...neither eye has seen nor ear heard...

Lola Kenya Children's Screen Productions Nominated for Africa Movie Academy Awards 2009

2009-03-07T01:28:00.001-08:00

Lola Kenya Children's Screen Productions Nominated for Africa Movie Academy Awards 2009

Films made by children aged 6-15 years during Lola Kenya Screen film production workshops have been nominated for the all-Africa Movie Academy Awards set for Yenagoa, Bayelsa State, Nigeria, on April 4, 2009.

Nominated for Best Animation are LITTLE KNOWLEDGE IS DANGEROUS by Adede Hawi, Samora Michelle and Karama Ogova (2007); MANANI OGRES by Joseph Hongo, Marcus Joseph, Norrick Joseph and Samuel Musembi(2007); and CHEPRONO (2008).

Whereas LITTLE KNOWLEDGE IS DANGEROUS and MANANI OGRES were made under the guidance of Finnish tutor Maiki Kantola with the support of the Danish Film Institute, the latter was made under the facilitation of Egyptian Dr Eid Abdel Latif with the support of Africalia of Belgium.

Also nominated for Best Documentary (Short Subject) is SANTOS THE SURVIVOR, a film on how an orphaned child survives in Nairobi made by Rupinder Jagdev in 2008 during a Lola Kenya Screen film production workshop—Children and Docs—facilitated by Dutch documentary filmmaker Duco Tellegen with the support of the Jan Vrijman Fund/IDFA of The Netherlands.

Lola Kenya Screen founder and director Ogova Ondego, who is attending the 21st Pan African Film and Television Festival of Ouagadougou (FESPACO), was elated with the nomination that was announced on March 3, 2009 by AMAA CEO Peace Anyiam Fiberesima.

''This nomination affirms that Lola Kenya Screen is on the right track. Though our films are made by children over a four-day period on zero-budget, yet they are able to successfully stand alongside those made by adult professionals. This nomination has emboldened us and given us more confidence to trudge on deeper into the jungle that is African filmmaking,'' Ondego, who produces Lola Kenya Screen productions, said in a statement.

''I thank our partners spread across the world for the support they accord us. We shall forever be grateful to ComMattersKenya of Kenya, Goethe-Institut in Kenya, The Danish Film Institute of Denmark, Prince Claus Fund for Culture and Development and Jan Vrijman Fund of Holland and Africalia of Belgium.''

Lola Kenya Screen films have been shown on all continents and won awards along the way.

More information about the Lola Kenya Screen audiovisual media initiative for children and youth in eastern Africa is available by phone 78547017 (during FESPACO period, March 4-12, 2009) and also at www.lolakenyascreen.org and www.artmatters.info

New Fiction Gives Hope to the Homeless and the Internally Displaced

2009-02-22T08:28:00.000-08:00

By ComMattersKenya Press

A book that seeks to give hope to the internally displaced people has been published.

Though the book, titled From Terror to Hope and targeting children (10-18) and youth (19-24) reads like a re-enactment of the post-December 2007 election violence in Kenya, writer Ogova Ondego insists it is a work of fiction and that "any resemblance to persons, events or localities is coincidental." This story is not only entirely a work of fiction, he says, but "the names, characters and incidents portrayed in it are the work of my own imagination or used fictitiously."

But many are unlikely to buy this disclaimer or poetic license as the setting of the book bears uncanny resemblance to the the cataclysmical events that rocked Kenya between December 2007 and March 2008 after a disputed presidential election in the country pitted president Mwai Kibaki's Party of National Unity against those of prime minister Raila Odinga's Orange Democratic Movement.

Indeed the introduction to this ComMattersKenya-published book, penned by G Wamaitha Kinyanjui, a leading children's rights lawyer in Nairobi, appears to place From Terror to Hope in the Kenyan context when she writes: "...a book I feel has come at the right time when our country is recovering from the effects of the post-December 2007 election violence experienced between January and March 2008, when many men, women and children were killed, maimed or displaced due to their ethnicity."

Kinyangui goes on to describe From Terror to Hope as "a beacon of hope in the midst of despair."

Revolving around the life of a 12-year-old boy and what xenophobia puts him through, writer Ondego, who specialises in issues related to children, youth, creativity, media and culture and whose 2005 children's book, Braggart's Day, did quite well on the market, writes, "When I looked behind, what had been my home was engulfed in flames and a continuous chorus of gunfire, anguished cries and moans, and the smell of cow dung, millet, sorghum and grass-thatched huts blended together in a sad potpourri of sorrow, shattered dreams and a bleak future. What had I done to God, at 12, to deserve this fate?"

Ondego says "From Terror to Hope is likely to move any one,including journalists who are never known to show emotion openly, to pull out their handkerchiefs and wipe away a tear or two as they 'listen' to the protagonist. Perhaps wondering why some people suffer so much misery."

The soft cover book retails at Sh250 (about US$4, excluding shipping). It is currently available directly from ComMattersKenya Ltd.

Braggart's Day, that targets upper primary school pupils and received rave reviews in the media, is the story of Fadhili, another 12-year-old boy who trdges deeper into a dark forest in spite of the dangers lurking behind the sky-clutching trees, octopus-like creepers and man-eating plants in order to secure a cure for his ailing younger sister.

The foreword to Braggart's Day is written by Silverse Anami, the director of culture in the ministry of national heritage and culture: "This humorous and expressive story," Anami writes, "helps to strengthen the threatened intangible African cultural heritage. Students of social sciences, environmental studies and philosophy will find it useful."

While Sunday Nation described Braggart's Day as "an enthralling children's story relying heavily on traditional idiom", Standard said, Braggart's Day "is a fast-paced story whose riveting drama and universal themes capture the imagination of children and adults alike."

An ArtMatters.Info (http://www.artmatters.info/) article.

Call for Participants in Lola Kenya Screen 2009 Skill-Development Programmes

2008-12-21T05:24:00.000-08:00

Lola Kenya Screen, the annual audio-visual media platform for children and youth in eastern Africa, is calling upon interested children and youth who are knowledgeable, opinionated and interested in film, journalism, creativity and cultural events to apply for participation in its four skill-development programmes during the 4th Lola Kenya Screen to be held in Nairobi between August 10 and 15, 2009.

Selected candidates will serve as members of:

• Film Selection Committee

• Film Jury• Film Press

• Programme Planning and Presentation (MCs) team

• Production Workshop

Ideal applicants must be:

• Aged between 6 and 16 years old (9-18 years for production workshop)

• Knowledgeable about film• Interested in audio-visual media works

• Able to understand, speak and write in English

• Able to think, type and submit between 500 and 1200-word articles on the activities at the festival daily (for film press)

• Able to work under strict deadlines

• Supported by their parents/guardians

Interested children and youth must write an application letter including the following:

• Intention• Expectations

• School

• Age

• Email address

• Telephone, preferably cell/mobile, contact

• Physical address

• Letter of permission from parent/guardian

Successful applicants will be guided through the skills of appreciating and judging films, reporting on events, and planning and presenting of creative and cultural events, and in the making of film before and during the festival.

Stories filed by members of the festival Press will be published daily during the six days of festivities on the lolakenyascreen.org and lolakenyascreen.or.ke websites and on the internationally-acclaimed pan-African creative and cultural portal, ArtMatters.Info.

Applications are sent to:

The Director

Lola Kenya Screen

Philadelphia House, 4th Floor

Tom Mboya Street/Hakati Road junction

P O Box 20775-00100 GPO

Nairobi, Kenya (EA)

Tel 254 20 315258/ 2213318 (o)

Cell 254 733 703374 and 254 722 486531

Email: director@lolakenyascreen.org.

Parents and guardians are requested to assist their children in applying for this opportunity that seeks to nurture their creative talent and potential and gives them international exposure. As in the previous three editions, offers are on 'fist-come-first-served' basis. However, preference is given to previous participants in Lola Kenya Screen programmes.

The deadline for application is April 15, 2009 at 5.00 PM EAT (14.00 hours GMT/UTC).

More about Lola Kenya Screen

Lola Kenya Screen, a movement established in October 2005 to explore, identify and nurture creative talent among children and youth in areas such as journalism, filmmaking, arts appraisal and appreciation, and organisation and presentation of cultural and creative events, has since 2006 helped add 31 child filmmakers, 14 journalists, 13 film judges, 7 MCs, 15 producers of television drama for children and youth and 6 producers of documentary films for children and youth to eastern Africa’s creative and cultural spectrum. It has also enabled children and youth to create 20 short animation films and six short documentaries that are being showcased around the world and collecting awards and accolades along the way.

Lola Kenya Screen has showed more than 1200 best possible international films for children, youth and family from 71 nations representing all the continents in various genres, formats and lengths between August 2006 and August 2008.

Now a recognised and respected international brand on issues related to children, youth, media and culture, the Lola Kenya Screen audiovisual media initiative has been presented as a case study in countries such as Belgium, Holland, Germany, South Africa, Senegal, Finland, Tanzania, Uganda, Rwanda and Kenya, among others.

In 2008 Lola Kenya Screen attracted participation from Kenya, Uganda, Tanzania, Zanzibar, Rwanda and Zimbabwe, with all participants coming in to watch the wide variety of films from 56 nations and to be equipped with skills for making films, appreciating and judging audiovisual media production, presenting programmes and filing daily reports on the festival.

Presented by ComMattersKenya in conjunction with Goethe-Institut in Kenya, the partners of Lola Kenya Screen in 2008 included Africalia of Belgium, the Jan Vrijman/IDFA of Holland and Kenya-based ArtMatters.Info.

