Fidel 2013: Perspectives of Black African Women - Images of Diversity and Equality Festival (Paris)

Fidel 2013 : Perspectives of Black African Women.  Images of Diversity and Equality Festival. Followed by: In support of the Syrian people

Saturday 5 October 2013, 14:00 – 22:30

The second day of the 2013 edition of the  Images of Diversity and Equality (Festival images de la diversité et de l'égalité) is structured around an afternoon of the colours of Black African women and an evening in support of the people of Syria.

From 14h00 to 20h00 : Perspectives of Black African Women (films and meetings)

14h00

Yvette by Marie Bassolé and Ferdinand Bassono

2012, 21min, Burkina Faso, L'Atelier Caicedra
Yvette, or the reality of a woman from the village of Perkouan (Burkina Faso), the conditions of her life unfold through her daily tasks, her surroundings and her reflections...

14h30

Le rite, la folle et moi (The ritual, the madwoman and me) by Gentille M. Assih 

Documentary, Togo, 1h26, 2012, Ardèche Images Production
This debut feature film could be retitled The Story of a Secret. At the Togolese festival, Akpéma (the girl's initiation into womanhood), the filmmaker comes across a family secret. "The Madwoman", is Pitalou, her grand-mother, who left the household and is banished from the family memory. When the time comes for her younger sister to become her protégée at the Akpéma, Gentille Menguizani Assih chooses communication rather than secrecy, even if it means challenging her father in front of the camera. Blending ethnography with autobiography, she brings into question traditional gender roles and draws attention to the hypocrisy of a ritual that, while celebrating woman's dignity, allows the chiefs to pick their young wives. At the same time protagonist and observer, against all expectations, she provides her father a clinically listening ear. Her calmness is grounded in the belief that she is in fact Pitalou who has returned to "restore the truth" to wash away the sexist abuse that has  persisted for generations.

16h00

A get together with the guests cineastes 

Aicha Dabale (association Karera) et Mari Daugey (Doctoral candidate at the Ecole Pratique des Hautes Etudes (Paris) - Centre d’études des mondes africains | Centre for African World Studies (CEMAf-Ivry).

16h45

Footprints of my other | Noire ici, blanche là-bas by Claude Haffner

Documentary, Congo, 2012, 52 min., Production France Télévision, Natives At Large, Seppia
The film relates Claude Haffner's journey, which begins in Alsace, her father's birthplace and where she grew up, and continues to Congo-Kinshasa, the homeland of her mother. Born in Congo, Claude was two years old when she left there; she knows neither the country nor her maternal family. Twenty-five years later, the filmmaker returns. With many questions regarding her mixed identity, she goes to meet her family and discovers the chaos in which they live...

18h15 (in partnership with l'ACSE)

Les sénégalaises et la sénégauloise (The Senegalese women and the Senegaulese) by Alice Diop in her presence

France-Senegal, 2007, 56 min, image and sound by Alice Diop, editing by Amrita David, production Point du jour, Voyage

The filmmaker Alice Diop comes to Dakar for the first time, accompanying the remains of her father, an immigrant worker in France, who wanted to be buried in his native land. Foreign to the country, she discovers the courtyard in which her mother grew up and where the aunts, cousins and nieces, who she does not know, come to meet. These women talk about their everyday lives, money, love schemes, marriage, polygamy and men. Alice realizes what her life could have been.

From 20h00 to 22h30 : An evening in support of the people of Syria.

Fidel website : http://www.lefidel.com

Fidel 2013 : L'Afrique noire au féminin - Festival images de la diversité et de l'égalité (Paris)

Fidel 2013 : L'Afrique noire au féminin

suivi de : Soutien au peuple syrien

Samedi 5 Octobre 2013, 14:00 – 22:30

La deuxième journée de l'édition 2013 du Festival images de la diversité et de l'égalité est construite autour d'une après-midi aux couleurs de l'Afrique noire au féminin et d'une soirée de soutien au peuple syrien.

