Some argue that Africans have never had so much artistic freedom, with a proliferation of books, paintings and films since the advent of multi-party democracy in the 1990s, and the huge advance in technology which has allowed anyone with a smartphone to publish their views across the world.
But critics say artists are still subject to tight censorship, pointing out that a South African gallery was forced to remove a painting of President Jacob Zuma under political pressure, while in Uganda a play about gay rights was banned.
So, just how free are Africa's artists - in film, literature and music- to tell their own stories? Here are some of their experiences:
But critics say artists are still subject to tight censorship, pointing out that a South African gallery was forced to remove a painting of President Jacob Zuma under political pressure, while in Uganda a play about gay rights was banned.
So, just how free are Africa's artists - in film, literature and music- to tell their own stories? Here are some of their experiences:
Patrick Sekyaya, director of The Ugandan film
One day I had to drop a story that was inspired by the practice of female genital mutilation”
Having been born and raised in Uganda, it was the best place to be. It was my home and my everything.
I remember joining the film industry in 1999 - everything was still good. You didn't need a licence to shoot a film, no censor body to look at your script.
All you had to do was get a camera, run to the streets, shoot something and lock yourself in the edit suite - and later put your work out there for the world to see.
Today, I have grown to understand that not all stories can be told and not just any film can be done here.
There are topics you have to think twice before tackling or which, for your safety, are better left untold. Topics that will get even actors saying: "I think I am not the right person for that role" even when you know they can pull it off.
Here, you don't just wake up to say you are doing a film about the gay community, a film about the political situation, or a film that paints a bad picture of Uganda.
One day I had to drop a story that was inspired by the practice of female genital mutilation amongst some communities in Uganda.
I had strong interviews and had done thorough research, but everyone kept telling me it was not safe to go ahead. But it is still my home, my Uganda, my everything.
One day I had to drop a story that was inspired by the practice of female genital mutilation”
Having been born and raised in Uganda, it was the best place to be. It was my home and my everything.
I remember joining the film industry in 1999 - everything was still good. You didn't need a licence to shoot a film, no censor body to look at your script.
All you had to do was get a camera, run to the streets, shoot something and lock yourself in the edit suite - and later put your work out there for the world to see.
Today, I have grown to understand that not all stories can be told and not just any film can be done here.
There are topics you have to think twice before tackling or which, for your safety, are better left untold. Topics that will get even actors saying: "I think I am not the right person for that role" even when you know they can pull it off.
Here, you don't just wake up to say you are doing a film about the gay community, a film about the political situation, or a film that paints a bad picture of Uganda.
One day I had to drop a story that was inspired by the practice of female genital mutilation amongst some communities in Uganda.
I had strong interviews and had done thorough research, but everyone kept telling me it was not safe to go ahead. But it is still my home, my Uganda, my everything.
Rose Francis, CEO of African Perspectives Publishing
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I guess artists are free to tell their story if they have the resources to indulge in this freedom”
I don't think anyone is free to exercise their art. And that includes artists.
There is a cost for this freedom. Artists are no different to the entrepreneur in that financial resources are required for the capital outlay of the "work" or manuscript.
Just to be in a position to indulge in the work is time spent creating a product without the immediate benefit of financial return.
Then the work needs to be produced depending upon the format and genre, requiring additional resources.
In the case of a writer, it is then given to a publisher, who spends even more resources to fine-tune the manuscript with an editor, proof reader, type setter, graphic designer etc. which could take considerable time before it is placed on the retail shelf.
Since the work now becomes a joint investment, compromise is inevitable. So, I guess artists are free to tell their story if they have the resources to indulge in this freedom.
“
Start Quote
I guess artists are free to tell their story if they have the resources to indulge in this freedom”
I don't think anyone is free to exercise their art. And that includes artists.
There is a cost for this freedom. Artists are no different to the entrepreneur in that financial resources are required for the capital outlay of the "work" or manuscript.
Just to be in a position to indulge in the work is time spent creating a product without the immediate benefit of financial return.
Then the work needs to be produced depending upon the format and genre, requiring additional resources.
In the case of a writer, it is then given to a publisher, who spends even more resources to fine-tune the manuscript with an editor, proof reader, type setter, graphic designer etc. which could take considerable time before it is placed on the retail shelf.
Since the work now becomes a joint investment, compromise is inevitable. So, I guess artists are free to tell their story if they have the resources to indulge in this freedom.