A Lola Kenya Screen (http://www.lolakenyascreen.org/) Article

Tanzania Launches Swahili Fashion Week

2008-10-26T11:50:00.000-07:00

Tanzania marks the launch of its first ever Swahili fashion week in November 2008 on the theme, Discover what makes Africa Beautiful.

Starting this year as a two day event, the Swahili Fashion Week will be spread over November 5th & 6th at the Diamond Jubilee Hall in Dar es Salaam. Established and up and coming designers will showcase their ensembles on the first and second days, respectively.

This inaugural event will see the Face of Africa Models 2008 strut the ramp ride in Dar es Salaam on November 5, 2008.

The Swahili fashion week is the brainchild of fashion designer Mustafa Hassanali.

“As one of the premier designers in the country it has always been my vision not only to further my creations in Tanzanian Fashion but also to promote the industry on the whole. Tanzania has so many established and budding talented designers that the Swahili Fashion week was a much needed platform to enhance African fashion eventually placing it on the global map,” Hassanali says.

Prashant Powar, director of Roundtrip Tanzania Event that sponsors the event, says, “The Swahili Fashion Week is symbolic of Tanzania’s rich cultural heritage coupled with innovative style. It is not only a verdant platform for established designers but a promising stage for aspiring designers who need the right opportunity to tap their audience. Swahili Fashion Week is not only about creating a world class event but carving a niche for the fashion industry on the whole. At Roundtrip Events we believe in magnifying brand experiences- the Swahili Fashion Week is sure to do that and unveil what makes Africa beautiful!”

Hassanali and Roundtrip Events Tanzania are working together to make the Swahili Fashion Week a globally celebrated event scaling greater heights with aview to affiliating it to other international fashion weeks.

It is expected that South African Jan Malan, as official show director, will add value to the profile ofthe Swahili Fashion Week.

An ArtMatters.Info (www.artmatters.info) Article

South Africa Hosts International Copyright Conference Ahead of the 2010 World Cup

2008-10-13T13:01:00.000-07:00

South Africa will on October 16-17, 2008 host legal experts from around the world when the International Confederation of Societies of Authors and Composers (CISAC) holds its legal committee meeting in Cape Town.
Hosted by the South African Music Rights Organisation (SAMRO), the conference will see top legal minds discuss global issues and developments concerning the protection of creators' rights & the omni-present topic of Copyright.
CISAC is the international governing body for collection societies suchas SAMRO, representing 222 authors' societies from 118 countries andindirectly representing more than 2.5 million creators across variousartistic disciplines. Its legal committee, composed of lawyers working for member societiesacross the globe, provides legal information, assistance and advice to CISAC members and statutory bodies through their relevant collectingsociety.
Some 35 international delegates from CISAC member societies are expected in Cape Town for the meeting in Cape Town.
Yavi Madurai, the SAMRO general manager in charge of marketing, says her organisation wants these delegates to appreciate the value of South African music and culture by ensuring that all entertainment for the welcome cocktail function and gala dinner are all proudly South African by acclaimed Cape Town-based South African artists.
Joel Baloyi, the SAMRO's general manager in charge of legal and governance services, will be among the keynote speakers. He will address the matter of legal challenges to the administration of copyright in South Africa and all proceedings will be translated into English, French and Spanish.
"Each country has its own legislation and governance and when it comes to music administration, we all grapple with different challenges," says Madurai. "The committee members will be sharing their variousexperiences so that we can learn from each other in terms of successesand failures and try to find solutions to common global legal issues inrelation to collecting societies."
In a media release, Madurai says this international legal conference is another opportunity to put South Africa on the world map, particularly with the 2010 World Cup imminent.
"From a music point of view, 2010 is going to be huge for this country, and this is a chance to showcase what South Africa is all about and what we can deliver."

New Book Unearthes the Cultural History of Australian Film

2008-10-03T02:35:00.000-07:00

Australian Post-War Documentary Film: An Arc of Mirrors
Author: Deane Williams
ISBN: 9781841502106 Hardback: 230x174mm
Price: £29.95/ $60
URL: http://www.intellectbooks.co.uk/ppbooks.php?isbn=9781841502106
The post-war period in Australian cultural history sparked critical debate over notionsof nation-building, multiculturalism and internationalization.
Australian Post-War Documentary Film tackles all these issues in a considered andwide-ranging analysis of government, institutional and also radicaldocumentaries. As a whole it is a thorough study of the international flows of film culture.
Williams illustrates these themes by critiquing the keyfilms of the era, including the seminal The Back of Beyond, often cited asthe greatest Australian film of all time.
Australian Post-War Documentary Film retells film history by reading these documentaries as part of a nexusof international, and particularly Australian filmic, written and dramatictexts, with close attention to textual analysis.
The book will appeal to anyone interested in international cinema, the way that it theorizes theperiod and offers a host of international comparisons, widening its ideasto the fabric of cultural production that surrounds all art works.
Topics include: The Intertextuality of Three in One, The Neo-Realism of Mike andStefani and the Realist Film Unit and Association in Australia.

Lola Kenya Screen at 1st Africa Broadcast, Film and Convergence Conference and Exhibition

2008-09-25T07:15:00.000-07:00

The Lola Kenya screen audiovisual media initiative for children and youth in eastern Africa has been presented at the 1st African Broadcast, Film and Convergence Conference & Exhibition in Nairobi, Kenya.

The Lola Kenya Screen programme, that has in 2008 been presented in Belgium, Germany, and Tanzania, among other venues, was delivered on September 24 in a session that looked at case studies from Kenya, Morocco, South Africa and the United Kingdom to see what can be achieved with the right strategy. "Through the case studies," the conference programme said, the conference looks at what the role of Government funding can be and how limited resources might best be spent."

Addressing the conference, Lola Kenya Screen founder and director Ogova Ondego traced the journey of its founding in 2005 to the first three festivals and went on to share the vision of this platform beyond 2008.

The 3rd Lola Kenya Screen, that ran August 11-16, 2008, equipped 10 children with filmmaking skills, three with programme presentation skills, seven with cultural journalism skills, and six with analytical skills with which to critically appreciate creativity.

While five short animations were made by the children, six child-friendly documentaries were made by practising filmmakers during Lola Kenya Screen 2008.

More than 300 films from 56 nations were screened at the Kenya National Theatre, Alliance Francaise and in select video halls in the Kibera informal residential neighbourhood in Nairobi. Presented by ComMattersKenya in conjunction with Goethe-Institut, Lola Kenya Screen 2008 was supported by Africalia of Belgium and the Jan Vrijman Fund/IDFA of Holland.

But perhaps the greatest honour to Lola Kenya Screen was in Little Knowledge is Dangerous, a production made by children in 2007 winning the grand prize at the Kids For Kids competition in Nairobi in August after winning a special jury prize at Jugend Medien Festival Berlin in Germany three months earlier. The films continue on the festival circuit around the world.

The 1st Broadcast & Film Africa Conference, on the theme ‘Broadcast & Film Convergence in the Digital Age’, ran at the Kenyatta International Conference Centre in Nairobi CBD September 23-25, 2008.

Among the organisations that participate in the conference and exhibition were African Broadcast Network, Kenya Broadcasting Corporation, Kenya Film Commission, Nation TV, Ghana Broadcasting Corporation, GTV, Ghana Telecom (IP-TV), Wide Net, African Telecoms, Media and Technology Fund, Hi-TV, Trend TV, Sonatel Multimedia (VoD TV), Big Ideas Entertainment, Mediae, Discop, Multichoice, Setanta Africa, MTV Networks Africa, Al Jazeera Network, Voice of America, A24 Media, Scopus Video Networks, MediaMerx, BT Media and Broadcast, Globecast, Kenya Data Networks, Broadcast Solutions Inernational, Adobe, Saracen Media, Steadman Group, Southern Africa Direct, Zanzibar International Film Festival, Africalia, UK Film Council, Altech UEC, Canis Media, Southern African Media Development Fund, Standard Group, Skyfire Group, Google, Rwanda TV, Broadcast TV and Film Training Centre, Nigeria Radio, Rancard Solutions, Mobile Planet, Television for the Environment, SuperSport Africa, Digital Development Communications, Earthly Creations, AdGroup, Kass FM, Film Corporation of Kenya, Metro TV, TV3, Joy FM, GT-One Touch, SABC, CTV Tanzania, African Films and Music, Gambia Radio and Television Services, and Multimedia Broadcasting.

A Lola Kenya Screen (http://www.lolakenyascreen.or.ke/) Article

New Book Explores the Visual Impact of the Fall of the Berlin Wall

2008-09-21T06:31:00.000-07:00

Almost 20 years ago,on the 9th November 1989, civilians crossed over the formerly forbidden boundary between East andWest Berlin with a host of television cameras on site to beam the pictures around the world. These became the images of the fall of the Berlin Wall, taken to symbolise the collapse of communism across Eastern Europe and more generally an end of ideological history.

Taking the fall of the Berlin Wall as a case study, Sunil Manghani's Image Critique & the Fall of the Berlin Wall presents a new critical visual theory. Image critique is a dual procedure combining analysis and interpretation of images, with a consideration of how images can be used to critically examine and engage with our contemporary culture.

The author uses the fall of the wall as a means to place a complex interactive account of history, politics, human action, freedom, the media and visual culture. The book asks why the dominant interpretation of the fall of the Wall has only ever been about the celebration of the end of something and not the beginning of any new political possibilities.

