The purpose of the African Women in Cinema Blog is to provide a space to discuss diverse topics relating to African women in cinema--filmmakers, actors, producers, and all film professionals. The blog is a public forum of the Centre for the Study and Research of African Women in Cinema.

Le Blog sur les femmes africaines dans le cinéma est un espace pour l'échange d'informations concernant les réalisatrices, comédiennes, productrices, critiques et toutes professionnelles dans ce domaine. Ceci sert de forum public du Centre pour l'étude et la recherche des femmes africaines dans le cinémas.


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27 April 2019

African Women in Film, the Moving Image, and Screen Culture by Beti Ellerson (Oxford Research Encyclopedias - African History - Women's History) April 2019

African Women in Film, the Moving Image, and Screen Culture by Beti Ellerson (Oxford Research Encyclopedias - African History - Women's History) April 2019

Subject: African Diaspora, Historiography and Methods , Image of Africa, Women’s HistoryOnline Publication Date: Apr 2019 DOI: 10.1093/acrefore/9780190277734.013.496


While African women in film have distinct histories and trajectories, at the same time they have common goals and objectives. Hence, “African women in film” is a concept, an idea, with a shared story and path. While there has always been the hope of creating national cinemas, even the very notion of African cinema(s) in the plural has been pan-African since its early history. And women have taken part in the formation of an African cinema infrastructure from the beginning. The emergence of an “African women in cinema movement” developed from this larger picture. The boundaries of women’s work extend to the global African diaspora. Language, geography, and colonial legacies add to the complexity of African cinema history. Women have drawn from the richness that this multiplicity offers, contributing on local, national, continental, and global levels as practitioners, activists, cultural producers, and stakeholders.

Keywords: African women in cinema studies, intersectionality, moving image, screen culture, transnational, African women’s history

25 April 2019

The first two of Zimbabwean #MeToo stories produced by WFOZ: "Picture My Life Story" 1 and 2 from ICAPA on Vimeo

The first two of Zimbabwean #MeToo stories produced by WFOZ: Picture My Life Story 1 and 2 from ICAPA on Vimeo 

These Zimbabwean #MeToo stories break the silence of all forms of violence against women, allowing the survivor's stories to be told. Inspired by the Breaking the Silence project of the Institute of Creative Arts for Progress in Africa (ICAPA): The project seeks to give space to survivors of any form of violence and for whatever reason to speak out through different forms of art. The project's aim is to BREAK THE SILENCE SO AS TO BREAK THE CYCLE.

Formed in 1996, Women Filmmakers of Zimbabwe's general objective is to increase the participation of women in the film industry in the country.

Picture My Life Story 1 from ICAPA

Picture My Life Story 2 from ICAPA

NETFLIX: Mama K’s Team 4, animated series/série animée by/de Malenga Mulendema (Zambia)

NETFLIX: Mama K’s Team 4, animated series/série animée by/de Malenga Mulendema 

Netflix to release its first African animated series. Mama K’s Team 4, produced by Cape Town-based Triggerfish Animation Studios and leading London-based kids’ entertainment specialist CAKE.

Mama K’s Team 4 tells the story of four teen girls living in the neo-futuristic African city of Lusaka, Zambia who are recruited by a retired secret agent still committed to saving the world. 

Mama K’s Team 4 is created by Zambian writer Malenga Mulendema and designed by Cameroonian artist Malcolm Wope. It draws visual inspiration from retro-’90s R&B and hip hop girl groups.


Netflix a annoncé la sortie de Mama K’s Team 4, sa première série animée africaine, produit par les studios d’animation Triggerfish d’animation du Cap et le spécialiste américain du divertissement pour enfants basé à Londres, CAKE.

Mama K’s Team 4 raconte l’histoire de quatre adolescentes vivant dans la ville néo-futuriste africaine de Lusaka, en Zambie, qui sont recrutées par un agent secret à la retraite toujours déterminé à sauver le monde. 

