WHEN NOLLYWOOD INVADED PARIS

Those who were slightly familiar with my artistic preoccupation, have asked me "what is it exactly that might have propped the mind of a dancer/choreographer, with such an outrageous touring calendar, that turns him into a die hard fan of Nollywood?" 
It is indeed a curious case, but there is surely an explanation, i take it therefore that, since I deal with body movements, with the texture and architecture of moving bodies on stage, and cinema on the other hand, deals with motion pictures in frames, meanwhile, the stage, just like cinema plays with the tones of light, shadows and color. As a dancer, I've told stories with my works, just as cinema does; so, in that magical territory of visual spectacle and of story-telling, you can see that I am not a learner.

As a creative artist however, raised on Nollywood stories in Lagos, a professional life in Paris and across the globe, has made the dream of a different utopia evident for me, with few friends we have previously organized a tour around six African cities, for a documentary film project i titled "Do We Need Coca Cola to Dance?" The title alone attest to my never ending quest for fresh air, for a different story and evidently; a different utopia. Then a strange idea came; NollywoodWeek in Paris.

Just the sound of it give hints of a wonderful thing. The nollywood story is by any consideration a most phenomenal story, for an industry that began almost by accident, and has not benefited from any official nor foreign support. A totally homegrown industry. Nollywood has created its proper commercial path, through popular and old fashion manner of reaching out from doors to doors, it has therefore, positioned itself as the legitimate business model, for the way Africa must position itself within global negotiations. 

Nollywood now prides itself as the first homegrown african initiative with a global appeal. Everywhere you travel these days, you will realize that Nollywood have been there before you. Therefore the question for me was, what should a NollywoodWeek Paris be like? Because a phenomenon like Nollywood, More than a Festival, the appropriate gesture must be that of gratitude, that is, a wonderful occasion to say thank you to all those who dreamt what was to become Nollywood today, This enormous success of the contemporary Nigerian cinema, has made a complete redefinition of contemporary African art. Without any formal schooling, without recourse to foreign assistance, without the benefit of hefty budgets or of any of the dazzling gadgetry of Hollywood, Nollywood outstrips all its former predecessors, within the first two decade of its birth, and initiated a completely novel cinematic genre in global media. 

It is indeed a story to marvel about, worthy of celebration and sharing with the world, that a group of half-literate dramatists of the popular traveling theatre tradition, seeing their trade tottering on the brink of extinction, because of the harsh economic policies of the 80s, could, out of desperation, seize the opportunity of newer technologies, and, in alliance with small-scale entrepreneurs, they harnessed it with such inventiveness, and now their successors have tirelessly turned it into a multi-million naira film industry, whose products have almost completely displaced the far more sophisticated, far more technically competent products, of Hollywood and Bollywood. 

Between May 30 to June 2nd, YK Projects presented the first edition of NollywoodWeek in Paris, at the Cinema l'Arlequin, in the heart of Paris, France. We gathered around 1500 spectators from around the world. In addition to having access to watch the most recent and talked about films from Nigeria on the big screen, seven movies were screened; MAAMi, PhoneSwap, IJE, INALE, Tango With Me, Last Flight to Abuja and Man On Ground. Our festival attendees also had the opportunity to meet the directors, producers, actors, scholars and French based film industry professionals during conferences and Q&A sessions held throughout the festival. 

For four days, Parisians celebrated Nigerian cinema and voted the film Phone Swap by Kunle Afolayan as the Public Choice Award winner for this first edition of NollywoodWeek. With the added Nigerian touches throughout the weekend, from Nigerian cuisine at the 'Lagos Lounge' to live musical performances, including a surprise session from Keziah Jones on the Opening Night, many walked away feeling this event was a success. As we celebrated however, we were equally aware that we are simultaneously responding to the increasing global curiosity for Nollywood movies. With this festival we have been able to speak to millions of Parisian cinephiles, who are so much in deep need, and deep thirst of a different utopia; watching stories, films, images, made by people who they share imaginations, questions, thirsts, needs, and dreams with. 

Lastly, We at Yk Projects are very much honored to present the best of New Nollywood to an entirely new audience, to make a resounding echo of all those who worked so hard to make the dreams become films; to be watched all over nigeria, all over Africa and throughout the world. With this new platform, we also hope to create an annual hub, for all those scholars, journalists and researchers who have taken their time, to record and document a phenomenon that is constantly changing and constantly evolving. And to make it a legitimate meeting point between actors, directors, producers, co-producers, distributors and other industry professionals to exchange, to inspire one another and eventually, do things together.