De 14h00 à 20h00 : L'Afrique noire au féminin (films et rencontres)

14h00

Yvette de Marie Bassolé et Ferdinand Bassono
2012, 21min, Burkina Faso
Yvette, ou la réalité d’une femme au village de Perkouan (Burkina Faso), dont la condition se révèle à travers les tâches quotidiennes, son environnement, et ses réflexions... L'Atelier CaÏcedra est né de la volonté de deux associations burkinabè de développer leurs actions respectives à travers la mise en place d'un atelier audiovisuel en zone rurale. D'un côté l'association ILA, qui a pour but de promouvoir les arts, la culture et l'éducation à l'image en zone rurale et de l'autre, le MBDHP, composante importante de la société civile burkin abè qui œuvre activement à la protection des droits humains.

14h30

Le rite, la folle et moi de Gentille M. Assih - Inédit

Documentaire, Togo, 1h26, 2012, Ardèche Images Production

Ce premier long métrage pourrait s’appeler Histoire d’un secret. À l’occasion d’une fête togolaise, l’akpéma (initiation des jeunes filles par des femmes mûres), la réalisatrice revient sur un secret de famille. "La Folle", c’est Pitalou, sa grand-mère, partie du foyer et comme effacée de la mémoire familiale. Au moment de parrainer sa jeune sœur pour l’akpéma, Gentille Menguizani Assih choisit la transmission contre le secret, quitte à se confronter à son père devant la caméra. En mêlant ethnographie et autobiographie, elle remet en cause les rôles sexuels traditionnels et pointe l’hypocrisie d’un rite qui, tout en célébrant la dignité féminine, permet aux chefs de se choisir de jeunes épouses. À la fois protagoniste et observatrice, elle prodigue à son père, contre toute attente, une écoute psychanalytique. Son calme s’ancre dans une conviction : Pitalou c’est elle, revenue "rétablir la vérité", laver une injure sexiste colportée depuis des générations.

16h00

Rencontre avec les cinéastes invitées
Aicha Dabale (association Karera) et Mari Daugey (Doctorante à l’Ecole Pratique des Hautes Etudes (Paris) - Centre d’études des mondes africains (CEMAf-Ivry). 

16h45 

Noire ici, blanche là-bas de Claude Haffner - Inédit
Documentaire, Belgique-Congo, 2012, 52 min., Production France Télévision, Natives At Large, Seppia
Ce film raconte le voyage de Claude Haffner. Il débute en Alsace, d’où son père est originaire et où elle a grandi et se poursuit au Congo-Kinshasa, le pays de sa mère.
Née là-bas, Claude avait 2 ans quand elle a quitté le Congo ; elle ne connaît ni ce pays ni sa famille maternelle. La réalisatrice y retourne 25 ans plus tard. Questionnant son identité métisse elle va à la rencontre de sa famille et y découvre le chaos dans lequel elle vit …

18h15 (séance en partenariat avec l'ACSE)

Les sénégalaises et sénégauloise d'Alice Diop en sa présence
France-Sénégal, 2007, 56 min, image et son d'Alice Diop, montage d'Amrita David, production Point du jour, Voyage
La réalisatrice Alice Diop vient à Dakar pour la première fois. Elle accompagne la dépouille de son père, travailleur immigré en France, qui a voulu être inhumé dans sa terre natale. Etrangère à ce pays, elle découvre la cour où sa mère a grandi et où vivent des tantes, cousines et nièces qu’elle ne connaît pas. Ces femmes parlent de leur vie quotidienne, d’argent, de stratégies amoureuses, du mariage, de la polygamie et des hommes. Alice réalise ce qu’aurait pu être sa vie.

De 20h00 à 22h30 : Soirée de soutien au peuple syrien

20h00

Comme si nous attrapions un Cobra d'Hala Al Abdallah - Inédit
Documentaire, Syrie, 120 min, 2012, scénario d'Hala Al Abdallah, image de Sabine Lancelin et Jacques Mora, montage de Dominique Pâris, Œil Sauvage Productions
La caricature et la liberté d’expression dans la presse arabe, tel était le sujet de ce film commencé à l’été 2010. A travers l’expérience de caricaturistes égyptiens et syriens marquant leur rejet du despotisme dans ces pays, avant et pendant les révolutions. Le film interroge notre capacité à conserver notre libre arbitre et à nous préserver des censeurs.
La cinéaste est née à Hama en Syrie en 1956. Elle vit et travaille depuis 1987 entre la France et la Syrie. Ce film est son troisième long métrage documentaire. 