La série a été créée par l’écrivaine zambienne Malenga Mulendema et conçue par l'artiste camerounais Malcolm Wope, s'inspire visuellement des groupes de R & B et de hip-hop rétro-années 90.

12 April 2019

African Women in Cinema Blog Updates | Actualités - 12.04.2019 - News around the Internet | Les infos autour de l’Internet

African Women in Cinema Blog Updates | Actualités - 12.04.2019
News around the Internet | Les infos autour de l’Internet


Nadège Beausson-Diagne
Isabelle Boni-Claverie
Fatoumata Coulibaly
Wanuri Kahiu
Matamba Kombila
Bongi Ndaba
Zalika Souley
Rama Thiaw
Marwa Zein

Isabelle Boni-Claverie
The Black Experience in French Cinema: a film retrospective and a conference

Wanuri Kahiu
Director Wanuri Kahiu: 'The vilest comments have been from people I love'

Matamba Kombila
Matamba Kombila, a la decouverte d'une cinéaste gabonaise exceptionelle. 11 avril 2019. Gabon Celebrities.

Akosua Adoma Owusu
Video Room: Akosua Adoma Owusu, exhibition as part of the the Histories of Women, Feminist Histories cycle at MASP in Sao Paulo, Brazil.

Zalika Souley
Zalika Souley. 8 avril 2019. Nigercine

Rama Thiaw
Rama Thiaw: La réalisatrice qui interroge les féminités africaines.

Marwa Zein
Khartoum Offside: Festival de Cine Africano FCAT


Nadège Beausson-Diagne - #mempaspeur
Cine Femmes& Cinema Le Mag
Extrait épisode 14 du 06 avril 2019 avec l'actrice Nadège Beausson-Diagne qui nous parle du mouvement #memepaspeur contre les violences faites aux femmes dans le milieu du cinéma.

Fatoumata Coulibaly
L'après coup, la voix ds Maliennes ce soir le 9 avril a l'institut Culturel Français de Bamako. En présence de Fatoumata Coulibaly. 
Bongi Ndaba

10 April 2019

Women in Cinema, Visual Media and Screen Culture in Lusophone Africa

Women in Cinema, Visual Media and Screen Culture in Lusophone Africa

Sarah Maldoror, was the first woman to do a film. The first film about Angola was made by a woman, there was no cinema before this. It was against colonialism, it was a very political cinema. It was a cinema that was found in the working-class districts--Pocas Pascoal

Women's presence in cinema, visual media and screen culture in Lusophone Africa dates to 1972 with the work of diasporan Sarah Maldoror. The screen cultural practices of women working in the Lusophone African diasporas, notably Angolan and Cabo Verdean continues into the present.