This wonderfully visual book, containing over forty photographs, uses the event's historical and ongoing resonance for an investigative discussion of history, politics, the media and their relationship with this new image ethos.

Manghani examines current debates surrounding visual culture, ranging from such topics as Francis Fukuyama's End of History thesis to metapictures and East German film to seek out. The result is an exhilarating interweaving of human action,freedom and visual culture.

A Lola Kenya Screen Production Wins Third International Prize

2008-09-12T12:43:00.000-07:00

A Lola Kenya Screen production described by the jury as “a funny and educational film with a clear message that makes you just want to learn" has grabbed its third international prize.

Little Knowledge is Dangerous, one of the three films and three songs on the African Folk Tales Animated DVD compilation made during the 2nd Lola Kenya Screen film production workshop in August 2007 won the Most Creative Project Award in Nairobi and the Special Jury Award at the Jugend Medien Festival Berlin, Germany, in May 2008.

In awarding Little Knowledge is Dangerous the Special Commendation Award 2008 for the age-group 6-14 years, the jury said this was 'for the humorous manner in which the clash of two cultures and the resulting language difficulties and its impact are portrayed. A film which transforms a mundane daily routine into a parable of superficialness and and superficial knowledge with aplomb.'

This was the second time in a row that a Lola Kenya Screen production had won the Kids For Kids Africa competition. In 2007, Films by Children for Children won the Grand Prize at the 5th World Summit on Media and Children/1st Kids for Kids Africa in Johannesburg, South Africa.

In August 2008, the jury of the 2nd Kids For Kids Africa competition described Little Knowledge is Dangerous as a “a funny and educational film with a clear message that makes you just want to learn."

The 2nd Kids For Kids Africa competition was held in Nairobi, Kenya, in the frame work of the 3rd annual Lola Kenya Screen audiovisual media initiative for children and youth in eastern Africa.

Little Knowledge is Dangerous was written, animated, shot and directed by Samora Michelle, Adede Hawi NyOdero and Karama K Ogova during the 2nd Lola Kenya Screen film production workshop conducted by Maikki Kantola of Finland for Project Anima of Denmark in August 2007.

Some eight films from Kenya, South Africa and Zimbabwe were in the 2nd Kids for Kids Africa Competition. They were Uncovering Secrets of the World by Mia Dupper of South Africa (2008); Ingwazi Jive by Abigal Mlotshwa, Fight Against Poverty by Tinashe Maravanyika, Ndaifara by Mercy Mafudze and Craig Kimu, and Oh Mama by Thelma Maduma of Zimbabwe made under the Postcards from Zimbabwe compilation (2006); and Little Knowledge is dangerous by Adede NyOdero, Samora Michelle and Karama Ogova, Manani Ogres by Joseph Hongo, Marcus Joseph, Norrick Joseph and Samuel Musembi, and The Wise Bride by Alexandria Ngini, Aysha Satchu and Layla Satchu (2007).

The jury, working under the guidance of Signe Zeilich-Jensen of The Netherlands, consisted of:Wangari Mumbi Kiarie, 14, Nairobi, KenyaYvonne Kongu, 14, Kiserian, KenyaSharon Fortunate Mazvihwa, 16, Harare, ZimbabweIan Innocent Mbae, 16, Nairobi, Kenya

Held on the theme of “Peace-Building for a Sustainable Future”, 3rd Lola Kenya Screen attracted some of the best possible films for children and youth in the world from 56 nations.

More information is available on http://www.lolakenyascreen.or.ke/, http://www.artmatters.info/, http://www.sayit-sema.blogspot.com/, http://www.screeafrica.co.za/ and http://www.filmmaker.co.za/, among many other online publications.

South Africa's Moshito Music Conference and Exhibition 2008 Ready for Presentation

2008-09-09T03:54:00.000-07:00

South Africa’s premier music industry gathering, Moshito Music Conference and Exhibition that marks its fifth year in 2008, is ready for serving.

Arnold Mabunda, the Moshito '08 chairman, says: “I think that if you look at the programme you will see how seriously we are taking the business of music. There is no better forum in South Africa where good quality business intelligence about the music industry is disseminated so effectively and accessibly than at Moshito. We have a very impressive line-up of international speakers drawn from so many different countries including Brazil, Mali, Tanzania, France, Sweden, and Australia – and they are all the top experts in their field. Add in our South African experts and I think that delegates are going to be hard-pressed to select just which sessions to go to!”

Mabunda attributes much of the programme’s strength to Moshito Music Conference and Exhibition’s new relationship with WOMEX – widely acknowledged as the world’s foremost platform and business market for WorldMusic.

“The relationship is a milestone for Moshito. WOMEX’s expert input on the session and speakers this year has really been invaluable. We look forward to working with them in future years.”
Among the contributions to this year’s conference programme comes from the Worldwide Independent Music Industry Network (WIN) whose President, AlisonWenham will take part in the session on Levelling The Playing Fields For Indies along with Gallo Music Managing Director, Lazarus Serobe, MarcLatilla, Senior Music Buyer at Look & Listen, Selloa Galane, CEO of KAMR and Sipho Sithole, Head of Group Strategy at the SABC.

Sithole is part of a strong SABC representation at Moshito ’08 with the broadcaster now also partnering the event for the next three years.

“I believe the session on the SABC’s music strategy and the role of public service broadcasting will be a very interesting one for all delegates,” Mabunda confirms.
Other hot topics are set to include a panel discussion on two of the most pressing issues facing the industry – Needletime and Digital Rights Management. The issue of Sampling in music is another contentious issue thatwill get a public airing at Moshito – this takes place at 4pm on Friday, September 12th. The panel includes Black Coffee, Ray Phiri, DJ Soosh, Hugh Melamdowitz of Spoor & Fisher and Jay Savage, MD of Sony ATV MusicPublishing.

As part of its commitment to accessibility Moshito ‘08’s public days give those interested in the music industry free entry to the conference and exhibition from 1pm on Friday September 12th. Included in this access is theMoshito ’08 Listening Booth which gives would be artists, producers and songwriters access to the industry’s best experts via a dedicated “listeningbooth” where demos can be played. Saturday September 13th also sees the Moshito ’08 1-Minute Hip Hop Battles taking place from 10h00 to noon with registration for producers, dancers, free stylers, beat boxers and DJs open from 09h00 to 09h45.

One of Moshito’s key partners, SAMRO will also showcase live music in the Newtown vicinity for free during Moshito ’08 at venues Niki’s Oasis and Cappello’s. Moshito and Arts Alive are also hosting a night of free music at the Bassline on Friday, September 12th.

In addition SAMRO’s Endowment for the National Arts (SENA) will have a joint stand with Mmino, the South African-Norwegian Music Cooperation initiativethat funds music projects in the country. The stand will be focusing on music education, and visitors can obtain valuable information and advice on where they can study music in South Africa – either formally or informally.

With close to 50 exhibitors, this element of Moshito ’08 is unmissable and is the biggest yet. “We are really seeing a strong year-on-year growth of the exhibition eat Moshito,” Mabunda affirms. “This is a great place for information gathering and networking during the conference.”

The more than 500 delegates will have a chance to meet and make contact during the closed sessions from Wednesday September 10th to 1pm on Friday September 12th. “In many ways this is the most valuable aspect of Moshito for many people,” Mabunda says. “We have delegates coming from around the country and overseas and also quite a few from Africa. They all come from abroad section of areas of the music industry and Moshito gives a rare chance to meet face-to-face and find ways of working together.”

Moshito is again working in partnership with key organisations in the South African music and cultural industries to increase its reach, both domestically and internationally.

SAMRO (Southern African Music Rights Organisation) is one of the founding organisations of the Moshito Music Conference and Exhibition and remains on its board, using its position to add significantly to Moshito’s growth. Also adding their weight to Moshito ’08 are IFAS (the French Institute of South Africa), BASA as well as the SABC. In addition, this year’s event sees theinvolvement of the national Department of Arts and Culture, the Gauteng Provincial Government, Department of Sport, Arts, Culture and Recreation and the Gauteng Economic Development Agency (GEDA).

29th Durban International Film Festival Award Winners

2008-09-08T06:49:00.000-07:00

The 29th Durban International Film Festival (July 23-August 3, 2008) came to a conclusion on August 3, 2008, having drawn impressive audiences across the 12-day event.

Open seminars and workshops also registered good attendance, indicating the heightened interest in filmmaking processes in KwaZulu-Natal. These programmes included participation by some of the many filmmakers attending the festival, as well as sessions hosted by the National Film and Video Foundation (NFVF), the South African Broadcasting Corporation (SABC), and others, on a range of industry focus areas.

A selection of festival films were honoured on Awards Night, with a total of 19 prizes being awarded.

The Best Film prize, which carried a cash prize of R30 000, went to Foster Child (Philippines), directed by Brillante Mendoza. The International Jury praised the film for *delving with remarkable skill into the everyday lives of its extremely well-developed characters, and for fusing documentary and drama to create a brave, humane and unconventional film.*

The Best South African Filmaward went toTriomf, directed by Michael Raeburn. The jury had this to say: *by immersing itself into the often sordid world where poverty, and the educational gaps that attend it, meet an arrogant sense of entitlement, Triomf exposes a series of universal truths. The dirty secrets of capitalism, of racism, of manipulative politics, of the human heart are mirrored in the secrets of one family, whose disintegration reminds us that a nation*s history is written by individuals* The award carries a cash prize of R20,000.

