecutivo, peças teatrais de grupos de São Paulo, no âmbito da Mostra São Palco, que se realiza entre 31 de Maio e 9 de Junho. Este ano, a mostra estende-se também a outras cidades do país. De acordo com a programação, o público poderá assistir a representações do Grupo Núcleo Bartolomeu de Depoimentos que levará à cena as peças “Orfeu Mestiço - Uma Hip-Hópera Brasileira” e “Vai-te Catar!”, assim como do Grupo XIX de Teatro, que apresentará “Hygiene” e “Hysteria”. Estes espectáculos terão lugar na Oficina Municipal do Teatro, no Teatro Académico Gil Vicente, no Largo da Sé Velha e no Colégio das Artes. Em colaboração com outras entidades e instituições, este ano os espectáculos da Mostra de São Palco poderão ser vistos em outras cidades, como em Santa Maria da Feira, no âmbito do Festival Imaginarius; no Porto, no âmbito do FITEI; em Torres Novas, no Teatro Virgínia; e em Torres Vedras, no Teatro-Cine. Segundo informação publicada no site d’O Teatrão, “a primeira edição da mostra, realizada entre 29 de Maio e 8 de Junho de 2012, juntou em Coimbra cinco dos mais distinguidos trabalhos de teatro de São Paulo dos últimos anos. A adesão massiva do público e a qualidade da selecção dos trabalhos apresentados abriram caminho para que a edição deste ano tomasse lugar, que vê inclusive três dos seus quatro espectáculos serem integrados na programação oficial da Mostra de Artes Cénicas do Ano do Brasil em Portugal, validando assim a qualidade e o mérito da mostra São Palco”.
The film reflects upon the impact of images in the Egyptian Revolution in 2011 and puts it in relation to the image politics of Egypt´s leaders. Instead of showing footage from the revolution, the film is shot entirely in the power domain of images - Egypt´s oldest and most influential state newspaper Al Ahram. Throughout the building – from the top-level executive office towards the smallest worker – we follow the story of a photo-journalist, that missed the revolution due to a hospital stay. After resuming his work in the newspaper, his life seems not quite the same. His voice gives a personal reflection to the media ploys of the old regime. http://vimeo.com/52194528
The Secret Capital | Mukhtar Saad Shehata and Samuli Schielke. 28’, Egypt, 2013.
Was there a revolution? Two years after the beginning of the January 25 Revolution, many Egyptians ask themselves this question. The answer is not to be found on Tahrir Square, but in the villages of countryside, the secret capital of Egypt. Convinced that there only has been a revolution if it reaches the countryside there really has been a revolution, the novelist and filmmaker MukhtarShehata follows the struggles, hopes and frustrations among people from his home village who between February 2011 and December 2012 tried to bring the revolution to their village in northern Egypt. “The Secret Capital“ is the second film by Shehata and Schielke after “The Other Side“ (2010). http://www.youtube.com/watch?v=ho2QzErIx5I
Mirian Tavares Nogueira has academic training in Communication Sciences, Semiotics and Cultural Studies (she holds a Ph.D. in Communication and Contemporary Culture from the Federal University of Bahia). She has developed its research and theoretical work in fields related to cinema, literature and other arts, as well as in the areas of filmic and artistic aesthetics. Mirian is a Professor at University of Algarve where she presently coordinates the doctoral and master’s degree in Communication, Culture and Arts and the Bachelor in Visual Arts. She is also the Coordinator of CIAC - Centre for Research in Arts and Communication.
28th June, 10:30-12:30, Auditorium B204
Comments: Sílvia Vieira
Africa: The Beat | SAMAKI WANNE Collective (Javier Arias Bal, Polo Vallejo, Pablo Vega, Manuel Velasco). 59’, Spain, Tanzania, 2011.