La projection sera suivie d'un débat avec la réalisatrice.

Informations pratiques

Du 3 au 6 octbre 2013 - Auditorium Philippe Dewitte

-Tarif par séance :  5 € / séance tarif plein et  3,5 € / séance tarif réduit

-Un pass " journée" non nominatif (trois séances) sera vendu au prix de 12 € tarif plein et 10 € tarif réduit.

-Un pass "festival", nominatif (9 séances) sera vendu au prix de 20 € tarif plein et 18 € tarif réduit.

-Les séances d'ouverture et de clôture, l'avant-première ainsi que les tables rondes seront gratuites pour tous, dans la limite des places disponibles. 

Site Internet du Fidel : http://www.lefidel.com

“The filmmaking career running in my blood”, a conversation with Hawa Noor

The trajectory of Hawa Noor from Kenya parallels that of many African women in cinema, who in addition to director, work in various media-related areas such as camerawoman, scriptwriter, festival, forum and conference organizer, cultural events curator, lecturer in media-related areas, all of which play important roles in the culture of cinema. And thus they wear multiple hats, and rather than changing mediums or fields, there is fluidity within these roles. 

Hawa, you told me that your filmmaking career runs in your blood even as you explore other interests. I find this fascinating as in general, African women in cinema reflect your path, integrating filmmaking with other experiences, careers, interests. Talk a bit about yourself, how you became interested in cinema and your work. 

Thanks Beti, I have been the lady behind the camera since I finished my first degree in mass communication. When I went for my first internship at a local newspaper bureau, I preferred to take photos and so I became friend with a still cameraman—a colleague that I always loved to accompany to the field. Soon after, I discovered that I preferred motion images and so I loved the television. The impact and especially, as a journalist I felt a lot of satisfaction when I “told my story to the world”, the simple fact that people were watching the work of my hands was a great motivation especially to my family with whom I could watch my stories in the evening after work. They congratulated me all the time and this gave me motivation to do more. In spite of many challenges involved, I always enjoyed my work as a cameraperson and this allowed me to broaden my scope and produce documentaries.

In 2008 you pursued studies in peace and conflict, what motivated your focus on this subject and how has it intersected with your interest in filmmaking?

Thanks for this important question. After about four years of journalistic work, I developed a sort of fatigue against the routine of simply reporting and so I wanted to tell my story more as a problem solver than just a reporter of information. This idea came to my mind one day when I had gone to Kainuk, a remote village in Kenya, to record footages for a peace documentary I was developing for World Vision. The international Peace Day was held the same week and on that occasion, four children were unfortunately killed by armed militia--a situation that allowed me to witness the incapability of institutions to deal with such a problem. This was the time that I decided I wanted to do a study on peace and conflict in order to play more of a decision-making role that would also allow me to tell my story through film. My studies allowed me to research a lot about, among others, the media, and this landed me a job as a part-time lecturer in media and conflict resolution at the University of Nairobi.

In the courses that you teach on media and monflict resolution at the school of journalism at the University of Nairobi's school of journalism, are cinema students among the journalism students?

My classes match in journalism as a whole; not limited to a certain group only and so film students as well as broadcast journalists have been part of my classes.

What methodologies specific to Peace and Conflict Resolution Journalism are important for a filmmaker to learn?

The most important fundamental message that I have talked about in each of my classes is for practitioners to adhere to ethnics. The impact associated with the mass media is not to be underestimated and so a thorough research is essential in presenting all sides of the story. Ethnical standards and avoiding capitalization on stereotypes (such as ethnic and racial) is also my strong message.

In another conversation with me you have stated that you also do research on peace and security and plan to integrate these issues into documentary work, are you currently in the scriptwriting process? What will the documentaries entail?