The popular Audience Choice Best Film award went to the festival*s opening film, Jerusalema, directed by Ralph Ziman.

Rapulana Seiphemo picked up the best actor award for his role in Jerusalema.

The full list of award-winners are:

Best Film: Foster Child (Philippines), directed by Brillante Mendoza
Best South African Film: Triomf, directed by Michael Raeburn
Best First Feature Film:Captain Abu Raed (Jordan), directed by AminMatalqa
Best Director: Lance Hammer for Ballast (USA)
Best Actress: Cherry Pie Picache in Foster Child (Philippines)
Best Actor: (Shared) Hanno Koffler in A Hero*s Welcome (Nacht VorAugen) (Germany); and Rapulana Seiphemo in Jerusalema (South Africa)
Best Cinematography: Shanker Raman for Frozen (India) Best Screenplay: Singing Chen and Lou Yi-an for God Man Dog (Lio LangShen Go Ren) (Taiwan)
Special Jury Mention: Ain*t Scared (Regarde-Moi) (France), directed byAudrey Estrougo
Best Documentary:Patti Smith: Dream of Life (USA), directed by StevenSebring
Special Mention Documentary:Send a Bullet (Manda Bala) (Brazil/USA),directed by Jason Kohn
Best South African Documentary:50 Years! Of Love?, directed by KarinSlater
Best Short Film: I Love You (Mozambique), directed by Rogerio Manjate
Best South African Short Film: Sibahle, directed by by Joshua Rous
Big Fish School of Digital Film Short Film Newcomer Award:Reina-MarieLoader for Cutting Silence
Amnesty International Durban Human Rights Award:Taking Root: The VisionOf Wangari Maathai (USA), directed by Alan Dater and Lisa Merton (USA)
Wavescapes Best Surf Film:Bustin* Down The Door (USA), directed byJeremy Gosch
Audience Choice Best Wavescapes Film:Sharkwater (USA), directed by RobStewart
Audience Choice Best Film Award: Jerusalema (South Africa/USA),directed by Ralph Ziman

Organised by the Centre for Creative Arts (UKZN) the Durban International Film Festival is funded by National Film & VideoFoundation, SABC, HIVOS, Royal Netherlands Embassy, KwaZulu-Natal Department of Economic Development, Stichting Doen, the German Embassy in South Africa, Goethe Institute of South Africa, Industrial Development Corporation, and the City of Durban, with valued support from a range of other partners.

Lola Kenya Screen Trains 86 African Children, Shows 1200 Films From 71 Nations

2008-09-07T11:49:00.000-07:00

By Lola Kenya Screen Press

Lola Kenya Screen, eastern Africa’s premier audiovisual media platform for children and youth, has since 2006 showcased more than 1200 films from 71 nations representing all the six continents in various genres, formats and lengths. Additionally, Lola Kenya Screen has helped add 31 child filmmakers, 14 journalists, 13 film judges, 7 MCs, 15 producers of television drama for children and youth and 6 producers of documentary films for children and youth to eastern Africa’s creative and cultural spectrum.

The 3rd Lola Kenya Screen (August 11-16, 2008), attracted participation from Kenya, Uganda, Tanzania, and Zimbabwe, with all participants coming in to watch the wide variety of films from 56 nations and to be equipped with skills for making films, appreciating and judging audiovisual media production, presenting programmes and filing daily reports on the festival.The festival venues included the Kenya National Theatre, Alliance Francaise and several video halls in the Kibera residential neighbourhood.

Established in October 2005 as a movement that uses appropriate and available technologies to deliver audiovisual media content that complements, enhances, entertains and promotes learning among the generation of today and tomorrow—children and youth—in the promotion of literacy, gender equity, independent thought, human rights, environmental responsibility and global health.

Through her programmes, Lola Kenya Screen explores, identifies and nurtures creative talent among children and youth in areas such as journalism, filmmaking, arts appraisal and appreciation, and organisation and presentation of cultural and creative events. This is aimed at equipping children and youth with the skills to understand, appreciate, and create quality audiovisual productions in particular and arts in general.

Lola Kenya Screen places production tools in the hands of children and youth for the advancement of literacy, gender equity, self expression, and democracy in their world through her production workshop, film exhibition, and audiovisual media platform for marketing, promoting and distributing films.

While the Festival Press is aimed at uplifting the standards of creative and cultural journalism in eastern Africa, the Production Workshop empowers children and youth to make at least five quality, low-budget, moving images per year. In 2008, this programme was made possible with the support of Africalia of Belgium.

Out of the recognition that unless adults are sensitised into creating for and with children, the aim of putting children and youth on the public agenda could become a cropper, Lola Kenya Screen 2008 also worked with practising filmmakers in the production of documentaries for children and youth. This was made possible with the support of the Jan Vrijman Fund/IDFA of The Netherlands.

Programme Presentation, as the title suggest, empowers children and youth to organise and present events and programmes. Such children are usually in charge of the programme during the six days of the festival.

The Film Jury, on the other hand, seeks to inculcate in participants skills with which to critically appreciate and appraise creativity in general and film in particular. The jury members watch and award films in competition. The official Lola Kenya Screen Jury consists only of children and youth.

The next edition of Lola Kenya Screen will run in Nairobi, Kenya, August 10-15, 2009.

A Lola Kenya Screen (www.lolakenyascreen.or.ke) Article

Homosexuality Comes To East Africa: A Response

2008-09-06T08:09:00.000-07:00

This article is a response to Homosexuality Comes To East Africa, an article published on ArtMatters.Info ((http://artmatters.info/?articleid=117) and that says, in part:

"Same gender sex is currently raising moral and legal hairs in Kenya, Uganda and Tanzania. Coupled with often confusing notions like human rights, freedom of expression, and democracy, homosexuality is becoming a thorny issue in this part of the African continent where largely conservative cultures are clashing with sexual liberalism in a world galloping headlong towards urbanisation."

Now, Sean Beaton, who declares that he is homosexual, responds:

Hello...

Just felt the need to comment on your article in ArtMatters.Info on homosexuality (http://artmatters.info/?articleid=117), and your description of how one "becomes" homosexual.

Despite it's attempts at appearing academic and impartial, this article clearly has a negative slant against homosexuality, and uses a lot of uncredited 'facts', claiming them to be written by 'experts'. Only a homosexual can be an 'expert' on what a homosexual is. And I am one. And being one, I can assure you first hand that homosexuality is not a choice. As a child, I didn't know what homosexuality was by definition, but I knew innately that it described my natural attractions, and from a very young age I acted on it in subtle ways until adolescence when I more fully embraced the reality of it. It was not spurred on or developed by any 'deviant' influences, or any abusive, neglectful, absent, or overprotective parental figures. People don't 'become' homosexual - they become 'aware' of the fact that they are homosexual.

Having said that, I would like to challenge your 'majority rules' definition of homosexuality being merely a deviant from the norm of a heterosexual union. That is like saying that being Black is deviant being Asian, just because there is a larger population of Asian people in the world. Homosexuality is 'different' from being heterosexual - it is not a deviation from any norm. It is not lesser or greater than heterosexuality in any way - in fact, with the world being on the cusp of overpopulation, it most certainly should not be frowned upon.

It's unclear to me how a society that doesn't allow homosexuals to even be together can look down on homosexuality based on the fact that there is a "lack of commitment among couples". There is a contradiction here. How can there be commitment when it isn't permitted? This same society is also opposed to homosexual sex based on the fact that it spreads disease, but it's not homosexuality that spreads disease - it's people who are irresponsible and promiscuous that spread disease - and I'm afraid heterosexuals can also be just as irresponsible and promiscuous. The article also dramatically compares homosexuality to theft, molestation, and bestiality - but in all of these examples, something or someone innocent is being harmed, and that's what makes those acts wrong. When shared between consenting adults, homosexual unions cause no harm to anyone. It's hatred and intolerance that cause harm in society.

The article uses the argument that people's actions must subscribe to social norms, and that homosexuals requesting equal rights are some sort of special interest group, but this only seems to include the 'norms' of your own local community/country....how about the attitude towards homosexuality globally? By marginalizing homosexuals to suit your own beliefs, are you not exercising the same 'special interest' rights that you claim the homosexual community to be requesting, as the rest of the world becomes more and more educated and accepting of homosexuality?

I was especially disgusted by the final paragraph of the article - a quote from some 'expert' saying how practicing homosexuals should be hung immediately to set an example for the rest of society. It's unfortunate that your readers have to continually endure such a clearly biased and uninformed stance on homosexuality. You use Ken Ouko as an expert source in your article, and he claims homosexuality "negates the designation of particular organs in the male and the female for ‘coital congruence’". Although there is clear congruence between men and women's sexual organs, homosexuality certainly doesn't 'negate' that. Regardless, there are also congruencies between the sexual organs in homosexual unions as well. Men have prostates, which seem to be conveniently placed for the purpose of 'congruent' anal stimulation and pleasure, and woman also seem to do just fine without men in the equation.