French Guadeloupian Sarah Maldoror, both on a personal and professional level, has been closely connected to Africa. A politically engaged filmmaker, she directed three films focusing on Africa, notably the internationally acclaimed Sambizanga (1972), the first film about the Angolan liberation struggle. In her personal life: she was married to Mario de Andrade, Angolan writer and one of the leaders of the Popular Movement for the Liberation of Angola (MPLA). Both film scholars and cinema professionals attest to her influential contribution to Angolan cinema, African lusophone cinema and African cinema in general. In 2011, Sarah Maldoror received the National Order of Merit from the French government for her contribution to culture. She was honoured in this way:
Dear Sarah Maldoror, you are an outspoken rebel, a fighter of injustices, a resolute humanist. Throughout your career, through the lens of your camera, you have always fought in order to tell and present, realistically and poetically the harshest of realities. For all of us, your perspective of the memory of slavery and colonialism has a distinct value. On behalf of the President of the Republic, we declare you a Knight of the National Order of Merit. Togolese filmmaker and international lawyer, Anne-Laure Folly who was mentored by Sarah Maldoror, made a film that was also set in Angola, Les oubliées (The forgotten women, 1996), which  gives voice to the Angolan women left to deal with the ravages of the civil war. Anne-Laure Folly had this to say about Sarah Maldoror:  Sarah…inspired me to do [Les oubliées]. She made a film called Sambizanga, which in my opinion is one of the masterpieces of African cinema. When I saw it, I had a desire to make a film thirty years later, about Angola. She cleared the way by showing the Angola war interpreted from the perspective of a woman. My approach is not a pioneering one; she has already done that.” Though neither Sarah nor Anne-Laure is Angolan, they share a pan-African vision, and a commitment to the history of Angolan struggle and in particular to women’s experience within it. In the beginning quote, Pocas Pascoal describes Sarah Maldoror as a role model for Angolans. Emerging among the next generation of Angolan cinema, she too is a first, as a pioneering camera operator. She directed the feature film Alda & Maria (2011), continuing the representation of women and war in Angola. Set in 1980, it follows the experiences of two sisters, 16 and 17 years old, as they attempt to reconstruct their lives in Lisbon after fleeing the civil war in Angola. To add to the gallery of pioneering women, Angola-born Maria João Ganga, is the first Angolan woman to make a feature film, Hollow City (2004).

The contribution of the Cabo Verdean diaspora has been invaluable to Cabo Verdean film culture and African cinema in general, notably the scholarship of second generation Cape Verdean American filmmaker and scholar Claire Andrade Watkins. Moreover, women of the Portuguese Cabo Verdean diaspora have collaborated on and directed a few films, and as film activists, are involved in African film festival planning and programming. Portugal-born Isabel Moura Mendes was at the helm of the state-owned Cabo Verdean national television channel, TCV in 2004 and has been involved in the production of a number of African lusophone documentaries. In addition, she is a programmer for various film festivals and film events in Europe.

The diasporic practices of remembering through cinematic journeying, is prevalent among African descendant filmmakers. Such as Belgium-based actress, stage actor and filmmaker Babetida Sadjo, who directed the autobiographical film, Bafata. The film follows Babetida on her journey back to her childhood and her homeland, Guinea-Bissau, related as a personal tale in the form of a travel diary. Her fiction film Hematome (2021), in which she also interprets the protagonist, recounts the experiences of Judith, who twenty five years later, dares to break her silence that shattered her life in order to find justice for the rape that she suffered as a child. Multi-faceted artist and cultural producer Vanessa Fernandes, of Cabo Verdean and Guinea-Bissau parentage, was born in the latter country and has studied, lived and worked in Europe, currently in Portugal, where she engages in afro-descendant discourse regarding both countries. Her first short film, Si Destinu (2016), was awarded Best Short Film at the Cabo Verde International Film Festival in 2016. Her trajectory is indicative of many transnational African women cultural practitioners, informed by their exilic, diasporic subject position.

Mozambican Isabel Noronha, at the same time one of the few, is the most visible woman practicing filmmaking in the country, and her contribution has been crucial to Mozambican knowledge production. In an interview by Max Annas and Henriete Gunkel (Gaze Regimes: Film and Feminisms in Africa eds. Jyoti Mistry & Atnje Schuhmann, 2015), she talks about the early history of Mozambican women of the moving images, noting the work of Fátima Albuquerque, who directed some of the first films in the 1980s. She observed that when joining the Instituto Nacional de Cinema (INC) in 1984, there was a cohort of women in diverse functions at the national cinema institute, working as production assistant, specializing in film lab developing, and in film distribution. She also emphasized that at the time, politically, there were strict rules regarding gender parity, hence discrimination was forbidden. Therefore, the politics of the epoch empowered women to participate, which led to the training of a cadre of women practitioners in the decade after the independence of Mozambique.  

Psychologist, intellectual and multi-media artist Grada Kilomba, whose ancestral homelands are both São Tomé-Príncipe and Angola, was born in Portugal and is based in Germany. As many transnational cultural producers, she situates her work within the global African diaspora. In addition to her short films and video installations, she employs the moving image to perform her ideas and discourse on the myriad issues of race, knowledge, power and postcoloniality.