“Africa: The Beat” was filmed in Nzali, an enclave situated in the heart of Tanzania where the Wagogo live. Theirs is a unique musical universe. From the film’s first frame to the last sound heard, each image takes us further into their daily reality while their music gradually engulfs us in a world of surprising sensations. Day and night, the passage of time and the seasons, nature and the elements, water, the importance of the word and the stories, the stages of life… all of this emerges from a pulsation around which every instant of existence is articulated. Filmed with rudimentary technical means, “Africa: The Beat” conjoins the perspective of a painter, the vision of a filmmaker and the sensibilities of two musicians. It does away with the concept of the voice-over, which conditions and invades the spectator’s senses. Instead, the film permits the spectator to experience his or her own emotions, and bear witness to the essential place music occupies in life. http://www.africathebeat.com
CongoSuper8 | Lesley Braun. 09’ 02’’, 2012.
Filmed in Kinshasa’s velodrome, an old Belgian colonial motorcycle racetrack, Congo Super 8 showcases two folkloric dance troupes. Originally shot on super 8 film, the visuals are intended to pander to our nostalgia for old fashioned ethnographic films, while disrupting historical frames of reference. Akin to early ethnographic films of dance performance in Africa, the accompanying silence further de-contextualizes the event, limiting the spectator’s experience. My choice to overlay the film with a computerized reading of James Clifford’s canonized text “The Predicament of Culture” is intended to problematize older pedagogical practices. The computerized sound of the voice not only juxtaposes the dynamic movements of the dancers, but also the anthropological text itself. http://vimeo.com/60183352
Sílvia Vieira graduated in Art History from the University of Coimbra and has an MA in Communication, Culture and Arts from the Universidade of Algarve. She directed the documentary “AssimEstamosLivres: Cinema Moçambicano 1975-2010” (2010) (“So We Are Free: Mozambican Cinema 1975-2010”) and is a member of the Inner Project video art collective. She is currently working as a researcher for the Centre for Research in Arts and Communication (CIAC) in Algarve.
29th June, 11:30-13:30, Auditorium B204
Comments: Paulo Nuno Vicente
Xilunguine, the Promised Land | Inadelso Cossa. 30’, Mozambique, 2011.
For generations the “Tsonga” (machangane) migrate to Lourenço Marques (xilunguine) in search of better living conditions. The film Xilunguine, the promised land, based in an ethnographic study of ethnic migration Tsonga to Lourenço Marques in the colonial city they called (Xilunguine) “the city of the white”, exposes the matromonials customs “lobola” with a couple , the portrait of the city makes up a cross and chronological narrative of historical events such as the arrival of Eduardo Mondlane in Mozambique in 1961, and the formation of libertation movements. The film focuses on the stories of migrants who came to colonial city lourenço Marques, founded and inhabited neighborhoods like Mafalala, PolanaCanico, and still live here and have their children and do not intend to return to their land of origin. http://vimeo.com/56201525
Manifesto das Imagen sem Movimento | Diana Manhiça. 5’ 28’’, Mozambique, 2012.
Originally edited has KUGOMA´s Manifest for the introduction of the Moving Images Archives Section of the festival, in 2012, these images, shot by Diana Manhiça and IldaAbdala during the removal of damaged film stock from the archival warehouse, in Maputo, were edited with records from the 2010 Dockanema seminar and the interviews by CatarinaSimão for her project «Fora de Campo». The context is set by elements from the 1980´s Unesco Declaration for the Conservation and Preservation of Moving Images.
Debout sur le Phosphate | Pierre Blavier and Quentin Laurent. 30’, 2013.
In the south of Tunisia, Borj el Akerma is a village of phosphate minors that has resisted to the central power since the midsts of time. It’s here that the Gafsa revolt began in 2008, as a forewarning of the Revolution of 2011. In spring 2012, two young Europeans film the village recomposing itself, with the unemployed’s impatience, the labor at phosphate careers and the unchanging everyday life.
Framing the Other | IljaKok and Willem Timmers. 25’, Netherlands, 2012.
The Mursi tribe resides in the basin of the Omo River, in the east African state of Ethiopia. Mursi women are known for placing large plates in their lower lips and wearing enormous, richly decorated earrings, which has become a subject of tourist attraction in recent years. Each year, hundreds of Western tourists come to see the unusually adorned natives; posing for camera-toting visitors has become the main source of income for the Mursi. To make more money, they embellish their “costumes” and finery to appear more exotic to the outsiders. However, by exaggerating their habits and lifestyle in such a manner they are beginning to cause their original, authentic culture to disintegrate.