After my second degree I was engaged in interfaith peace building and communication work, from which I resigned to start a career as a researcher where my areas of focus includes issues of gender mainstreaming, religion, identity, cohesion and intercultural relations, terrorism and transnational crime, and mass media monitoring. The reason why I like doing research is the fact that I gather enough knowledge in my areas of interest to enable me to practise filmmaking again. As I just started, my paper, currently under review is about gender mainstreaming in Kenya and Somalia and this is the basis of my new documentary in which I plan to communicate my message for change.

Kenya is rapidly developing a cinema culture that is establishing itself internationally, particularly in the sector of popular culture. Do you see a role for your genre of filmmaking and your area of interest within this Kenya cinema culture?

Yes, very much so, both as an insider and as a critic. I hope to bounce back in full speed soonest.

Interview with Hawa Noor by Beti Ellerson, September 2013.

Updated 02 October 2013.

Ng'endo Mukii’s animation/mixed-media film: Yellow Fever, about African women and skin bleaching

Ng'endo Mukii's animation/mixed-media film: Yellow Fever, about African women and skin bleaching.

In my film, I focus on African women’s self-image, through memories and interviews; using mixed media to describe this almost schizophrenic self-visualization that I and many others have grown up with.

The clip opens with an excerpt from the trailer of Yellow Fever, a film by Kenyan film-maker Ng'endo Mukii. She then talks about: what she has been doing as an animator; how the Eurocentric idea of beauty has led to skin bleaches and hair straighteners; the Colour Advantage of those with paler skin; her own childhood experiences as someone with paler skin; and the harmful nature of the chemicals used.

Text sources: thenge.com and YouTube

Image source: nmukii.wix.com

Link: Ng’endo Mukii (Director/Animator/Editor) http://nmukii.wix.com/art02 

ALSO SEE :
African Women and Animation Cinema

Cell Phone Cinema Contest: Imaging Women…Respect (USA)

Cell Phone Cinema Contest: Imaging Women…Respect

Contest open to students worldwide ages 16-22!

Use your cellphone to create a 3-7 minute film short focused on global health and justice for women.

Prizes awarded in Film and Poster categories

January 3, 2014 Entry Deadline

Winning films will be screened at the Annual Women’s History Month Film Festival

Entry forms, rules and scoring rubric at http://www.wim-n.com/contest

Nana Darkoa Sekyiamah talks about the 2nd African Women in Film Forum (23-25 September 2013) Accra, Ghana

Nana Darkoa Sekyiamah, Communications Specialist, AWDF and the designated staff member leading on the organisation of the 2nd AWIFF talks with Beti Ellerson about the 2nd African Women in Film Forum, its objectives and desired outcomes. It will be held in Accra, Ghana from 23-25 September.

Nana, please give a bit of a history of the African Women in Film Forum

The first African Women in Film Forum (AWIFF) was held in 2010 in conjunction with the Lufudo Academy of Performing Arts led by Joke Silva, the internationally recognised Nigerian actress. The theme for that event was 'Nollywood: Women and the Dynamics of Representation', and the focus for that first forum was very much focused on the Nollywood industry. The rich dialogue on the representation of women in Nollywood was kicked off appropriately by a paper presented by Dr Abena Busia, with the title 'Of Cooking, Cars and Gendered Culture'. Professor Busia's paper really spoke to the importance of the Nollywood industry, and its influence on how the rest of the world sees African women. This gave a solid foundation to the subsequent panels and discussions which delved deeper into the issues that arise from limited representations of African women in film.

One of the sessions that got everybody buzzing was entitled 'Saints, Whores, Nags and Witches'. Dedicated viewers of Nollywood might recognise some of these familiar tropes. The evil mother-in-law, the conniving-husband-stealing woman, the Sugar-Daddy-seeking-school girl, the dedicated-church-going wife. These one dimensional characters are not complicated enough, and the AWIFF stressed the importance of showing the full breath of African women's lives. Bibi Bakare Yusuf of Cassava Republic Press who also participated in the forum spoke about the importance of creating artistic works and films that speak to the kind of future we wish to inhabit. That for me was a very important point to make, and one that I also believe. Our reality should not limit our creativity. Our creative expression can also help shape and guide our future reality.