A list of Lusophone African women in cinema, visual media and screen culture, which is not exhaustive, includes:
Angola: Sarah Maldoror, Denise Salazar, Maria João Ganga, Pocas Pascoal, Hariana Verás
Cabo Verde: Isabel Moura Mendes, Claire Andrade Watkins, Ana Rocha Fernandes, Vanessa Fernandes, Ana Lucia Ramos, 
Guinea-Bissau: Babetida Sadjo, Vanessa Fernandes
Mozambique:  Moira Forjaz, Fatima Albuquerque, Isabel Noronha
São Tomé-Príncipe (and Angola): Grada Kilomba

SOURCE: Black Camera, An International Film Journal: African Women in Cinema Dossier: African Women of the Screen as Cultural Producers: An Overview by Country  (Fall 2018)

Additional reading:

Katy Stewart. "Female bodies on Lisbon’s margins : Space, embodiment and (dis)possession in Alda e Maria (Pocas Pascoal, 2011)". Ed. Rebeca Maseda García, María José Gámez Fuentes, Barbara Zecchi. Gender-Based Violence in Latin American and Iberian Cinemas. Routledge: 2020.


Articles on women in cinema, visual media and screen culture in Lusophone Africa
from the African Women in Cinema Blog


Grada Kilomba, psychologist, intellectual, multimedia artist : Talk at the 2019 Verbier Art Summit

International Colloquium and Film Screenings: Women's Struggles in the Cinema of Africa and the Middle East, 12-13 May 2016, CEAUP, Porto, Portugal

AFRICANA STUDIA 26 : Lutas de Mulheres no Cinema de África e do Médio Oriente | Women's Struggles in the Cinemas of Africa and the Middle East | Les luttes des femmes dans les cinémas de l’Afrique et du Moyen-Orient

Claire & Angèle, Nadia, Pocas, Rama, in/en conversation: To be a woman filmmaker in Africa | Être réalisatrice en Afrique

Pocas Pascoal (Angola) : Alda and Maria | Alda et Maria

Focus on Isabel Moura Mendes

Maria João Ganga's Hollow City

Sarah Maldoror: Role Model and Pioneer

09 April 2019

You Come from Far Away, a film by Amal Ramsis (Egypt)

You Come from Far Away, a film by Amal Ramsis (Egypt)

Imagine that you have siblings but you can’t talk to them because you don’t speak the same language. Imagine that you have parents but you were raised without them. The film tells the extraordinary story of a Palestinian family dispersed the turmoil that steered the last century, as if the 20th century was summed up in the life of a single family: From the Spanish Civil War in which the father Najati Sidki fought against Franco to World War II, Nakba and Lebanese Civil War.


The role of Arabs in the Spanish Civil War has only been associated with the Moroccan troops who were brought to Spain by Franco in order to fight against the Republicans. This image has been predominant throughout the last several decades, overshadowing the existence of the many other Arabs who were among the international volunteers who defended democracy. The story of Sidki, a Palestinian journalist who came to Spain as one such volunteer, reveals this little-known historical fact. The war was a turning point for Sidki’s family, and particularly for his eldest daughter Dulia, who was stuck in Russia for 20 years and had to live her life separated from her family. The turmoil that steered the 20th century dispersed Sidki’s family: the Spanish Civil War, World War II, the Nakba and the Lebanese Civil War; the 1900s are retraced through the story of this one family. (Source: Facebook)


Amal Ramsis is an Egyptian filmmaker who was born and raised in Cairo. She has conducted numerous workshops around the world with women who have no experience in filmmaking. Ramsis is the founder and the director of Cairo International Women’s Film Festival.

