The
2012 edition of the annual iREPRESENT International Documentary Film Festival
ended its four-day run in Lagos last Sunday. It had 18 international visitors
and over 300 local participants every day of its proceedings. One of the
remarkable fruits from the festival was the birth of The iREP Report (TiR), an
initiative of the journalist, DERIN AJAO and a few of her colleagues including
Amarachukwu Iwuala and Titi Olurin with the support of the Goethe Institut.
From the second day of the festival, Friday, March 23, the TiR issued a daily
review of films shown the previous night. And this contributed to the high
intellectual content as well as quality of discourse at the festival. Some of
the reviews published by two editions of the Report are hereby excerpted.
THE keynote address at this
year’s IREP international film festival was delivered by Prof. Jean-Paul
Colleyn. In his paper, captioned, ‘African Cinemas and the Frontiers of
Documentary,’ the anthropologist, filmmaker remarked that there is a
fictional dimension to documentary films because for every documentary there
are thousands of choices open to the filmmaker. Conversely, he noted that there
is a documentary content in fictional films because there is a limit to a
filmmaker’s imagination since such stems from socio-cultural experiences.
Colleyn stated that documentary is
a personal treatment of reality and that Nollywood films are not as naïve as
many people think they are. This is obvious in Nollywood’s reference to the
negative influences of wealth and power on society’s otherwise humane
individuals. He rounded off by asserting that fictional films are not opposed
to truth.
Acclaimed filmmaker Tunde Kelani,
who was one of the panelists that discussed Prof. Colleyn’s paper, believes
that Nollywood has the capacity to engage documentary in the development of the
industry. Sandra Obiago, another panellist, called for more resources and
interest in the production of documentaries, observing that the format provide
basis for the younger generation to embark on research on subjects of interest.
Director, Producer Teco Benson agreed with Prof. Colleyn that many fictional
films are embellished documentaries.
Earlier in his welcome address,
the Executive Director of iREP, Femi Odugbemi, emphasised the capability of the
documentary film to deepen socio-political experiences. Following the address,
four individuals were inducted into the iREP Hall of Fame in recognition of
their contributions to the development of documentaries in Nigeria. They
include Sandra Mbanefo-Obiago, founding Executive Director of Communicating for
Change, whose organisation has produced great documentaries and Cyril Okonkwo,
who retired from the Nigerian Television Authority a few years ago after
producing critically-acclaimed documentaries. Also honoured were Amb.r Mamman
Yusuf, who produced news documentaries that define some of our political
landmarks and Francis Olatunji Oladele of Calpeny Films, who is a legendary
filmmaker and director of ‘Kongi’s Harvest’ and ‘Things Fall Apart.’
—
Amarachukwu Iwuala
A
Different African Election
Directed and Produced
by Jareth and Kevin Merz, An African Election trails the events leading up to
the Ghanaian Presidential Election of 2008. John Atta Mills and Nana Akufa-Addo
represent the leftist National Democratic Congress (NDC) and the conservative
New Patriotic Party (NPP), both men are the top contenders in the race leaving
in their trail a number of cameo candidates whose following only matters when
the elections land in an inconclusive knot.
The documentary, which opened the
list of films screening at iREP 2012, profiles the two leading contestants and
all the tactics applied in ensuring the 50 per cent plus one vote necessary to
claim victory at the polls.
The title of the documentary
hardly needs explaining. Elections in many African countries are plagued by
rigging and outright ballot box theft. The Ghanaians however were aiming for an
exemplary election that would change the face of what is perceived to be ‘an
African election.’
Like some other documentaries
screening at the festival, Merz as well employs no voice-over but incorporates
short typed messages and commentary from journalists, activists and artists in
the documentary’s unfolding.
A brief history of Ghana pre- and
post- independence also give a defining background to the documentary, a point
echoed by one of the commentators that governance in Ghana is built largely on
the country’s history.