Framing the Other portrays the complex relationship between tourism and indigenous communities by revealing the intimate and intriguing thoughts of a Mursi woman from Southern Ethiopia and a Dutch tourist as they prepare to meet each other. This humorous, yet simultaneously chilling, film shows the destructive impact tourism has on traditional communities. http://framingtheother.wordpress.com
Paulo Nuno Vicente is a journalist and documentarist. He has developed projects in the so-called “Global South”, in particular in Guinea-Bissau, Ceuta and Melilla, São Tomé and Príncipe, Lebanon, Bosnia and Herzegovina, Israel and Cisjordan, Cape Verde, Chad, Central African Republic, Brazil, Kenya, Senegal and South Africa. He received the UNESCO Human Rights and Integration Award (2009). His most recent documentary isKilombos (2012). Paulo is a PhD fellow in the scope of UT Austin-Portugal Program for Digital Media, where he develops an extensive research on international journalism from Sub-Saharan Africa. Paulo has beenworking as a journalism teacher and trainer at Universidade Nova de Lisboa, Instituto Politécnico de Coimbra and Deutsche Welle Akademie.
O NECI (Núcleo de Estudos em Contextos Islâmicos) tem o prazer de divulgar a Pós-Graduação em “Islão Contemporâneo, Culturas e Sociedades” a decorrer na Faculdade de Ciências Sociais e Humanas no ano lectivo 2013/2014. As inscrições já se encontram abertas! Plano curricular e mais informações no link: necicria.wordpress.com.
Núcleo de Estudos em Contextos Islâmicos Centro em Rede de investigação em Antropologia. web
17, 21, 23 e 29 de maio de 2013, CES-Coimbra | CES-Lisboa, Picoas Plaza, Rua do Viriato, 13, Lj. 117/118
Celebrando o dia de África, o CES apresenta duas obras cinematográficas que, pela temática tratada, abrem espaço para uma discussão sobre as lutas nacionalistas em Angola e Moçambique. Após cada filme haverá espaço para um debate sobre o mesmo.
29 de maio, 18h30 | CES-Lisboa “Sambizanga” [1971, 102m] de Sarah Maldoror Comentário: Carlos Veiga Pereira (jornalista)
O filme “Sambizanga” problematiza o começo da luta de libertação em Angola (1961), com enfoque nas acções do MPLA, movimento político no qual o marido de Maldoror, Mário Pinto de Andrade, foi líder. Sambizanga toma o seu título do bairro operário homónimo, em Luanda, onde existia a prisão que viu presos e torturados muitos dos combatentes pela libertação da altura. O guião é realizado por Mário Pinto de Andrade com base no livro do Luandino Vieira “A vida verdadeira do Domingos Xavier”. Como a própria realizadora declara numa entrevista (http://spot.pcc.edu/~mdembrow/sambizanga.htm), o filme tem três enfoques: a) captar um momento particular na história angolana; b) apresentar um lado da história angolana pouco conhecido e contado de uma perspectiva interna, e c) contar o começa da luta de libertação a partir da perspectiva duma mulher cuja vida é modificada pelo desenrolar da história. Mais informações aqui.
“Revolution 3.0: Iconographies of utopia in Africa and its diasporas” analyzes images from the African revolutions, their movements and dynamics. Africa and its diasporas have produced diverse utopias and imaginations of future. Such visions draw on the pool of images and texts provided by the visual archives of revolutions and liberation struggles, which are remixed, re-interpreted or repeated in different dispositives such as painting, photography and audiovisual media. As much as referencing existing visions, such imaginations create new imageries. The research project investigates the entanglements of aesthetics and politics in situations of radical social transformation, and the becoming of icons. What constitutes the ‘seismographic power’ of images, and the sustainability of icons in terms of radicalism? Central to our investigation are diachronic and transcultural filiations within visual culture in the ‘longue durée’ of lusophone Africa. We investigate existing archives as well as aim at creating new image pools. As part of the larger transdisciplinary research project of the Bayreuth Academy of Advanced African Studies, “Future Africa – Visions in Time ”, we ask:
Is there a ‘revolutionary potential’, an agency within an image?