Her films “Only Dreams” (2005) “Life” (2008), “Forbidden” (2011) and “The Trace of the Butterfly” (2014), screened in many festivals have received several international awards.

Image Source: Twitter

Emergence Films Festival 2019 : Inscriptions ouvertes | Call for films - Edition 6 (Togo) Thème : Cinémas d’Afrique : quelle place pour les femmes ? | Women's place in African cinemas

Emergence Films Festival :
Inscriptions ouvertes | Call for films 
6ème | 6th Edition 2019 - (Togo)
Thème : Cinémas d’Afrique : quelle place pour les femmes ? Women's place in African cinemas

Call for films | Inscriptions ouvertes
Deadline 30 August 2019 at 23h59 GMT | 
Clôture des inscription 30 août 2019 à 23h 59 GMT

Présentation | Presentation

Created in December 2014, by Togolese filmmaker Joel M'Maka Tcheredre, EMERGENCE is a film festival open to young African filmmakers who have a film (Fiction or documentary) with a maximum duration of 30 minutes for the competition category and a film of more than 30 minutes for the out-of-competition category.

The EMERGENCE FESTIVAL is held during 4 to 6 days each year in November and is preceded by a call for films of which about twenty films are selected for competition.

The activities of the festival include screenings of films in competition and out of competition. Training workshops, a Masters class on cinema, and conferences and round tables on specific topics.

Five awards are presented at the closing of the festival: The best documentary film, the best fiction film, the jury's award, the best male interpretation and the best female interpretation.


Créé en décembre 2014, par le jeune cinéaste togolais Joel M’Maka Tchedre, EMERGENCE est un festival de films ouvert aux jeunes cinéastes africains qui ont un film (Fiction ou documentaire) d’une durée maximale de 30 minutes pour la catégorie compétition et un film de plus de 30 minutes pour la catégorie hors compétition.

Le festival EMERGENCE se déroule chaque année au mois de novembre pendant 4 à 6 jours et est précédé d’un appel à films suite auxquels sont retenus une vingtaine de films pour une compétition.
Pour les activités du festival, il s’agit des projections de films en compétition et hors compétition. Des ateliers de formation, des Masters Class sur les métiers de cinéma et des conférences et tables ronde sur des thématiques précis.

Cinq Lauréats sont primés à l’issu de la compétition : Le meilleur film documentaire, le meilleur  film de fiction, le coup de cœur du jury, la meilleure interprétation masculine et la meilleure interprétation féminine.

04 April 2019

Nnenna, the film: Crowdfunding of African Women Filmmakers' Hub first feature film

Nnenna, the film:
Crowdfunding of African Women Filmmakers' Hub first feature film

"This is a watershed moment for women's filmmaking on the African continent. We are women working together with no governments or other institutions involved - truly independent film-making" --Tsitsi Dangarembga, Executive Producer

For more information on the Indiegogo campaign and to make a contribution:

Bullied by the glamour girls in her class, frustrated with her mother’s inability to discuss sex, 14 year old Nnenna explores the intimacies of love and sexuality with her best friend's brother. African women collaborate to tell an African story in this moving Nigerian high school drama.

Short Summary
Neither Mum nor the biology will answer Nnenna's questions about sex, menstruation and all the new things  14 year old Nnenna experiences in her body and emotions.  Older sister Adaora tries to help, but, she's busy bunking out of the house for the social life Mum forbids.  The "belles" in Nnenna's class mock Nnenna for her boyish frame and late start to her periods.  But it's Nnenna that Kunle, the most attractive boy in the school falls for.  Ify, one of the belles, goes after Kunle, pushing Nnenna to prove to Kunle that she is as sexy and attractive as the belles are.  When Mum finds out about the relationship, Nnenna escapes Mum's violent punishments to find solace in Kunle's arms.  The two young people do not foresee the consequences coming their way.