Qudus Onikeku
Founder and Artistic Director
YK Projects
Co-founder and Artistic Director
NollywoodWeek Paris. www.ykprojects.com | www.nollywoodweek.com

Filming in SOUTH PACIFIC/ VANUATU/ PENTECOST ISLAND

                          

Filming in SOUTH PACIFIC/ VANUATU/ PENTECOST ISLAND land divers!!! check out the jump

"Technically, the time of yam harvest is significant because tower construction is best done during the dry season. The vines are selected by a village elder and matched with each jumper’s weight without any mechanical calculations. The vines need to be supple, elastic, and full of sap in order to be safe. The ends of the vines are shredded to allow the fibres to be looped around the ankles of the jumpers. If the vine is too long, the diver can hit the ground hard, but if the vine is too short, then the diver can collide with the tower. During the jump, the platform supports snap, causing the platform to hinge downward and absorb some of the force from falling. Before diving, the men often bring closure to unsettled business and disputes in case they die. The night before the jump, divers sleep beneath the tower to ward off evil spirits."

THE KALASHA AND THE CRESCENT : BY IARA LEE

                     
  

IARA LEE filmed the KALASH indigenous resistance movement in northern PAKISTAN with the hope of opening a debate about the challenges facing the Kalash culture today. Her new short THE KALASHA AND THE CRESCENT will also be used as tool to launch a full length documentary, to be made by Kalash archeologist and NATIONAL GEOGRAPHIC 2013 emerging explorer SAYED GUL, who will be filming her community's struggle with the hope of bringing awareness and engagement from the int'l community to support this vibrant but threatened culture!

Diepe Grond - to premiere at Durban International Film Festival

African Gothic  

A new film based on Reza de Wet’s master piece – 

Diepe Grond - to premiere at 

Durban International Film Festival

African Gothic, a bold new international film version of Reza de Wet’s iconic masterpiece, Diepe Grond, will have its South African and African premiere at the Durban International Film Festival in July.

African Gothic is a gritty, poignant drama set in a decaying farmhouse in the desolate heart of the parched Free State, about a dangerous and passionate relationship between deeply troubled lovers, their benign domestic worker and a hapless lawyer who pays them a visit. The production features two South African-born actors from Johannesburg who play the pivotal roles of Frikkie and Sussie: Damon Shalit plays the menacing Frikkie, and Chella Ferrow plays his beautiful and complex, sweetheart from childhood.

Shalit also wrote the screenplay and produced the film, which is directed by Gabriel Bologna. Shalit performed in the LA premiere of the play in 2005. Shortly thereafter he began writing the screenplay – a process, which was endorsed and supported by de Wet.

“After performing in the play, I felt compelled to embark on the journey to create the film.” says Shalit. “I was fortunate enough to be able to work directly with Reza de Wet in developing the screenplay, a somewhat daunting task as the play is such an iconic piece of theatre. The challenge came in how to take the play, set in one room, and expand it into a cinematic experience. So it was invaluable having her insightful input into this process.”

“When I read the screenplay of which Damon took pangs to stay true to the original text, I was surprised to discover that such a dark milieu and context was completely overshadowed by a deep love story. Aside from the spectacular symbolisms throughout the piece that represent the insidiously complex and dark legacy of Apartheid, there is a remarkable revelation about the nature of love itself: what unites people is not necessarily their common interests and pursuits, but in fact, their grief, their pain,” explains Bologna. 

“What makes Frikkie and Sussie’s bond so strong is the mutual abuses they shared in their childhood - only they and they alone could understand one another, as their love was consecrated by the same scars, both emotional and physical.  Surprisingly, in some strange way, we are all like Frikkie and Sussie – our true search for love lies in finding someone who not only understands our joy, but even more so, our pain,” he said.

“Reza de Wet, was one of South Africa’s most celebrated authors, who has won more theatre and literary awards than any other playwright. Though, sadly, she passed away last year, she has left behind a legacy in her native country of leading an artistic war against Apartheid.  When the government censors were clamping down on news, television and film, Reza led a hand-full of playwrights into a thriving artistic movement called, Theatre of the Struggle,” he explains. 

“We are passionate about this story, and very excited about it coming to Durban, as it has a meaningful context in South Africa,” says Chella Ferrow who plays Sussie. “Reza de Wet wrote such powerful and courageous stories, and we are so proud to be bringing African Gothic to life on screen. When I think of her writing such a bold and daring piece during a time of so much oppression and secrecy, I am in awe. Her writing is extraordinarily fearless and potent in commenting on the complex nature of society and morality at that time.” 

Frikkie and Sussie are carefully-crafted, fascinating characters – complex, intriguing, gritty and feral. Visually and emotionally, they would not be out of place in a Roger Ballen photograph. Their complexity and depth make them a challenge to perform.

It is hugely significant that this important piece of South African theatre will be seen by a new international audience, and that the pivotal characters of Sussie and Frikkie will be played by South African actors who have carved a career for themselves in Hollywood. 

Shalit was born and raised in Linksfield, Johannesburg before moving to Houston with his family in his early teens. Ferrow grew up in Johannesburg and studied psychology through Wits and Unisa. She then moved to London in 1998 to do a post-graduate in acting. She has been living in New York for the past 11 years.