As the Ghanaians prepare for the
polls, the sense of anger was high plus a general outcry for change, making the
election of John Kuffour’s replacement a heated assignment.
The Electoral Chair Kwadwo
Afari-Gyan is the documentary’s unlikely hero. Former President Jerry Rawlings
could have stolen the show, but Afari-Gyan’s role in stemming the erupting
political tension saves the day after a gruelling first round of elections that
lands in a run-off. When some strange numbers appear after the run-off, it is
the electoral chair, who again resolves the impasse.
An interesting angle to the
documentary is the focus on two friends, Kwabena Agyepong and Rojo Mettle. Both
support different parties and when the numbers appear to have been tampered with,
the vociferous Rojo loudly proclaims that, “Kwabena Agyepong walks into the
room and funny things start happening.”
In the ensuing altercations
protesting the obvious rigging, someone pointedly states that “This is not
Nigeria?!”
Indeed it isn’t and as the
Ghanaians finally chose a new president in January of 2008, they had set an
example of what influence the voter holds in protecting his vote. To borrow the
words of Jerry Rawlings on Atta Mills’ campaign trail, “Protect your ballot
boxes the way you would protect and defend your mother!”
If there is no other lesson to be
learnt from An African Election, this surely is one.
—
Aderinsola Ajao
Meeting
Freedom Park
Watching a documentary about
Freedom Park in Freedom Park never really seemed a possibility. But with the
former colonial prison yard coming full circle to being an event hotspot, this
idea no longer seemed out of the ordinary and it came to pass on the opening
day of iREP 2012.
At the screening of Femi
Odugbemi’s ‘And the Chain Was Not… ’ it was time to appreciate the splendour
and the history of what is now Freedom Park. The documentary about the building
was not just voice-over and talking heads. An enthralling spoken word
performance by Crown Troupe’s Segun Adefila gave life to the struggle of the
many former prisoners in what was known as Her Majesty’s Prison.
Swaying and gyrating to the
indigenous sounds of the shekere, the omele, the bata and the gangan, as
dictated by words from poems by Adefila himself and Oyindamola Olofinlua, the
overall production is a wonder to see. Especially considering it is
beyond the story of a transformation from captivity to liberation, but another
of the struggle itself and how the bonds are broken for true freedom to be
achieved.
According to the film, the prison
was initially constructed in 1872 to hold 20 inmates. Made with the best
quality building materials imported from Britain, the budget for the prison
apparently cost more than the colonial government’s budget for education. While
the prison stood, it counted on its inmate list, the likes of Obafemi Awolowo,
Herbert Macaulay, labour leader Michael Imoudu and Esther Johnson, who was
accused of murdering her lover. The prison even gets worthy mention in
Awolowo’s memoirs.
Freedom Park was until some
decades ago, one of the least popular historical sites in Lagos. The idea for
renovating the former prison ground for recreational purposes was conceived by
Theo Lawson, an architect. Now in its newfound glory, the former prison is home
to all, but a home most especially for cultural purposes.
In Lawson’s words, the former
prison kitchen is now the food court; its execution stand is now a stage for
unfettered expression and the former cells themselves are represented across
the Park in the flower beds and the pagoda cells. Most interesting however, is
the Prison Museum which holds artefacts excavated from the former prison.
And the Chain Was Not is a story
of survival and a historical record, however subtle of an aspect of colonialism
in Nigeria, particularly the prison system and its subjugation of the rights of
local ‘troublemakers.’ That the chains are broken at the end of the documentary
and that Freedom Park itself stands today, is testament to what strong will can
achieve despite dominating oppression. This is what the director achieves in
sharing this story now and for posterity’s sake.
—
Aderinsola Ajao
Everybody
Gets An Education
Branwen Okpako’s biographic
portrait of a friend and fellow filmmaker is the story of another Obama doing
great things. The film was the star screening on Day 1 of the 2012 IREP
International Documentary Film Festival.