What are the overall objectives of the African Women in Film Forum?

AWDF conceptualised the AWIFF in order to utilise the power of film to accelerate efforts towards gender equity and social justice. We think filmmakers have a powerful role to play in shifting or reinforcing patriarchal attitudes, and we want to work with filmmakers to create a better world for women, and the community at large. 

What were the responses to the First Women in Film Forum?

The response to the first AWIFF was extremely positive. We had many stakeholders in the Nollywood industry represented including key players such as Amaka Igwe, Tunde Kelani and Emem Isong. Time and time again during the first AWIFF participants expressed the importance of creating such a space, and the relevance of maintaining this space. 

What were some of the outcomes? Were there initiatives that followed?

One of the most significant outcomes from the first AWIFF was the decision AWDF took to include the thematic area of 'Arts, Culture and Sports' in our work. This allows us to dedicate more resources towards creating change through popular culture and the Arts. At the first AWIFF, AWDF also committed to support the work of filmmakers telling compelling stories which portray African women in our full diversity. As part of this initiative we are supporting the production of Akin Omotoso's next film, 'Tell Me Something Sweet'. Akin Omotoso of Tom Pictures was a participant in the 1st AWIFF. AWDF also committed to continue to convene the AWIFF as a space for African filmmakers to dialogue around issues of gender, and African women in the film industry more broadly. This is why the 2nd AWIFF which is scheduled for the 23rd-25th of September is Pan-African in nature with representation from across the continent and Diaspora including Burkina Faso, France, Ghana, Cote d’Ivoire, Nigeria, South Africa, United Kingdom, United States of America and Zimbabwe.

Is an objective also to rotate the AWIFF throughout the continent?

Absolutely. The first AWIFF took place in Nigeria because it was aimed at the Nollywood Industry, and so Lagos was the logical city to host the AWIFF. This time round the forum is in Accra, Ghana. The next forum will definitely be held outside of West Africa, and perhaps in a Francophone country. 

What would you like to achieve at the 2nd AWIFF?

Our goals for the 2nd AWIFF are broadly as follows:

- Promote diverse representations of African women in the African film industry

- Provide an opportunity for established and emerging scriptwriters to share and discuss how to make social justice content compelling

- Showcase African films that address social justice issues in fresh and exciting ways

- Engage with the Ghanaian public on the importance of diverse gender representation in the film industry.

Interview with Nana Darkoa Sekyiamah by Beti Ellerson, September 2013.

PROGRAMME

Day 1

23 September

9:00 – 10:00 – Registration

10:00 – Welcome and update on the 1st AWIFF - Sarah Mukasa, Director of Programmes, African Women's Development Fund

10:15 - The state of the African film industry today - Prof Linus, Rector, National Film and Television Institute, Ghana

10:30 – African women in film – Yaba Badoe, Writer and Documentary Filmmaker

10:45 – 1:30

‘You want funding? Is your film about AIDS?’ – Facilitator, Sefi Atta, Writer and Playwright
This roundtable discussion on writing compelling social issues for the screen will raise and aim to address issues such as:

- What types of scripts are African women dramatists/film makers producing? 

- What are the practicalities and challenges of producing a script? 

- Where do women find the money to write? 

- What agendas do NGOs have in filmmaking? 

- Which audiences are women dramatists aiming to reach?

- What distribution channels are women filmmakers using?

10:45 - 1:30 (Parallel session)

Script writing master class - Facilitator, Ade Solanke, Playwright and Scriptwriter
This master class on script writing will provide tips and techniques on how to write a compelling script and identify ways in which social justice issues can be explored in film

1:30 – 2.30: Lunch Break

2.30 – 3.30

Donor panel on funding for the film industry
This session is an opportunity for funders and filmmakers to have an open conversation about funding opportunities, challenges and to identify ways of working together .
Korkor Amarteifio - Associate Director, Institute for Music and Development 

Sarah Mukasa - Director of Programmes, African Women's Development Fund Stéphanie Soleansky - Cultural Affairs Attaché, Institut Français du Ghana

Facilitator: Tsitsi Dangaremgba, Writer, Filmmaker, and Founder of the International Images Film Festival for Women

3.30 – 4.30

Identifying Producers, Co-Producers and Film Project Development

This session will focus on how to find producers and co-producers for your film project. This will include the artistic development of a project, and practical insights on how to meet key people in the film industry, whilst gaining recognition in the international film world.