The article also falsely suggests that "homosexuals attribute their orientation to an increasingly assertive female population that has little time for men but career and who relentlessly pursue feminist ideals of independence". Although the article claims this to be the homosexual communities stance, the source is clearly not homosexual, but rather an uninformed observer giving their own interpretation. It also sounds like someone who takes issue with the empowerment of women, which once again would certainly not be a lesbian. Ouko says that the behaviour of these 'assertive females' may actually be the cause of homosexuality. The notion that women, or men for that matter, would 'become' homosexual merely based on an increasing pursuit of 'feminist ideals' is ridiculous, and it should immediately discredit the purported 'expert' who would use this as an argument. These women are not homosexual 'because' they've empowered themselves, rather, they are more easily able to empower themselves because they are not subjected to the oppression of a traditionally male dominated relationship. Empowerment does not turn women into lesbians, although it may allow someone who is already a lesbian to embrace their inner truth.

It's not even clear what is meant by Ouko's statement about how "homosexuality is a preserve of the well to do who use it to dehumanise and humiliate the poor, perpetuating the gap between the rich and the poor." If it's referring to some sort of sexual abuse, that would be an issue of abuse, and not homosexuality.

When referring to dated legislation on the subject of homosexuality, your article also regurgitates quotes like, "just as there is no need to rewrite the Bible or the Koran, there is no need to adjust the Declaration". This would appear to raise the creators of this Declaration to the status of Gods, which should seem rather blasphemous to those who believe in God. Humans are fallible, and so were the writers of the Declaration. The world is not flat anymore. Our knowledge base evolves over time, and law books should reflect and adapt to such maturation.

Thank you for reading this, and I hope you appreciate a first-hand perspective on homosexuality from an 'expert'.

- Sean Beaton

Eastern African Children Undergo Filmmaking Training In Nairobi, Kenya

2008-09-02T06:20:00.000-07:00

By Tony Mushoborozi

Are you one of those people that have always hoped to see some home-grown film and television shows for children? Shows that your children would more closely relate to, like those they themselves helped to make? Your dream could come to pass.

The whole of the second week of August (11-16, 2008) children from all over East Africa participated in necessary audiovisual training in Nairobi. Tristan Kayonga a 14-year old Uganda boy attended. Together with several other kids from East Africa, Tristan attended intensive production workshops that could change the face of children’s television in East African.

Lola Kenya Screen, the organization that hosts the course each year, opened its third film festival on Monday in Nairobi. “It is a platform for placing audiovisual skills in hands of children around East African,” said the director Ogova Ondego. “It is not just an annual event. It is a movement to change future TV.”

Hands-on production skills like camera handling, 3D (three dimensional) animation, painting, and cartoon making were handed to the children by professional filmmakers from Europe and Egypt.

The seven-day training was focused on cartoon animation, a film format loved by kids for its portrayal of life through funny characters and simple and often clean dialogue. The kids worked so hard that the guests at the closing ceremony were treated to a five-minute brand new children’s cartoon film they had made in their class.

Three special guest kids came from Harare, Zimbabwe’s capital to expose the East African children to a trade that they have known for eleven years. For instance 17-year old Craig Kimu from Harare already has two films to his name.

The biggest number of the children came from Kenya especially around Nairobi. Many were invited but never made it because many were still doing exams.

Show Casing were great films for children from 56 countries worldwide including cartoons and 3D animation films. Irene Kulabako’s All Our Children a 45-minute film about three abused children was screened at the festival. Last year’s festival screened Cindy Magara’s Fate another Ugandan film.

About the writer
Tony Mushoborozi is a Kampala-based Ugandan journalist

Lola Kenya Screen Winds Up n Style

2008-08-31T13:13:00.000-07:00

By Joyce Wanja

August 16, 2008 marked the drawing of the curtains on the 3rd annual Lola Kenya Screen film festival which was set to run for six days from the 11th of August. Everyone was busy here and there from the organizers to the participants to ensure that everything was set for the long awaited closing ceremony.

It was one joyous and yet a sad moment for the participants; a happy moment because their efforts were to be awarded and a sad moment because they had to say goodbye to their colleagues. For a short while, they gathered and engaged themselves in a conversation that explored their journey from the beginning of the film festival and the challenges they encountered together with the ups and down they had. It was with no doubt that the training throughout the festival had made them even better people.

The closing ceremony was scheduled to start at 5pm but was delayed and it eventually kicked off at 6pm. Parents, friends and film stars started streaming into the hall. This was quite an encouragement for the participants since it was a great show of support.

After a short while, the programme for the closing ceremony started. The start was one of a kind since it kicked off with an exciting entertainment from 12-year-old MC Chee and her 8-year-old sister Jojo who peformed mainly spiritual songs in hip hop style. They were followed by one Hellen Akoth-Mtawali and her Afrizo singers from Daystar University who delivered their Africa-styled songs powerfully. Their songs were so captivating they fully caught the audience’s attention.

After entertainment, Ogova Ondego who is the director of Lola Kenya screen was called upon to give a speech. He Started by defining the name Lola and its origin which means watching moving images. He outlined its objectives and reasons as to why it was founded. He emphasized on this year's theme for the film festival which was Peace-Building for a justand sustainable future. Ogova Ondego believes that Children and youth have talents and they need a platform to showcase their creativity. That’s why he says that Lola Kenya screen is and will continue being a home of nurturing talents and creativity. Finally, he says that success is born when preparation meets opportunity and that is why he has made the festival an annual event so as to ensure interested parties get the opportunity to participate.

After his speech, it was time to introduce the participants in the various workshops by their teachers. From film jury to press and finally the production workshop, every participant got the chance to say what they had learnt during the festival.

The stage was then taken over by Signe Zeilich-Jensen and her team from the film jury which comprised Sharon Fortunate Mazviha from Zimbabwe, Wangare Mumbi Kiarie of Nairobi, Yvonne Kongu of Kiserian and Ian Mbae from Kenya. They announced and awarded the winning films.

Later on, two comic films were screened and thereafter cocktail was served. People interacted and laughter filled the air as they chatted here and there. This marked the end of the colourful closing ceremory. Indeed, the 3rd annual Lola Kenya screen film festival drew down its curtains in style

About the writer

Joyce Wanja, 17, is a member of the Lola Kenya Screen 2008 Festival Press. She attends Moi Forces Academy, Lanet, Kenya.

Africa Grapples With Film Training Curriculum

2008-08-30T13:27:00.001-07:00

By Ogova Ondego

The Pan African Federation of Filmmakers (FEPACI) recently brought training specialists, academics, researchers, journalists, film festival organisers and a host of other audiovisual media practitioners to discuss the training of film practitioners in Africa.

Meeting in Windhoek, Namibia, July 31- August 1, 2008 for the Southern African Region Curriculum Symposium, participants were drawn mainly from the Southern African Development Community (SADC)-member nations (Angola, Botswana, Lesotho, Malawi, Mozambique, Namibia, South Africa, Swaziland, Zambia, and Zimbabwe). Other participants came from Tanzania, Kenya, Burkina Faso, Ghana, Ivory Coast, Mali, Benin, Madagascar and Mauritius.

“We are bringing these professionals under one roof to dicuss curriculum discourse with the objective of enabling the regional countries to arrive at a common aim with regard to training of film and television practitioners,” FEPACI Secretary-General Seipati Bulane-Hopa explained. “This is a pilot project that will give birth to other symposia in the upper regions of Africa.”

It was not lost on the organisers and participants that tackling a broad subject like curriculum is not an easy subject in a diverse continent like Africa.

To manage the subject, FEPACI has to begin by defining concepts like “film school”, “industry”, and “curriculum”.

Film appears to not only have failed to take root in Africa but has no formal structures in place. Cinemas have been transformed into worship centres and shopping malls all over Africa. Moreover, film is a trade rather than a profession in most African countries.

The non existence of cinema across Africa and comparatively low patronage where cinemas exist does not augur well for Africa.

Perhaps to feel good, people in the audiovisual sector loosely refer to their trade as an industry but cannot state how much this their industry contributes to their national gross domestic product.

Bearing in mind that Africa lacks cinemas, distribution channels and formal funding agencies for its audiovisual media sector, perhaps the only question that we need to pose is, What kind of curriculum should Africa should adopt? Should it be the American, European or Indian one, or something entirely different? Should this syllabus tackle traditional or contemporary Africa? What kind of curriculum would be appropriate and relevant for Africa?

As a participant aptly noted, the theme of the conference—The Alignment of Curriculum into the 21st Century Aspirations of the Pan African Industry—was abstract and participants needed “to crystallise what we want to achieve.”

While other observations were that racial, gender, age, identity and cultural dynamics be taken into account and that African cinema be defined by existing contexts and interpretations, it was also stressed that “Africanising” the film “industry” would take Africa backward not forward. Filmmakers, it was noted, should remember their audiences are all over the world and not only in Africa.

There is a tendency to study film in formal institutions and not enough importance is accorded to the technical areas of filmmaking, something that leads to a lack of technicians. Short courses, it was suggested, are important, especially for filmmakers with no formal education. It was also proposed that FEPACI create a repository of products that could be used for research that would be made available to filmmakers and scholars.