The Education of Auma Obama, is
the story of a half-sister to the current President of the United States of
America. The story is by itself an intriguing one and Auma is revealed as an
intelligent student, mother, youth mentor and social activist. Even before it
became fashionable to speak out against foreign aid, the documentary shows her
as a strong voice opposing the West over-aiding Africa.
Auma’s story is by extension the
story of President Barack Obama. The father they both share comes across as a
strong influence on his children, and is himself immortalised in the strides of
these two children borne to him by different women.
The film is shot in the run-up to
the 2008 US Presidential Elections when much attention is on the trailblazing
American Barack Obama and his heritage. One unmissable influence in President
Obama’s life becomes obvious: his father. It is the same with Auma. Though she
reveals that her parents are not necessarily the best any child can hope for,
there is no missing her father’s impact on her life. Her father, a Kenyan
public servant was himself the son of a cook, who worked with a family of
British settlers. But the older Obama made sure his son received an education
that would set him above his peers. Barack soon got a scholarship to study in
Harvard; a reward of the cook’s hopes for his son.
In Auma’s family though, the
scholarship might not have been a good thing in itself. Barack does not return
home alone after completing his study. He comes back with Ruth, an American
woman whom he gives the task of looking after his children. Kezia, Auma’s
mother is promptly given her marching orders. This is a turning point for the
once-outgoing Auma as she dives into her shell and stays there till she herself
leaves Kenya to study in Germany.
In portraying the making of Auma
Obama, Okpako — herself a female filmmaker — employs many female narrators;
perhaps also in a nod to women as oral conveyors of family history. Auma’s
female relatives and friends all play prominent roles in analysing and
retelling their experiences with Auma.
It is impossible to separate the
people in Auma’s life from the making of Auma herself. Okpako draws on excerpts
from interviews with former teachers and colleagues as well and as we follow
the characters through the 90 minutes, the audience itself receives an
education based on Auma’s education.
Okpako’s approach to the story is
hardly conventional. She gives the meanings of the names of the different
dramatis personae. She employs no voice-over in the narration, leaving the
audience to unravel the story and navigate it by itself.
The interesting angle with the
names hits home hardest when we find out that Auma’s birth name is actually
Rita, which means Pearl. Her mother’s name Kesia means ‘sweet-smelling scent’,
highly ironic considering her husband finds her repulsive when he returns with
his new wife Ruth, whose name is translated as ‘friend’. The name Barack itself
means ‘Blessing’ and Hussein is translated as ‘Handsome Man.’
The Education of Auma Obama is a
well-researched effort that should not be watched in a hurry. What Okpako
achieves with it is not another Obama Campaign flick but a story of true grit
overcoming the biggest challenges and how our ancestry plays a role in who we
are and who we might become.
—
Aderinsola Ajao
After
Occupy Nigeria, What Next?
Cultural activist, Ben Tomoloju
chaired the panel that discussed Democracy, Development and Demonstrations on
Day 2 of the IREP Festival. The panellists were filmmakers Charles Novia,
Mahmood Ali-Balogun, Musa Abdulahi Sufi, Branwen Okpako and Amb. Mamman Yusuf.
Amb. Yusuf corrected the
impression that the pro-fuel subsidy protests roundly tagged ‘Occupy Nigeria’
were the first major protests in the country as was being bandied about during
the weeks of te mass actions in January. He reminded the audience of the
June 12 crisis, which he noted was one conflict that threatened the continued
existence of Nigeria in a magnitude that is only surpassed by the 1967-70 Civil
War. He said it was regretful that because the civil society organisations involved
in Occupy Nigeria were an incoherent group, the Federal Government used Labour
to hijack the protests.
Abdullahi Sufi was glad that
Nigerians set aside their religious and ethnic differences to come together and
oppose an unacceptable policy by the government. He recalled how Christians
gathered to protect Muslims and vice versa (as they prayed) — from
attack during the protests Sufi called for public education to achieve
greater success in case such a situation arises in future.