The Team
Tsitsi Dangarembga, Executive producer, creative producer, story editor
Ifesinachi Okoli-Okpagu, screenwriter, co-producer
Ifeoma Chukuwogu, director

03 April 2019

Matamba Kombila: Sens Dessus Dessous (Gabon) screening | projection

Matamba Kombila: Sens Dessus Dessous (Gabon) screening | projection

Sens Dessous Dessous by Matamba Kombila [tr. turn upside down] is a mini series of 9 episodes of 9 minutes each, with the story of the tribulations of four deaf-mute teenagers. The series will be presented in its entirety at the French Institute of Gabon on Wednesday April 3rd, 2019 at 8pm.

« Sens Dessus Dessous » de Matamba Kombila est une mini série de 9 épisodes de 9 minutes chacun, ayant pour trame les tribulations de quatre adolescents sourds-muets. La série sera présentée dans son intégralité à l’Institut Français du Gabon le mercredi 3 avril 2019 à 20h.

Matamba Kombila :
(Image: Nos Pépites D'Or Facebook Page)

Matamba Kombila is a filmmaker who lives between New York City and Libreville…She made two experimental shorts in 2014, A Walk in Beauty and A Walk in Purpose. A Walk in Purpose screened at various festivals and shows in Europe and the USA. Her third film Telesourd, shot in 2015, screened at Real Sisters Film Fest 2015, AFRIFF2015 and LAFF2016 among others, and received two awards. Her fourth installment DD Teddy Bear, was released early 2016. In 2016, she produced award winning director Ekwa Msangi’s film, Farewell Meu Amor; and Gabon filmmaker Fernand Lepoko’s feature, Matris.

Matamba Kombila, une réalisatrice gabonaise qui se donne pour objectif de réduire la frontière de communication, entre les sourds et personne dites normales…Styliste et designer à l’origine, sa créativité mêlée à son âme humaniste lui ont donné la capacité d’écrire sur des aspects à forte tonalité sociale, singulièrement celles qui sont perceptibles dans son pays le Gabon.

[français ci-après]
(Source: Nos Pépites D'Or Facebook Page)

Presentation of the 9 episodes of the series

Episode 1: TéléSourd
Anoushka, Chris Levy, Livia and Pierre, frustrated by their difficulties in communicating with their families, invent a revolutionary machine that allows them to break the barriers of language, offering them hitherto unimaginable possibilities.

Episode 2: Independence ChaCha
The relationship between Anoushka and her mother-in-law deteriorates to such an extent that Anoushka has to leave her family to live alone, her new independence in rhythm with a renewal of the rights of the deaf in Gabon.

Episode 3: A word to the wise
The assault on Pierre by thugs in the middle of the day once again reminds the group of their vulnerability and motivates them to find a superb solution for their protection, which they succeed in pressing the community and the police to accept.

Episode 4: Caramels and Chocolates
Livia's efforts to find an apprenticeship in her dream job fail, so Anoushka, Chris Levy and Pierre conspire to get her hired in her preferred business until she is successfully integrated.

Episode 5: Oh Love!
When Chris Levy falls in love with the girlfriend of one of his good friends to whom he is teaching sign language, Anoushka, Livia and Pierre help him to declare his love for her, and hence, he finds not only an emotional equilibrium but also a personal one.

Episode 6: Dad, or dad?
When Peter's girlfriend is pregnant and Peter's future threatens to be destroyed, Chris Levy and the girls galvanise the community to help the young couple, obliging Pierre to discover the extent of his ignorance regarding sexuality.

Episode 7: Ouch
When Anoushka fractures both wrists, handling her recovery proves very complicated, until her friends find some solutions, and the need to know how to sign becomes apparent to the family of deaf people.

Episode 8: Mom, forever
Chris Levy's mother chases him out of the house because he does not respect her scholastic rigor, therefore, he queries the mechanism that perpetuates his difficult relationship with her until they decide to learn to understand each other.