It was heart-warming to hear Joel Kaapanda, the minister for Information and Communication Technology in Namibia, pledging government support on promoting the growth and development of the Namibian film sector. He also applauded the FEPACI deliberation on matters related to the training and standardisation of curriculum used in filmmaking in the SADC region.
An ArtMatters.Info (www.artmatters.info) Article

The Challenges Of Formalising Cinema In Africa

2008-08-29T12:06:00.000-07:00

By Ogova Ondego

Some 112 years after cinema was introduced to Africa in 1896, images in illusory motion (aka movies or moving
images) has not only failed to take root in Africa but the mother continent is yet to come up with a comprehensive,
relevant and appropriate curriculum for its various training institutions. It appeared to have been on this premise
that the Pan African Federation of Filmmakers, better known by its French acronyms, FEPACI (Federation Pan
Africaine Des Cineastes), held the FEPACI Southern African Curriculum Symposium, a two day consultative meeting on
the theme, “The Alignment of Curriculum into the 21st Century Aspirations of the Pan African Industry”, in
Windhoek, Namibia, July 31-August 1, 2008.
It was during this conference that ArtMatters.Info publisher Ogova Ondego met Seipati Bulane-Hopa, some 27 months
after her election to the office of secretary-general of FEPACI in Pretoria, South Africa, in April 2006. Bulane-Hopa confessed she had not been fully aware of what she was getting into when she 'accepted nomination at the eleventh hour' of the landmark Africa Film Conference. Accordingly, she will not defend the seat when her term ends
in 2010. Instead, she is writing a book that details what she has gone through at the helm of what should be Africa’s top film business organ.

Please take us through what you have experienced since your election to the office of FEPACI secretary-general in April 2006.

It has been an exhilarating journey for me and the Treasurer General Albert Egbe. Moving the secretariat from Ouagadougou in Burkina Faso to Johannesburg in South Africa has posed the greatest challenge. I didn’t have any migration plan when I took office. The only thing I had was support from the FEPACI membership. Huge expectations put on us by 54 countries in Africa, including Western Sahara, Madagascar and the African Diaspora in Europe, the Americas and Asia calls for enormous finances, infrastructure support and human resources. Seven months after my election no funding was forthcoming and I conducted FEPACI business from a private residence. Many of the corporate organisations I spoke to didn’t want to commit themselves to a shell as FEPACI had little that could pass for something tangible. It was not even registered in South Africa. Finally the National Film and Video Foundation of South Africa gave us US$20,000 in October 2006.
With the support of the South African Broadcasting Corporation, CNC, Africalia, M-Net and the Department of Arts and Culture, we held a conference on Intellectual Property Rights and Best Strategy at the 11th Southern Africa International Film and Television Market, Sithengi, in Cape Town, in November 2006. The focus of this strategy meeting was ‘operation’ of FEPACI but the regional secretaries in attendance quickly switched it from ‘operation’ to ‘political’.But I felt FEPACI had spent so much on politics over its 40 years of existence. That being the case,
I felt it needed action and not political power structures. I lost poularity with the regional secretariats over this stand. I am writing a book on this.
Instead of concentrating on the business plan that sought to strengthen the central and regional secretariats, they raised political issues related to the governance of FEPACI. For me ‘action’ was a priority, i.e. making the secretariat work. This first engagement at Sithengi didn’t achieve much. I had felt we needed someone to coordinate activities in the regions. This was not to take over from regional secretaries but to complement their activities: registration of offices, data collection, running of workshops.In 2007 we received ZAR2 million from DAC. Although this was short of our ZAR17 million, it kept things going.As FEPACI headquarters remains in Ouagadougou, this office should be supported.

What is your relationship with the African Union?

We have a pending MOU with the African Union. We are requesting the AU to pay for a feasibility study on the audiovisual sector in Africa to be conducted by FEPACI. The AU is to support while things are to be implemented by the professionals. We are also looking at the possibilities of how FEPACI can go beyond the ‘observer’ status to one of ‘partner’ with the AU. The AU says this is under scrutiny but we hope it will be signed soon. We give AU a political’ and not ‘practitioner’ function.

Why are you running this conference on audiovisual media curriculum instead of one on, say, African Film Fund or African Film Commission?

This is an urgent response to resolutions taken at the African Film Congress that mandates FEPACI to interrogate and research the current state of curriculum within African training institutions. We are also looking into the issue of film curriculum as a follow up to the IPR conference held in South Africa in November 2006. We have the desire to form the African Film Commission, then follow up with the African Film Fund. However, we must put ‘structures’ before ‘function’. FEPACI has to become a proper house before beginning to function.

How can you describe the future of the FEPACI secretariat in South Africa?

The future of FEPACI in South Africa is bright. Good things are beginning to happen. Things are looking up. The Department of arts and Culture (DAC) is coming in. We need to build a stronger headquarters in Ouagadougou to cushion FEPACI against vulnerability whenever the secretariat moves.

How about your own future as secretary-general?

I shall not defend my seat when my term ends. I was nominated for the post of secretary-general at the 11th hour during the African Film Congress in Pretoria in 2006 and had little time to take into account what the position would cost me. There was no hand over ceremony, no documents, no pen or paper when I was elected. I was given an office that had nothing in it. The going has been difficult. And it has taught me difficult lessons. I won’t do it again.

Anything you can describe as your achievement so far?

Though we lost two years putting thins in place, we now have in place a FEPACI membership endowment account, a projects account and a mainstream account. We now have a functioning office, a running website and newsletter and have put up a headquarters with proper structures. We have hosted two symposia and have published a report for 2006/2007. We have a legal team with expertise in IPR and contracts drafting to assist FEPACI members against signing away African heritage. We are planning to put up a centre for research and archives, space for the African think tank to be at the FEPACI headquarters. We shall also have an awards system at African film festivals to recognise creativity.

Can you identify any shortcoming?

The FEPACI visibility has been a problem because we have been consumed with getting the office in operation. We need to disseminate information to Africa and the world, to interrogate issues, engage governments using chat rooms and to raise further awareness with the South African government to come out in serious support of FEPACI. This is why we hold a monthly meeting in Johannesburg with the Friends of FEPACI to talk about this organisation.
An ArtMatters.Info (www.artmatters.info) Article

Southern African and Kenyan Music Rights Bodies Partner Up

2008-08-28T05:58:00.000-07:00

By Ogova Ondego

The Southern African Music Rights Organisation (SAMRO) and the Music Copyright Society of Kenya (MCSK) have signed a memorandum of understanding to enhance the growth of copyright development in Africa.

Under the memorandum, SAMRO will provide assistance that will enable MCSK to fully protect and enforce the rights under its administration in Kenya. Though signed on August 8, 2008, this MoU came into force on August 1, 2008.

Under the terms of the agreement, SAMRO will provide the following services to MCSK:
* Hardware and software installations and support
* Competency training and exposure
* Coaching for middle and senior management
* Assistance with licensing negotiations

While a consequence of a new strategic approach, the MOU signed by SAMRO with MCSK is not the first of SAMRO’s extensive involvement in the development of collecting societies in Africa.

In Botswana SAMRO is involved together with the International Confederation of Societies of Authors and Composers (CISAC), an international body to which all collecting societies throughout the world affiliate, in assisting with the establishment of a new collecting society.

The organisation has alsobeen involved with the installation of new custom built software in Mauritius and Namibia. This is over and above its active involvement as the Executive Committee member of CISAC’s African Committee.

“We have set targets in terms of realising income from the African continent, which at the moment accounts for less than one percent of SAMRO’s revenue. We believe there is growth potential but it will take hard work and smart partnerships like the one we have entered into with MCSK,” said Leon van Wyk, General Manager, International Affairs at SAMRO.

Kenya is one of the more stable and growing economies in the continent. With a GDP estimated by the CentralIntelligence Agency’s world report to be at US$58,8 billion and growing at a rate of more than six percent per annum, it is evident that there is a need to put in place effective copyright protection mechanisms. The key to this is well run collective management of authors’ rights. Most visitors to Kenya find that the Kenyan ‘night life’ is more vibrant than in many countries throughout the continent. This, coupled with fourprivate TV broadcasting stations, a public broadcaster and not less than eighty radio stations covering a population of some 38 million people, is an important indicator of the extent music is commercially used in Kenya.

SAMRO is said to be the leading collecting society in Africa. It grants licences on behalf of composers and publishers of music for the use of musical works in broadcasts, performance in public, transmissionthrough a diffusion service as well as when music is recorded or reproduced (mechanical rights).

SAMRO has recently been accredited by the Copyright and Intellectual Property Registration Office (CIPRO) to administer the Public Playing Rights (Needletime) on behalf of performers.

With more than 16000 members of which close to 7,000 are composers whose music is actively used commercially and have assigned their rights to SAMRO, SAMRO is a significant contributor to the music economy. It has also played a significant role in the establishment of industry bodies such as Moshito Music Industry Exhibition and Conference, the South African Music Export Council as the Association of Independent Record Labels (AIRCO).

South African music is popular in Kenya but little in the way of royalties has historically made its way back to South African music composers and music publishers. “This situation will soon be a matter of the past as SAMRO will work closely with MCSK to build the capacity and competencies required,” said Nicholas Motsatse, the SAMRO chief executive officer. He further said: “We have agreed on specific focus areas and we believe that we should see results in the medium term. What is even more encouraging is the level of professionalism and commitment from MCSK’s management and board of directors. This has been evident to us over the last four months since we started discussions with MCSK”

In a ceremony that was attended by dignitaries from MCSK, the Kenyan Copyright Office, senior officials of the departments of Culture and Information as well as over 150 leading musicians and artists in Nairobi, the Chief Executive of SAMRO, Nicholas Motsatse, and the chairman of the MCSK, Habel Kifoto, signed and exchanged contracts.

A Press Statement issued in Nairobi on August 14, 2008 quotes Maurice Okoth, the General Manager of MCSK as saying, "The entire Management team and Board of Directors are extremely excited about the agreement reached between MCSK and SAMRO. We recognise that to be able to excel in the industry, the professional guidance and assistance received from an established organization like SAMRO, would help MCSK develop along the same professional lines.”