How do images anticipate, ignite and accompany fundamental change? Which functions do images hold in different phases of revolution? How are images used in the aftermath of revolution, e.g. to consolidate order?
What makes some of them attractive for ‘post-production’?
Icon Lab
in our Media-Lab, we assemble images and their filiations, compare, and analyze them.
Presentation, discussion and recording are carried out with guests of the BA. Like this, we aim at understanding iconographies of revolution, radical change, and utopia along the images that make them work. Our aim is to develop of a method for working with images and to produce a dictionary of revolutionary iconography.
Bayreuth Academy Workshop 3.0
Tuesday, 25th of June 2013
Where: Associação Maumaus - Centro de Contaminação Visual Campo dos Mártires da Pátria, 100 - 1o esq. 1
0. Greeting 1. Introducing Bayreuth Academy and its sub project „Revolutions 3.0“ 2. Communicating intentions, aspirations and methods of the workshop 3. Presenting glossary of key terms 4. Introducing the Icon Lab
5.1 Discussion of methods 5.2 Bring images
Session 1: Reflect on images with visual techniques Lunch Goethe Institut (tbc.) Session 2: Reflect on images with visual techniques Wrap-up session day 1
Dinner (Povo or Snob)
Wednesday, 26th of June 2013
Similar procedure with speakers of ECAS panel at Goethe Institut Lisboa (tbc.) “Revolution 3.0: iconographies of utopia in Africa and its diaspora”
Aline Frazão apresenta esta semana, em Luanda, o seu novo disco “Movimento”. A cantora e compositora angolana prepara-se uma série de três concertos no Espaço Verde Caxinde, dia 30, 31 de maio e 1 de junho, onde a artista apresentará, pela primeira vez, canções do seu novo álbum mas também do trabalho anterior, “Clave Bantu”. A acompanhar a cantora estarão os músicos Marco Pombinho (teclado), Francesco Valente (baixo) e Marcos Alves (bateria).
De «Movimento» fazem parte 12 temas, entre composições da própria Aline, a colaboração com o poeta e letrista angolano Carlos Ferreira ‘Cassé’, e um poema de Alda Lara musicado por Aline. O disco foi editado em Portugal pela PontoZurca e no resto da Europa pela editora holandesa Coast to Coast. Após os concertos haverá venda de discos e sessão de autógrafos.
Informação sobre os concertos no Espaço Verde Caxinde (Bilhetes já à venda!)
Aline Frazão encontra-se disponível para entrevistas. Para mais informações contactar Songay Pinto: songaypinto@gmail.com // 929 551 277
The 27 year-long Angolan civil war was also an international crossroads of the Cold War as well as a regional resource war, involving Cuba, the Soviet Union, Zaire, South Africa, and the U.S. When it was over, Namibia was independent, apartheid had fallen, Angola was a nation, and the Soviet Union had ceased to exist. Through music, interviews, and historical radio clips, producer Ned Sublette, author of Cuba and Its Music, tells the story of Cuba’s massive commitment in Africa, from the Cuban Revolution in 1959 and the subsequent independence of Congo, to the end of the Soviet Union in 1991. We’ll talk to guest scholar Piero Gleijeses, foreign policy specialist at Johns Hopkins University School of Advanced International Studies and author of Conflicting Missions: Havana, Washington, and Africa 1959-1976 and the forthcoming Visions of Freedom, and to Marissa Moorman, author of the forthcoming Tuning in to Nation: Radio, State Power, and the Cold War in Angola, 1933-2002, who will share with us rare archival recordings. We’ll talk to Cuban trovador Tony Pinelli, who traveled in a brigada artística playing music for Cuban soldiers and for Angolans, and to Angolan composer, instrument builder, and musicologist Victor Gama, who traveled in remote areas of the interior recording music. And from Cuba, Angola, Zaire, and Portugal, we’ll hear some of the music that accompanied the struggle.