Facilitator: François d'Artemare, Producer and founder of Les Films de l'Après- Midi

6:00pm - 9:00pm

Film screenings and Q&A at Alliance Française

On the Border - Tsitsi Dangarembga

The Witches of Gambaga - Yaba Badoe

Day 2

24 September

10:00 – Screening of a TV episode with script written by Lodi Matsetela

10:30 – 12:30

In Conversation with:

Yaba Badoe - Writer and Documentary Filmmaker

Sarah Bouyain – Writer and Director

Lodi Matsetela – Writer, Producer and Director

Facilitator: Dr Beti Ellerson, Director, Centre for the Study and Research of African Women in Cinema

12:30-1:30 – Lunch

1:30 – 3.30

The Ghanaian Film and Television Industry: Challenges, opportunities and the way forward.

Kwaw Ansah – Writer, Director and Producer
Anita Erskine - TV Host, Producer and Communications Professional

Veronica Quashie – Writer and Film Director

Facilitator: Vincentia Akwetia, Dean of Studies, NAFTI

6.00pm - 9.00pm

Film screenings and Q&A at NAFTI

Perished Diamonds - Anita Afonu
Notre Etrangere/The Place in Between - Sarah Bouyain

Day 3

25 September

10:00 – Screening of Kwaku Ananse - Akosua Adoma Owusu

10:30 - 12:30pm

The Way Forward: African Women in Film

Tsitsi Dangaremgba - Writer, Director and Founder of the International Images Film Festival for Women

Amaka Igwe – Writer and Director

Akosua Adoma Owusu - Director

Ade Solanke – Playwright and Scriptwriter

Facilitator: Dr Sionne Neely, Knowledge Management Specialist, AWDF

12:30 – 1:30

Action group meetings

1:30 – 2:20 Lunch

2:30 – 3:30

Closing address

Dr Yaba Blay, Co-Director and Assistant Teaching Professor of Africana Studies at Drexel University. Consulting Producer for CNN Black in America 5 – “Who is Black in America?” – a television documentary


Also read about other proceedings on conferences, forums and meetings of African Women in Cinema on the African Women in Cinema Blog:

Report on the 2nd African Women in Film Forum (AWIFF) - Accra, 23-25 September 2013. Follow link

Keynote: "40 years of cinema by women of Africa" by Beti Ellerson. Colloquy: Francophone African Women Filmmakers: 40 years of cinema (1972-2012), Paris, 23 and 24 November 2012. Follow link

Report on the Colloquium-Meeting "Francophone African Women Filmmakers: 40 years of cinema (1972-2012)" - Paris, 23-24 November 2012. Follow link

Report on Afrikamera 2012 Women on and behind the screen. Follow link

Women and Film in Africa: Overcoming Social Barriers, University of Westminster, London, 19–20 November 2011. A report by Bronwen Pugsley. Follow link

Report on the International Images Film Festival for Women 2011 (Harare, Zimbabwe). Follow link

Report on the African Women Filmmakers Forum 2010 - Johannesburg. Follow link

Proceedings from the 1st African Women in Film Forum - Lagos, 16-17 June 2010. Follow link

Luxor African Film Festival 3rd Edition - 16-24 March 2014

Luxor African Film Festival 3rd Edition - 16-24 March 2014

Regulations:

- Submitted Film should be an African production, by an African director with a plot in Africa or related to Africa.

- Submitted Film should be a 2013 production.
- ِِA committee will choose the films that participates in LAFF competition.

- Participating films should not have been screened in the Egyptian cinemas. - Calls for Participation starts Sept. 1, 2013.

- Deadline to receive the application form, two DVD copies of the film along with promotional material (posters, flyers, stills, and synopsis) is Dec. 15, 2013.

Download Regulations and Form : HERE