Commenting on the significance of this agreement to Kenyan composers, Kifoto said, “This is an important step in a series of steps that MCSK’s Board of Directors took in restoring the organisation after it experienced challenges in its leadership and management.”

He elaborated: “Over the last eighteen months we have been hard at work with the help of a number of international organisations to revive effective administration of authors’ rights in Kenya.”
An ArtMatters.Info (www.artmatters.info) Article

Dictionary of African Filmmakers Raises More Questions Than Answers

2008-08-28T03:50:00.001-07:00

Review by Ogova Ondego

Though cinema was introduced to Africa—as early as 1896 in Algeria and South Africa, 1897 in Morocco and Tunisia, and 1903 in Nigeria—almost at the same time that the Lumiere Brothers are said to have pioneered it in France and the first feature film was made in South Africa in 1910, no entity known as ‘African cinema’ exists on the mother continent, so begins the 420-page Dictionary of African Filmmakers written by Roy Armes. Published by Indiana University Press in 2008, this reference book covers African feature film-making, listing more than 5400 films by more than 1250 filmmakers in 37 countries.

Saying he has used the nationality of the filmmaker to identify and group the films, Prof Armes adds, “Certain films regarded as nationally significant in Africa have not been made by Africans. Even after the founding of the Misr studios in Egypt (where the first feature to be produced, Weddad, was directed by the German Fritz Kramp), foreigners have continued to play a part in Egyptian film making.”

While “Japanese, American and Lebanese names figure among the directors of officially listed Egyptian films,” he writes, “South African producers have imported English and American directors for their own productions or been involved, as co-producers, in films a directed by foreigners. Thus the listings by South Africa critics and historians include routine films by British directors… many of which, from a UK perspective, would seem essentially British films shot on location.”

He adds that three of the films “which are key to any definition of filmmaking in South Africa were in fact directed by foreigners.”

Saying these films include De Voortekkers (1916), Cry the Beloved Country (1915), and Come Back Africa (1958), Prof Armes contends that to omit them from South African films would “distort totally the development of filmmaking in South Africa.”

He however admits that “the ‘Africanness’ of these films can be endlessly debated.”

South Africa may have produced more than 1400 feature films but “there is no national cinema in South Africa, even though some cinema might seem-or seek-to represent or evoke a sense of the ‘national”.

Prof Armes writes that about one third of films listed as Algerian are made by French nationals.

Save for Egypt that has produced 56% of feature films in Africa, in most African states production levels are too low for the notion of a national cinema to be meaningful.

Contemporary Egyptian cinema has an organized infrastructure and a direct link to its national audience, as well as a thriving export trade. It is not an elite cinema shaped by foreign funding, critics, and festivals, but rather a popular medium of expression which became central to mid-twentieth-century notions of Egyptian identity.”

This tome is divided into three main sections. While the first part presents information on filmmakers, providing their date and place of birth, training or film experience, their engagement in other creative activities and a list of feature films made, part two presents a national chronology, filmography and bibliography for each country producing feature films. I think this comprehensive bibliography is particularly more useful to scholars, researchers, critics, journalists and students of African film.

Part three, on the other hand, indexes film titles, providing translation into English or French where appropriate.

Prof Armes’ other books include Arab and African Film Making, Dictionary of North African Film Makers, Postcolonial Images, and African Filmmaking.

It was in Egypt, the land of the pharaohs, that the first experiments with filmmaking occurred in the mid 1920s.It may therefore not be surprising to note that with 3082 listed feature films, it has the highest number of full feature films made on 35 mm (accounting for more than 50% of African feature films). South Africa, Algeria, and Tunisia come a distant second and third with 1434 and 102 feature films, respectively.

Other countries that rank highly include Nigeria (89 films), Morocco (80 films), Senegal (50 films), Burkina Faso (46 films), Cameroon (40), Mali (27), and Ivory Coast (22).

By the time of going to press, Ghana had made 14 feature films, Benin 12, Angola and Zimbabwe 10 each, Somalia and cape Verde 4 apart, while Kenya and Ethiopia each had 3 feature films made on celluloid.

While Tanzania, Central African Republic and Burundi each had one feature film, most countries, including Uganda, do not count as far as feature filmmaking on celluloid is concerned.

Filmmaking in Africa began in former French colonies in the 1950 with the first locally produced feature films made by foreigners.

Elsewhere in Africa, the writer says, the beginnings of indigenous film production occurred in the wake of independence: Algeria, Ghana, Guinea, the Ivory Coast, Morocco, Senegal, Sudan, Somalia and Tunisia in the 1960s; Angola, Benin, Burkina Faso, Cameroon, Congo, the Democratic Republic of Congo, Ethiopia, Gabon, Libya, Mali, Madagascar, Mauritania, Mauritius, Mozambique, Niger, Nigeria and Zimbabwe in the 1970s; Guinea-Bissau and Kenya in the 1980s; Burundi, Cape Verde, Chad, Tanzania and Togo in the 1990s; and most recently, the Central African Republic in 2003.

This Dictionary of African Filmmakers, Prof Armes reiterates, “is concerned with fictional feature films (16mm or35mm or shot on video and subsequently transferred to and distributed on-film) made by Africans in Africa or in exile. Not listed are films shot purely for television screening—what the French call “te’le’films. Also omitted are purely video works of feature-length fiction. This is due in part to the logistical difficulties caused by the Nigerian situation (Pierre Barrot gives an estimate of seven thousand video features made between 1992 and the beginning of 2005). Generally omitted are feature length documentaries.”

The book poses thought-provoking questions: Are films made by foreigners to be excluded from a list of African films? Should the work of Afrikaners in South Africa be also excluded bearing in mind that Afrikaans is a language spoken only in Africa and many Afrikaners have roots in Africa?

The fact that films made in Africa by foreigners, the writer contends, “have absolutely no possibility of recovering their costs...means that they must of necessity be shaped to meet the demands of European audiences.”

“If the nationality of a specific film is problematic,” Armes writes, “the notion of a national cinema is even more so. In most African states production levels are too low for the notion of a national cinema to be meaningful.”

Why would Maangamizi: The Ancient One, a film directed by an American and assisted by a Tanzanian be classified as a Tanzanian film? Why are 100 Days by Nick Hughes and Munyurangabo by Lee Isaac Chung be categorized as Rwandan productions and not Sometimes in April by Raoul Peck or Hotel Rwanda? Why are Nowhere in Africa and Out of Africa not ‘Kenyan’ films?

One may also take Prof Armes to task over his inclusion of Riches, a 26-minute television film by Ingrid Sinclair, Tsitsi Tambrembga’s 30-minute Kare Kare Zvako and the M-Net/Zimmedia six-short film series, Mama Africa in the list of long features of Zimbabwe. Each short not only runs 26 minutes but is directed by a different director from South Africa, Namibia, Zimbabwe, Nigeria, Burkina Faso and Tunisia. Are these not telefilms, are they not South African by the fact that they were produced by a South Africa-based company, M-Net?

Ras Star, a 26-minute tele film directed by Wanuri Kahiu of Kenya, is also an M-Net production and therefore belongs not to Kenya but South Africa.

An ArtMatters.Info (www.artmatters.info) Article

Give Children a Chance

2008-08-22T00:31:00.000-07:00

By Rushel Rangala

Being extra-ordinary, unique and different is not a bad thing. However this depends in what way this is in. Yes! Mr. Ogova ondego is one such man. Born in western Kenya, Ondego is a man who has a different perspective of life. Ondego grew up in Nairobi where he attended school and now works.

His educational background is a success straight from high school up to university where he obtained post-graduate qualifications in mass communications. He also has specialised training in film production, arts and cultural journalism and criticism, organisation and management of socio-cultural events, publishing and writing for children and youth.

Ondego believes that children have the right to be heard. This, he says, is what partly made him found the Lola Kenya Screen audiovisual media platform for children and youth n eastern Africa in October 2005.

Lola Kenya Screen, that specialises in children, youth, media and culture, equips young people with practical skills in journalism, filmmaking, arts and culture appraisal and appreciation and programme presentation. It also draws children from different walks of life to come together and acquire life skills for responsible citizenship.

To Ondego, young people are not only the agents of change but also the citizens of today and tomorrow. In his words "children represent continuity and as such should be empowered.”

Ogova Ondego likes things to be orderly as expected and well planned. On the other hand he dislikes mediocrity and lack of initiative in people. “I work hard and demand the same from any one I work with,” he says during our rushed interview in the corridors of the Kenya National Theatre.

Ondego’s highest moments are when things are working out great as expected and his lowest moments are when things are not working out great despite the effort being put in.

Being a family man and working with the media is quite challenging since he spends most of time at work. However this has not hindered him from offering his full-time and unconditional love to his family. He began his work when his first child who is now 17 years old was a baby. He however is happy since his children support him and acknowledge his work. In fact, all the here children have always participated n Lola Kenya Screen. Both Fadhili and Karama, who served as screening officers during Lola Kenya Screen 2008 have both passed through the film production workshop offered every year, Mina has served on the Film Jury and Film Production Workshop.

Interestingly enough Ogova Ondego’s role model is Jesus Christ whose influence is felt by the whole world, including the Gregorian calendar that is based on His birth day. His other heroes include Mikhail Gorbachev, Napoleon Bonaparte, and Mahatma Gandhi.
Ondego’s greatest desire is to see the world transformed socially into a better place for every child, woman and man.