To make this unprecedented program, producer Ned Sublette traveled to Mbanza-Kongo, the ancient seat of the Kongo empire located in present-day northern Angola, where he spoke to Dr. Bárbaro Martínez Ruiz, professor of art and art history at Stanford. We’ll learn about the simbi, the spirits that Martínez Ruiz describes as “the multiple power of god”; hear Antonio Madiata play the lungoyi-ngoyi, the two-stringed viola of the Kongo court; attend a session of the lumbu, the traditional tribunal of elders; and talk to a traditional healer. With the help of artist-scholar C. Daniel Dawson, we’ll survey Kongo-Ngola culture in the diaspora – in Brasil, Haiti, Cuba, and more. A SPIRITUAL JOURNEY TO MBANZA-KONGO is supported by a 2012 Knight Luce Fellowship for Reporting on Global Religion. The fellowship is a program of the University of Southern California’s Knight Chair in Media and Religion.
Sessão apresentada por David Pinho Barros Bwana Kitoko - 1955, doc, 77’ André Cauvin
ENTRADA LIVRE Sinopse “Quando a historiadora belga Florence Gillet escreveu um artigo sobre a vida de André Cauvin para a CINEMATEK, intitulou-o Histoire d’un Passion Ambiguë pour l’Afrique. Bwana Kitoko (1955), o documentário que o cineasta realizou para documentar a viagem do rei Balduíno ao Congo e ao Ruanda-Urundi, é porventura o exemplo mais paradigmático daquilo que foi, entre 1938, o ano de De Melaatsheid (A Lepra) de Gérard De Boe e 1960, a data da independência do Congo, esta ambiguidade do cinema colonial belga. … Bwana Kitoko, o seu projecto subsequente, apesar de partilhar com os filmes de De Boe um apagamento total de qualquer manifestação de dissidência e a vontade de construção de uma utopia audiovisual, é uma obra com algumas idiossincrasias significativas do ponto de vista cinematográfico e sociológico. “
In. Bwana Kitoko (1955) de André Cauvin, por David Pinho Barros
Join producer Ned Sublette on the streets of Angola’s big, smoggy, oil-booming capital city of Luanda. Peace came to Angola in 2002 after forty-two years of war, and now everything is different, with construction under way everywhere. The postwar generation of the last ten years communicates via text-messaging and electronic music. The biggest of which is the techno-meets-rap-meets-African-dance style known as kuduro (literally, “hard-ass”). But there’s also the zouk-like couple dance of kizomba, a phenomenon that began in the 80s and still packs in dancers to Luanda clubs, and, on a more underground level, the computer-driven style called Afro-House. We’ll talk to kuduro stars Titica, Cabo Snoop, and the charismatic, comic duo of President Gasoline and Prince Black Gold, and ride to the bairro of Marçal to visit the studio of Afro-House beatmaker DJ Satelite. Hip Deep Angola, Part 2: Kuduro and Beyond by Afropop Worldwide on SoundCloud - Hear the world’s sounds
Sábado, dia 25 de Maio ( Dia de África), a Rádio FM Stereo (canal musical do grupo RNA), apresenta uma programação especial, dedicada totalmente ao continente berço, das 10h00 às 22h00, nos seus 96.5 em fm.
Programa 10h00 – 16h00 - África 50 Anos de Música | Selecção músical de Afrikanita| Alain Saragossa | Aline Frazão | Dodó Miranda | Fernando Alvim | Ismael Mateus | Miguel Neto |Otiniel Silva | Paulo Flores | Sebastião Lino.
17h00 – 22h00 | Música Ao Vivo Coca FSM | Banda Contraste | Irina Vasconcelos | Jack Nkanga | Kizua Gorgel | N’Guami Maka | Toty Sa’Med. DJ Set + Live Act Ricardo Alves DJ & Dalú Roger Percussão.
Ingressos | Pagos.
Produção| RPR & Mano a Mano Produções Rádio FM Stéreo | Rua Luther King 123 / 124 Adjacente ao Centro de Formação de Jornalistas (CEFOJOR), Luanda.