Novia explained that social media
were a source of worry to the ruling class during the protests, saying that
government will be careful in its future dealings with the populace. He rounded
off by describing the current national situation as the calm before the storm.
Ali-Balogun was of the opinion
that the fact that the protests were not broadcast on international media was a
major setback to the struggle. He blamed those who control international media,
who also have vested interests in Nigeria, as being responsible for this
seeming blackout. He also expressed dismay over the tribalism, nepotism and
other primordial sentiments that hampered the protests.
He reiterated Amb. Yusuf’s
opinion, while recalling the late Funmilayo Ransome-Kuti, Moremi and the Aba
Women’s riots as ground-shaking symbols of activism that should never be
forgotten.
Okpako was displeased that in
Germany, for instance, people were more aware of the Boko Haram terrorists than
the protests that were ongoing at the time. She advised the audience and by
extension, Nigerians to identify what they want to make topical at any point in
time.
The session ended with Tomoloju
calling for the documentation of information for posterity’s sake, hence the
necessity of documentaries.
—
Amarachukwu Iwuala
Building
The Nation
In line with the festival’s theme
of Africa in Self Conversation: Democracy and Culture, the 2nd IREP festival
screened Headlines in History, a documentary about the first 50 years of the
Nation Media Group, publishers of East Africa’s most widely-read publication,
The Daily Nation. The film recalls how the publishing outfit sustained its
ethical journalism and managed to expand its operations across the sub-region
despite frustration from government forces and occasional public discontent.
Borne out of a need to provide
Kenya’s indigenous population with their own voice in the face of overwhelming
colonial censorship, the story of The Nation is itself the story of African
independence.
The paper made its debut in 1959
thanks to a chance encounter between a preacher and an activist. A community
paper Taifa Leo was acquired and became the Daily Nation. As the years went by,
the Daily Nation proved that it was here to stay.
The documentary shows how the
newspaper placed itself at the top of news coverage by constantly breaking news
ahead of everyone else and having exclusive images of events that heavily
influenced Kenyan life and government policy. These included the murders of Tom
Mboya and J.M Kariuki, the death of Jomo Kenyatta, Daniel Arap Moi’s swearing-in
as president and the Saba Saba protests that ended the one-party system.
In the course of doing their work,
staff of the paper suffered multiple arrests and numerous attempts by Moi’s
government especially, to silence or weaken this voice of the East African
majority. Undeterred, the Nation Media Group spread its wings into Uganda and
Tanzania acquiring the Daily Monitor and Mwananchi respectively. They also
established a broadcast and media division, diversifying into TV and radio. In
1994, the group also began publishing The East African.
The Nation’s biggest task came
however in 2007 during Kenya’s post-election crisis involving President Mwai
Kibaki’s supporters and the opposition. Buoyed by its responsibility to its
readers, and conscious of the media’s role in society, the Nation joined its
voice to brokering peace.
Ending on this note, Headlines in
History, is not just the 50-year anniversary of an important publication but a
celebration of the important role the press can play in sustaining effective
governance.
Echoing this theme was a panel
titled ‘Media and Nation Building.’ The panel comprised president of the
Nigerian Guild of Editors Gbenga Adefaye; former Managing Editor at NEXT,
Kadaria Ahmed; writer Tolu Ogunlesi; performer, culture activist and ex-Deputy
Editor of The Guardian, Ben Tomoloju and Denrele Niyi, Arts Editor of the
National Mirror. Lanre Idowu, publisher of Media Review was the moderator.
Tomoloju described the process of
nation building as a partnership between the media and the nationalists. This
partnership however broke down when the press wanted to properly carry out its
duty. He stressed the importance for the media to understand its role and
to do it well, that if a nation is in crisis, the press itself risks becoming
an enemy of the people.
For Ogunlesi, the press’ role is a
double-edged sword that apart from nation building, also involves some “pulling
down.” This call for high ethical standards was a motif in the discussion.
Another constant point was the call for innovative approaches to journalism.