Oshosheni Hiveluah, Namibian film-maker
“
Funders are content to see Africa as a struggling continent, which is corrupt and disease-ridden”
There is a preconceived notion and expectations regarding African films. Only in recent years have young filmmakers begun to break the mould and make more experimental films.
Funders have a clear idea of the African films they want. In most instances, those that depict African people in an unconventional light are not the stories funders and international festivals want to see.
They are content to see Africa as a struggling continent, which is corrupt and disease-ridden.
Many urban African stories don't ever reach beyond Africa because of the question: "Are those really African stories?".
The image and perception of African film is still very narrow.
I want to tell African fantasy and surreal films, but the reaction is: "Why? Don't you have more important issues that you need to address in your films?"
Each African film-maker has his own story to tell and we need to allow the "strange for Africa" films to co-exist with those that speak of identity, cultural and moral injustices, war, HIV/Aids etc.
But things have changed slightly and filmmakers are finding alternative sources of funding - for instance, private investors - to tell stories they are passionate about.
“
Funders are content to see Africa as a struggling continent, which is corrupt and disease-ridden”
There is a preconceived notion and expectations regarding African films. Only in recent years have young filmmakers begun to break the mould and make more experimental films.
Funders have a clear idea of the African films they want. In most instances, those that depict African people in an unconventional light are not the stories funders and international festivals want to see.
They are content to see Africa as a struggling continent, which is corrupt and disease-ridden.
Many urban African stories don't ever reach beyond Africa because of the question: "Are those really African stories?".
The image and perception of African film is still very narrow.
I want to tell African fantasy and surreal films, but the reaction is: "Why? Don't you have more important issues that you need to address in your films?"
Each African film-maker has his own story to tell and we need to allow the "strange for Africa" films to co-exist with those that speak of identity, cultural and moral injustices, war, HIV/Aids etc.
But things have changed slightly and filmmakers are finding alternative sources of funding - for instance, private investors - to tell stories they are passionate about.
Manny Ansah, executive director of Mali's Festival in the Desert
We are convinced that what we do is not against Islam”
Belonging to a very traditional society with conservative cultural values, I always have to make sure that what I say or what I do does not offend certain sensitivities. Which is not easy when you realise that the Festival in the Desert, while looking outward to the modern world, is organised by an indigenous people from a very traditionalist milieu.
With the occupation of a large part of Mali and the prohibition of any form of artistic expression such as music, things became much more difficult.
Expression itself was extremely risky because you exposed yourself to various punishments from the occupiers - including imprisonment.
Even on the international level, to denounce what was happening could bring you trouble.
At first you may be labelled as "an enemy of Islam" with all that implies in consequences for your daily life.
However, this does not intimidate us because we are convinced that what we do is not against Islam.
Our struggle is to show the values that are held by the majority of Muslims in the world, values of sharing and of tolerance.
We are convinced that what we do is not against Islam”
Belonging to a very traditional society with conservative cultural values, I always have to make sure that what I say or what I do does not offend certain sensitivities. Which is not easy when you realise that the Festival in the Desert, while looking outward to the modern world, is organised by an indigenous people from a very traditionalist milieu.
With the occupation of a large part of Mali and the prohibition of any form of artistic expression such as music, things became much more difficult.
Expression itself was extremely risky because you exposed yourself to various punishments from the occupiers - including imprisonment.
Even on the international level, to denounce what was happening could bring you trouble.
At first you may be labelled as "an enemy of Islam" with all that implies in consequences for your daily life.
However, this does not intimidate us because we are convinced that what we do is not against Islam.
Our struggle is to show the values that are held by the majority of Muslims in the world, values of sharing and of tolerance.
Keith Shiri, international film curator, originally from Zimbabwe
Young Africans have brought amazing energy to drama by embracing digital technology”
In its comparatively short history, African cinema has been viewed with considerable apathy and condescension both at home and abroad.
No post-colonial African state in the continent has attempted to develop a cultural or film policy that incorporates critical debates, political and the poetic, since former Senegalese President Leopold Senghor's 1960s attempt with his idea of "Negritude".
With funding intertwined in various governmental departments and international development resources, film-makers are often forced to avoid making films dealing with their immediate surroundings.
Instead, they produce films that are neither critical of social problems and national politics nor entertaining.
That said, digital storytelling has presented film-makers with essential tools to battle for the freedom to create and distribute their work.
In the last 10 years, young Africans have brought amazing energy to drama by embracing digital technology and therefore producing work that has been able to reach its audience across multiple platforms providing film-makers the freedom to imagine and free from the global hegemony.
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