We explore the role music played in the creation of a uniquely Angolan consciousness as the country struggled toward independence in the 1960s and ‘70s after centuries of colonialism. Our guides will be producer Ned Sublette, on the ground in Angola, and Dr. Marissa Moorman, historian of southern Africa, and author ofIntonations: A Social History of Music in Luanda, Angola from 1945 to Recent Times. We’ll hear the pathbreaking group Ngola Ritmos, who dared sing songs in Kimbundu publicly when it was prohibited by the Portuguese. We’ll hear immortal voices from the age when the guitar-driven style called semba ruled, as well as some snazzy ‘60s guitar instrumentals.
Un an dans la vie de Thiat et Kilifeu, de la révolution pacifique, menée contre le président corrompu Wade en tant que militants et fondateurs du mouvement « Y’EN A MARRE », à la reconquête de la scène musicale par la reformation de leur groupe de hip hop “Keur GUI ».
O espetáculo Negro de Estimação de Kleber Lourenço apresenta-se em Portugal, Espanha, Cabo Verde e Moçambique, no âmbito de uma circulação internacional organizada pelo coletivo brasileiro Visível Núcleo de Criação com o apoio da XEREM.
Negro de Estimação é um trabalho de teatro-dança, fruto de adaptação do livro Contos negreiros, do premiado escritor brasileiro Marcelino Freire. Explora temas como identidade racial, religiosidade, violência, exploração sexual e racismo, permeados por humor, acidez e poesia.
O ator, bailarino, coreógrafo, encenador e arte-educador Kleber Lourenço, nascido em Pernambuco, Nordeste do Brasil, e radicado atualmente em São Paulo, leva ao palco um solo de teatro e dança, fruto da adaptação de oito contos do livro Contos negreiros, do também pernambucano Marcelino Freire. Em 2006, a obra venceu, na categoria livro de contos, o Jabuti de Literatura, principal prêmio literário do Brasil, existente desde 1959.
Negro de Estimação desenrola-se partindo do estudo da ação dramática existente nos contos. Durante cinquenta e cinco minutos, uma sucessão de quadros mostra a evolução do corpo negro, tratando de questões que passam pela história até discussões contemporâneas sobre identidade e preconceito. O corpo do ator-bailarino desdobra-se em personagens que contam suas estórias em movimentos fragmentados do universo das manifestações populares. O espetáculo é indicado para maiores de 16 anos.
Depois de assistir ao espetáculo, que tem co-direção de Marcondes Lima, o autor escreveu: “O meu-seu Negro de Estimação deu-me uma facada. Uma fisgada. Seu corpo nu me vestiu de bala. Perdida. Deixou-me em choque. Alerta. Ave nossa! Essa contradança com as palavras. Esse balé-ralé. Pois é. Acho até que você melhorou os meus contos-cantos. Porque deu corpo e pele a eles. Porque transcendeu essa coisa de página em branco. Branca. Sem cheiro. Você deu suor aos meus parágrafos e medos. Você me descabelou. Irá, com certeza, por onde você for, deixar a plateia em flor. Pele e pelo…”
O espetáculo estreou em 2007, no Festival Porto Alegre em Cena, um dos principais festivais de artes cênicas do Brasil. De 2007 a 2012, foram realizadas 57 apresentações em temporadas e circulações por 10 estados e 17 cidades brasileiras, com um público estimado em seis mil pessoas.
A circulação internacional integra também o Workshop: corpo Brincante ministrado por Kleber Lourenço, realizando-se em Lisboa, Évora, Bilbao, Mindelo e Maputo.
CIRCULAÇÃO INTERNACIONAL: NEGRO DE ESTIMAÇÃOPORTUGAL
WORKSHOP: O CORPO BRINCANTE 05/06 Academia Jotamont 10h
MOÇAMBIQUE
MAPUTO 08/06 Centro Cultural Franco-Moçambicano 20h30 www.ccfmoz.com
WORKSHOP: O CORPO BRINCANTE 10/06 Escola de Música de Maputo 10h
FICHA TÉCNICA
Criação e Interpretação: Kleber Lourenço Co-direção: Marcondes Lima Figurinos: Luciano Pontes Cenografia: Bruno Vilela Trilha Sonora Original: Zé Guilherme (Missionário José) Operação de som: José Neto Criação de luz: Luciana Raposo Operação de luz: Juliana Santos Produção executiva: Pedro de Castro e Kleber Lourenço Produção Internacional: Carmo Serpa e Jorge Rocha Organização: P Castro Produções e Visível Núcleo de criação
The film reflects upon the impact of images in the Egyptian Revolution in 2011 and puts it in relation to the image politics of Egypt´s leaders. Instead of showing footage from the revolution, the film is shot entirely in the power domain of images - Egypt´s oldest and most influential state newspaper Al Ahram. Throughout the building – from the top-level executive office towards the smallest worker – we follow the story of a photo-journalist, that missed the revolution due to a hospital stay. After resuming his work in the newspaper, his life seems not quite the same. His voice gives a personal reflection to the media ploys of the old regime.