Emphasised by Ahmed, she said training, improved wages and embracing new media
would aid quality journalism.
Ogunlesi raised the issue of how
much of his/her proclivities a journalist can bring to their profession at a
time of crisis. Other issues that came up at the panel included whether or not
the motivation for newspaper ownership is ego-driven or not. Government policy
and regulatory laws were also discussed.
According to Adefaye, in recent
times, owning a newspaper was motivated by a desire to claim the public space.
Ahmed said the influence of the proprietors is itself sometimes unhelpful in
the practice of healthy journalism.
Idowu then asked if the advent of
social media plays a possible role in this mission and whether the press was to
be feared or respected. For Tomoloju, respect is desirable especially regarding
being a voice to the voiceless. Adefaye’s response was that, “We should work
towards being respected by our readers and feared by the bad boys in our
system.”
As part of the self-examination
process, the panelists said it is important for the press itself to work within
the boundaries of the law, ensure they had their facts right before going to
press and develop an overall professional attitude to their work.
It was also an opportunity to
sound out their colleagues in the broadcast media to wake up to their
responsibility to the audience and try to catch up with the print arm.
Tomoloju rounded off the
discussion with the words, “Practice should be in the best of national
interest.”
—
Aderinsola Ajao
Africa’s
Tech Map
The ICT revolution looming across
Africa is the highlight of Michael Grotenhoff’s Linking Africa. From Uganda to
Rwanda and then to Kenya, we see how these countries are evolving from largely
commodities-based economies to information technology powerhouses.
Mobile Money, a telephone payment
option is the sweeping innovation in Uganda, embraced by many but still shunned
by some; the software is gradually paying its way into most small and big
businesses in the country. Next was Rwanda. Stuck between Uganda and Congo, the
agrarian state is on a mission to transform into the region’s biggest ICT
pioneer.
A technical partner is South
Korea, a country with a similar experience as Rwanda. According to the
documentary, Rwanda seeks to establish itself as a link between Uganda, the
financial sector and Congo, the home of raw materials.
As the benefits of technological
development take root, the running of a fibre optic cable from Kigali through
Africa and into Europe sounds like a huge step for the African country.
The film lands finally in Kenya
and we meet the inventors of Ushahidi, the now global software that is a
consequence of the country’s post election crisis. The software is now widely
used as a reporting tool for news and up-to-date sharing of information across
global communities. Also in Kenya, we discover the Makerere University’s
Computer Science Faculty is churning out thousands of young ICT experts that
are ready-made to dominate the sector.
Linking Africa does not show just
the major technological strides in these three countries. It follows a Swiss
retiree, who restores old computers for the training of youth in Ugandan
suburbs. In the absence of constant electricity, he installs a solar-power
system for these computers to function.
TRACnet is a medical software
developed by a virologist in an AIDS Hospital in Rwanda. This helps him share
his patients’ records with hospitals in neighbouring towns and countries. He is
also involved in developing techniques that have helped reduce mother to child
transmission of the virus.
There is little doubt that all
these are not baby steps. Linking Africa shows that the coming years will see
Africa as an important global ICT player. To back this point, the documentary
featured a female software developer and lecturer at Kenya’s Makerere
University, who got a job in an international ICT firm even before the
documentary finished shooting.
With the iHub in Kenya poised to
be another bright spot on Africa’s tech map, the link between the continent and
the world gets stronger with each passing day. You’ll definitely believe this
after watching Linking Africa.
—
Aderinsola Ajao
...The
iREP Workshops
On the second and third days of
the film festival, trainings were organised for up-and-coming documentary
filmmakers. The facilitators included: Barbel Mauch, a producer from Germany;
Alhaji Gboyega Arulogun, documentary filmmaker and TV manager; Cyril Okonkwo,
also a docu-mentary filmmaker; Amb. Mamman Yusuf, filmmaker and diplomat;
Thomas Plennart and Femi Odugbemi, who are equally documentary filmmakers. The
training programmed were: scriptwri-ting, radio documentary, camera work and
production.