They are supported by established British actor Jonny Coyne, who plays the ill-fated Mr Grove, who was most recently seen in Hangover Part 3 and Gangster Squad; and  Alina, the housekeeper, played by US singer / actress Connie Jackson who was in Dreamgirls on Broadway and has been a backing vocalist for Phil Collins. The young Frikkie andSussie are played by youthful Cape Town-born, UK based-actor David Verne, and Los Angeles musical-theatre performer Aviv Gadi. The parents are played by former South African actors, Glen Anthony Vaughan – who spent many years at PACT - and Maria Olsen, who moved from East London to Los Angeles in 2005. 

Director, Gabriel Bologna, worked as an actor with the likes of Francis Ford Coppola and Mark Rydeland, Dick Van Dyke, before turning to writing and directing with his most recent film being Black Waters of Echo Pond. He is son of Hollywood legends, Joe Bologna and Renee Taylor.

“Like so much of film making, this has been a true labour of love and remarkable creative collaboration,” says Shalit. “Our film is not mere film adaptation of a play, but a wide-reaching artistic achievement that will hopefully spread global awareness about Reza de Wet, one of South Africa’s greatest playwrights, who died last year.”

African Gothic will have its South African premiere at the Durban International Film Festival. It is a joint SA and US production.  Visit www.africangothic.com for more info. 

The Durban International Film Festival takes place in Durban, South Africa from July 18 to 28. African Gothic will be screened at 20 July 12:00 at Musgrave Ster Kinekor; 24 July 15:30 at Ekhaya Multi-Arts Centre; 25 July 18:00 at Suncoast Cinecentre. For more info go to www.durbanfilmfest.co.za

Oxfam’s To-Do List for President Obama's Africa Trip

 

Oxfam is urging President Obama and African leaders to make bold commitments to help transform African institutions into models of transparency and accountability over the next decade as billions of dollars in aid flows and oil, gas and mining revenues pour into the continent, affecting millions of lives.

With the President and First Lady Michelle Obama scheduled to travel to Senegal, South Africa and Tanzania over the next few days, the time is now to address the continent’s continued economic development, said Raymond C. Offenheiser, President of Oxfam America.

“President Obama got it right in Accra in 2009 when he said Africa's future lies with Africa's institutions. Now it’s time for the President to help Africa realize its full potential by investing directly in local governments and citizens, helping to increase transparency of budgets, extractive industry revenues, and tax systems for governments,” said Offenheiser.

Over the next decade, more than $1 trillion in natural resources will be extracted from the African continent. Currently, Africa exports more than $300 billion a year in oil, gas and mineral exports—more than four times the amount of aid the continent receives. But that money is not building roads, schools and hospitals for Africa’s people. In fact, booming extractives industries often lead to more poverty and powerlessness. The people of Kedougou, Senegal, for instance, live atop a large scale gold-mining operation. But despite the riches found in their soil, none of it has been returned to their community.  Many have lost access to the agricultural land that sustained their families, and many others did not even receive adequate compensation when they were forced off their lands without consultation.

Millions of people living near oil and mining sites, like those in Kedougou, struggle to survive on less than $2 a day. Instead of opportunity, this resource curse delivers environmental damage, loss of land and human rights abuses.

“I urge President Obama to shine a bright light on the current lack of transparency and accountability that perpetuates cycles of poverty and inequality in developing African nations,” said Offenheiser. “Tell your African counterparts to work to increase transparency in their budgets. Open payments from oil and mining companies to the light of transparency. Give African citizens knowledge about revenues from oil and mining companies. Let those citizens decide how to put their money to work for their own futures—let them claim their rights and fight for their own development.”

It’s time to lead by example, continued Offenheiser.

“President Obama should publicly announce when his own administration will release U.S. government aid data, setting a tone on institutional transparency. As one of the largest aid donors in the world, the United States shouldn’t be one of the least transparent.”

Souleymane Zeba, West Africa Regional Director of Oxfam, added, “The resources generated by extractives industries should be helping local communities build resilience against climate and food security shocks, particularly in the Sahel where recurrent food crises are epidemic."

Offenheiser sees even greater potential for agriculture in Africa, with the right investments. 

“The President’s Feed the Future Initiative recognizes the central role that agriculture can play in driving economic growth and poverty reduction, but initiatives like the New Alliance for Food Security and Nutrition, which promote private sector investment in select African countries, must not distract from badly needed development aid to this critical sector,” said Offenheiser. “The President must address legitimate concerns raised by civil society organizations about this initiative.”

In South Africa, Oxfam urges President Obama’s continued support for community-led accountability mechanisms.

“President Obama’s support for our HIV/AIDS response has been immensely important for South Africa’s continued efforts to realize the ambitions of a democratic, people-centered South Africa,” said Allan Moolman, Oxfam’s Country Director in South Africa.

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THE MIND-GAME TEASER

 Produced by Paul Omoruyi

OMOTOLA'S HOLLYWOOD DEBUT