Was there a revolution? Two years after the beginning of the January 25 Revolution, many Egyptians ask themselves this question. The answer is not to be found on Tahrir Square, but in the villages of countryside, the secret capital of Egypt. Convinced that there only has been a revolution if it reaches the countryside there really has been a revolution, the novelist and filmmaker MukhtarShehata follows the struggles, hopes and frustrations among people from his home village who between February 2011 and December 2012 tried to bring the revolution to their village in northern Egypt. “The Secret Capital“ is the second film by Shehata and Schielke after “The Other Side“ (2010).
Filmed in Kinshasa’s velodrome, an old Belgian colonial motorcycle racetrack, Congo Super 8 showcases two folkloric dance troupes. Originally shot on super 8 film, the visuals are intended to pander to our nostalgia for old fashioned ethnographic films, while disrupting historical frames of reference. Akin to early ethnographic films of dance performance in Africa, the accompanying silence further de-contextualizes the event, limiting the spectator’s experience. My choice to overlay the film with a computerized reading of James Clifford’s canonized text “The Predicament of Culture” is intended to problematize older pedagogical practices. The computerized sound of the voice not only juxtaposes the dynamic movements of the dancers, but also the anthropological text itself.
For generations the “Tsonga” (machangane) migrate to Lourenço Marques (xilunguine) in search of better living conditions. The film Xilunguine, the promised land, based in an ethnographic study of ethnic migration Tsonga to Lourenço Marques in the colonial city they called (Xilunguine) “the city of the white”, exposes the matromonials customs “lobola” with a couple , the portrait of the city makes up a cross and chronological narrative of historical events such as the arrival of Eduardo Mondlane in Mozambique in 1961, and the formation of libertation movements. The film focuses on the stories of migrants who came to colonial city lourenço Marques, founded and inhabited neighborhoods like Mafalala, PolanaCanico, and still live here and have their children and do not intend to return to their land of origin.
Originally edited has KUGOMA´s Manifest for the introduction of the Moving Images Archives Section of the festival, in 2012, these images, shot by Diana Manhiça and IldaAbdala during the removal of damaged film stock from the archival warehouse, in Maputo, were edited with records from the 2010 Dockanema seminar and the interviews by CatarinaSimão for her project «Fora de Campo». The context is set by elements from the 1980´s Unesco Declaration for the Conservation and Preservation of Moving Images.
The Mursi tribe resides in the basin of the Omo River, in the east African state of Ethiopia. Mursi women are known for placing large plates in their lower lips and wearing enormous, richly decorated earrings, which has become a subject of tourist attraction in recent years. Each year, hundreds of Western tourists come to see the unusually adorned natives; posing for camera-toting visitors has become the main source of income for the Mursi. To make more money, they embellish their “costumes” and finery to appear more exotic to the outsiders. However, by exaggerating their habits and lifestyle in such a manner they are beginning to cause their original, authentic culture to disintegrate.
Aline Frazão apresenta esta semana, em Luanda, o seu novo disco “Movimento”. A cantora e compositora angolana prepara-se uma série de três concertos no Espaço Verde Caxinde, dia 30, 31 de maio e 1 de junho, onde a artista apresentará, pela primeira vez, canções do seu novo álbum mas também do trabalho anterior, “Clave Bantu”. A acompanhar a cantora estarão os músicos Marco Pombinho (teclado), Francesco Valente (baixo) e Marcos Alves (bateria).