Episode 9: The future, to come
When a gentleman tries to seduce Anoushka and offers her a materially secure future, Livia, shocked, makes every effort with her friends to keep Anoushka away from her beau, and makes her discover his true face.

Diffusion des 9 épisodes de la série

Episode 1 : TéléSourd
Anoushka, Chris Levy, Livia et Pierre, frustrés par leur difficultés à communiquer avec leurs familles, inventent une machine révolutionnaire qui leur permet de briser les barrières du langage, leur offrant des possibles jusque là inimaginables.

Episode 2 : Indépendance ChaCha
Les relations entre Anoushka et sa belle-mère se dégradent à tel point qu’Anoushka doit se séparer de sa famille pour aller vivre seule, sa nouvelle indépendance rimant avec un renouveau des droits des malentendants au Gabon.

Episode 3 : A bon entendeur
L’agression de Pierre en milieu de journée par des brigands rappelle une fois de plus au groupe leur fragilité et les motive à trouver une solution géniale pour leur protection, qu’ils réussissent à imposer à la communauté et aux forces de l’ordre.

Episode 4 : Caramels et Chocolats
Les efforts de Livia pour trouver un apprentissage dans son métier rêvé échouent, alors Anoushka, Chris Levy et Pierre conspirent afin de la faire embaucher dans son entreprise préférée, jusqu'à ce qu’elle y soit intégrée avec succès.

Episode 5 : Oh l’Amour !
Lorsque Chris Levy tombe amoureux de la petite amie d’un de ses bons amis à qui il apprend le langage des signes, alors Anoushka, Livia et Pierre l’aident à affirmer son amour pour elle, et il trouve ainsi un équilibre non seulement affectif mais aussi personnel.

Episode 6 : Papa, ou papa ?
Quand la petite amie de Pierre s’avère enceinte et que l’avenir de Pierre menace d’être détruit, Chris Levy et les filles activent la communauté pour aider le jeune couple, obligeant Pierre à découvrir l’abime de son ignorance de la sexualité.

Episode 7 : Aouch
Lorsqu’Anoushka se fracture les deux poignets, la gestion de sa convalescence se révèle très compliquée, jusqu'à ce que ses amis trouvent des solutions et que la nécessité de savoir signer devienne évidente aux parents de sourds.

Episode 8 : Maman, pour toujours
La mère de Chris Levy le chasse de la maison car il ne respecte pas sa rigueur éducative, alors il remet en question les mécanismes de sa relation difficile avec elle, jusqu'à ce qu’ils décident d’apprendre à se comprendre.

Episode 9 : L’avenir, a venir
Lorsqu’un Monsieur tente de séduire Anoushka et lui propose un avenir matériellement assuré, Livia, choquée, met tout en œuvre avec ses amis pour éloigner Anoushka de son beau, et lui font découvrir son vrai visage.

02 April 2019

Grada Kilomba, psychologist, intellectual, multimedia artist : Talk at the 2019 Verbier Art Summit

Grada Kilomba Talk
at the 2019 Verbier Art Summit

Psychologist, intellectual, and multimedia artist Grada Kilomba, whose ancestral homelands are both Sao Tome and Angola, was born in Portugal and is based in Germany. As many transnational cultural producers, she situates her work within the global African diaspora. In addition to her short films and video installations, she employs the moving image to perform her ideas and discourse on the myriad issues of race, knowledge, power, and postcoloniality. (1)

By translating her post-colonial research into visualisation, the artist Grada Kilomba reflects on the importance of transforming traditional knowledge production. Exploring the importance of questioning, the 2019 Summit speaker Grada Kilomba addresses how culture is not 'neutral' and proposes strategies of decolonising knowledge via a process of 'unlearning'. Source: YouTube

(1) African Women of the Screen as Cultural Producers: An Overview by Country. Beti EllersonBlack Camera: An International Film Journal, African Women in Cinema Dossier Vol. 10, No. 1 (Fall 2018), pp. 245-287.

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