—
Amarachukwu Iwuala
Rhythms
Of Lagos
I don’t want to jive you here
tonight. I want to present myself to you as an African...” Fela’s words begin
the documentary, ‘Lagos... Notes of a City’. It is indeed fitting as the
documentary parodies the everyday experiences of Africans in one of the most
populous cities in Africa, Lagos.
Directed by Jens Wenkel, the
documentary captures Lagos in its actual sense with its busy streets, heavy
traffic and magnetic energy that obviously attracts people from all tribes. It
is no wonder then that it is called, ‘no man’s land’.
The vivid portrayal of popular
locations in the city and actual lives of people is a powerful aesthetic
feature of the film. Mariam, the hausa mother of two, who lives with HIV and
Joshua, the security guard, who is optimistic that he will ‘make it’ in Lagos
represent throngs of people, who have migrated to this city.
“…in Lagos, there is life,” Mariam
says of the city she has come to love, but she warns, “You have to be smart or
a two-year old boy will do away with you. That is why they don’t say ‘welcome’,
they say, ‘This is Lagos’.” Her experience in Lagos, she says, has made her
bolder than she was in the North where she migrated from. Abimbola Philips
agrees that life in Lagos is animated. “There’s a lot of energy that is locked
up and people want to explore that energy.” She however finds the animation to
be “obnoxiously loud and annoying.”
Of interest to the audience is the
constant juxtaposition of ideas. Both the charm and the repul-sion of Lagos are
well depicted. There is a parallel between the poor and handicapped on the ever
boisterous streets of Lagos and the quick switch to the quiet life of Adebanjo,
the rich stock broker. Also worthy of note is the sharp contrast between the
African shrine and the church scene shown immediately afterwards. This alludes
to the general way of life in Lagos.
— Titilayo Olurin
Remarkable
January 25
Remarkable January 25’, one of the
films screened at the iREP Festival, is a raw 40-minute film that documents the
Egyptian revolution. As its title suggests, the film captures the January 25,
2011 revolution that erupted in Egypt. That day marked a momentous point in the
country’s history as people came out in their thousands to protest President
Hosni Mubarak’s 30 year autocratic government. Pertinent to the people’s clamor
for a change in government is the fact that Mubarak’s government is seen as
something so detestable that it is compared to that of a notorious Romanian
dictator. “The rule of Mubarak is like the rule of Ceausceascu in Romania,”
someone says. The gripping documentary vividly paints a picture of relentless
and passionate protesters, who want a change.
As they throng to the Tahrir
Square where they call for the resignation of the president, shouts of
“freedom” from “oppression” and “corruption” can be heard. “We want freedom,
fraternity and equality,” the passion in this protester’s voice is not hard to
decipher. One thing is clear from the passion of the protesters; they are
unyielding and are prepared to die for their cause. We hear a woman proudly
say, “I am a mother of a martyr.”
This is one fascinating feature of
the film that we cannot help but notice as it points to the fact that women
also join in the struggle. In fact, on one occasion, we see a woman actually
lead a protest march.
The protests, which started out as
non violent, soon become volatile as the demonstrators are met with hostility
from the gov-ernment and even armed forces. Still, they press forward until
Mubarak is ousted from power.
However, with the military
replacing Mubarak, the January revolution seems only half successful.
The essence of the film though is
not to tell us about the success or failure of the revolution but the tenacity
behind it. It can therefore be said that the film has the ability to inspire
other revolutions for change. The film succeeds in depicting some of the events
leading to the revolution through typed messages on the screen. But it could
still have done more by giving detailed ac-counts of the events that stirred up
the revo-lution.
— Titilayo Olurin
www.irepfilmfestival.com
3 Oguntona Crescent, Gbagada Phase 1, Lagos Nigeria. P.O. Box 36 Surulere.
T: +234 803 425 1963, +234 802 201 6495, +234 803 403 0646
E: info@irepfilmfestival.com