Ogova Ondego says the 3rd edition of Lola Kenya Screen has exceeded expectations. He nonetheless says the greatest challenege to Lola Kenya Screen is resource-mobilisation.
Noting hat funding he various programmes of Lola Kenya Screen has been quite a challenge and thanking Africalia of Belgium, the Jan Vrijman Fund of the Netherlands and Goethe-Institut n Kenya for their support without Lola Kenya Screen 2008 wold no have been, Ondego appeals to the various organs of the Kenya government dealing with the issues of children, youth, women, and culture to support Lola Kenya Screen in reaching out to every needy child and youth.

Since its inception in 2005, Ondego says Lola Kenya Screen has helped add 31 child filmmakers, 14 journalist, 13 film judges, 7 MCs and 15 children and youth television drama producers and 6 documentary films for children and youth producers to eastern Africa’s creative and cultural spectrum. The festival has also showcasd more than 1200 best possible films for children, youth and family from all over the world. All this, Ondego says, gives him great joy.

Ondego pays special tribute to the Lola Kenya Screen board chair Signe Zelich-Jensen and is “eternally grateful to the many other individuals and organizations spread around th world who suppot Lola Kenya Screen.”

To Ondego,the 3rd Lola Kenya Screen is a success, especially with regard to drawing various skill-development experts and facilitators from various countries to share their expertise with eastern Africans.

Ogova Ondego urges every one to give children a chance: to be heard on virtually everything in life"!

About he writer
Rushel Rangala, a member of the Lola Kenya Screen 2008 Festival Press, attends Cardinal Otunga High School, Mosocho, Kisi, Kenya

Lola Kenya Screen 2008 Equips Children With Arts and Cultural Journalism Skills

2008-08-21T01:59:00.000-07:00

By Rushel Rangala
The third Lola Kenya Screen annual film festival is finally here. The six day event is going to be staged at the Kenya National Theatre, Alliance Francaise and several video halls in Kibera. Lola Kenya is a non- profit making organisation that deals with children and young people who aspire to journalists and film makers.
The first day was rather cold and chilly but this never prevented the enthusiasm to glow vividly from the participants faces who seemed excited and in high spirits for the beginning of the festival. Pauline Atieno was actively supervising and co-ordinating the area by and by nine o’clock the film hall was ready and set for commencing of the day’s programme. The participants were in three categories, the children’s jury, the children’s press and the children’s production workshop. As the participants and other guests slowly and cheerfully watched the films, the three categories of participants were called one by one starting with the production workshop team to report to their stations.
Mr. Ogova Ondego, the director of the Lola Kenya film came and called the press. In great ecstacy we moved into the gallery room 3. The press consisted of seven people some from other countries of Africa. After introductions, the session immediately kicked off as Mr. Ogova took us through Arts and Cultural journalism.
It was an interesting session as we go to learn about arts and culture and what elements to look for when conducting an interview. Also some of the key points to get from a film. After the session a tutor from Egypt came in the room and we had to apply the five W and H formula. After that it was task time where a comprehensive report had to be given. We divided ourselves where some had to remain and others go to Alliance Francaise auditorium where great films were to be screened.
The first film to be screened was the perfect match which took eleven minutes. It’s origin is from India and the theme was on how to get the right groom for marriage. The plot was superb in the sense that the story unfolded itself normally and I’ll definitely give credit for that. It was based in the past and had an intense Indian culture. The style used was cartoon and I feel it’s a good and greater way for attracting the young generation. Especially since the film is aimed at keeping the rich traditions of India in the minds of young people.
The cinematography proved to be good since the editing was good and the sounding grat. Although I had a picture problem they were too immense and it could have an effect on the viewer’s eye. The characters were okay and especially the use of personification brought out the message clearly. It was a short but straight to the point film. The second film was King Siri about a young boy who from a poor family who goes to star college and meets many challenges. The film took eighty eight minutes. The movie also draws its origin from India. The plot was excellent and congratulations to Somaratne, the director. The theme was direct on the social stratification that has invaded the world. The film focused on what currently revolves around us in the world we are living and that is really nice. The film was authentic and very original a great sense of creativity was definitely felt. The protagonist was the young boy Sirimal and the antagonist was Sahaw. It was indeed a well strategised film.
Watching these two films made me see a greater insight on film and especially on the culture of Indians and their mode of lifestyle. Through this experience I can say that film has great or immense power to create a great essence on the person’s life. This has definitely been a wake-up call that film is not only there for fun or entertainment. But also to create an impact of upgraded unit to a person’s life.

About the writer
Rushel Rangala, 16, a member of the Lola Kenya Screen 2008 Festival Press, attends Cardinal Otunga High School in Mosocho, Kisii, Kenya.

Interview with Ugandan Journalist Tony Mushoborozi

2008-08-21T01:52:00.000-07:00

By Craig Kimu

Toni Mushorobozi is a journalist from Uganda. He studied Journalism and Film at University. He also does a lot of filming, acting and directing. This talented and energetic journalist was born in Kampala Uganda. He is also a good storyteller because of his interesting childhood. Toni has also done a lot of short films earlier of which most of them are being shown in Uganda but he is hoping that they might be shown in Zimbabwe during its Film Festival later this year, he said. He is looking forward in making some films for the young ones especially something new and interesting.

About the writer
Craig Kimu, 15, a member of the Lola Kenya Screen 2008 Festival Press, is a student at Prince Edward School in Harare, Zimbabwe

Lola Kenya Screen 2008 Showcases Invaluable Films

2008-08-21T01:46:00.000-07:00

By Esther Nyauncho

The day kicked off at 8:00am whereby we watched different films at alliance francaise.The films were mainly about people who were judged wrongly by others or they have problems of there own. for instance the story worm head where a girl named Nia was discriminated against against because she hard dreadlocks. she happened to join a school in a foreign country ,where most of the people don’t know about dreadlocks instead they nicknamed her worm head.

Most of the girls made fun of her and even refused to walk with her apart from one who choose to stick with her because her parents advised her to.

Later on the other friends got bored and decided to join nias group so they went and talked to her and they realized Nia was friendly.

This explains to us why we should not discriminate against people before we get to know them. Do not judge a book by its cover.

About the writer
Esther Nyauncho, 16, is a member of the Lola Kenya Screen 2008 Festival Press. She attends Loreto Convent School, Valley Road, Nairobi, Kenya

3rd Lola Kenya Screen Ends, Unveils Winners!

2008-08-18T10:03:00.001-07:00

By lolakenyascreen.or.ke
Hoppet (Leaps and Bounds), a film by Peter Naess of Sweden has won the 3rd Lola Kenya Screen Golden Mboni Award in Nairobi, Kenya.
Hoppet beat a strong field of 24 well crafted, award-winning international films that competed in seven categories, including that of Best Children's Film whose grand prize is the Mboni that is split in three: Golden, Silver and Bronze Mboni.
Saying this 86-minute Hoppet feature film that revolves around two brothers who flee US-occupied Iraq had spoken to their heart, the official jury, comprising four children from Nairobi and Kiserian in Kenya and Harare in Zimbabwe, described Hoppet as being 'hopeful'.
"Despite their many struggles, the two boys finally achieve their goals and get to their final destination where they are re-united with their parents."
This was the first time in three years that a Western film had taken the Golden Mboni. Ukrainian and Israeli films had received it in 2006 and 2007, respectively. Even then, it barely managed to squeeze past Siri Raja Siri (King Siri) of Sri Lanka that had been widely expected to take the top prize home.
Siri Raja Siri by Somaratne Dissanayake of Sri Lanka had to contend with the Silver Mboni as Subira by Kenya-based Ravneet Sippy Chadha made away with the Bronze Mboni.
Raja Siri Raja, the jury noted, "is a funny, uncomplicated film about a village boy who overcomes the discouragement of poverty."
The star of the 88-minute film, 11-year-old Sirimal excels in his national examinations to join ta star college in he city that other materially well off children can only dream about. Despite encountering lots of social and economic challenges, he succeeds.
Subira, on the other hand, stars a strong-willed 11-year-old girl who rebels against tradition to be as free as her brother who plays freely.
The jury was impressed by the 12-minute film "about a Muslim girl fighting for her rights despite the tyranny of the conservative community she lives in."
Giving the Best Documentary Award to Journey of a Red Fridge by Lucian Muntean and Natasa Stankovic of Serbia, the jury noted that it "shows us the life of many children in Nepal. It is about a 17-year-old boy who earns a living as a porter."
Max's Words, a film by Galen Fott and Jerry Hunt of the United States of America got the Best Animation Film Award for what the jury described as "an inspirational and original film, with beautiful images" and "a truly surprising film!"
For "a film we found well made in every aspect—story, sound and image," the jury gave the Best Short Film Award to Porque Hay Casa Que Nunca Se Olvidan (There are Things You Never Forget).
"The plot was humorous and the end had a surprising twist that made us laugh," the jury noted of the 13-minute film made in 2008 by Lucas Figueroa.
Set in Naples, Italy, in 1950, There Are Things You Never Forget shows boys exacting their revenge on a vengeful elderly woman for an unforgivable crime: The destruction of their foot ball.
Hello Spring, a lyrical and philosophical 7-minute film directed by Masoone Jafari and produced by Elahe Kasmaei of Iran grabbed the Most Experimental Film Award in the two-hour ceremony held at the Kenya National Theatre in the Nairobi central business district.
"This film is a musical adventure with the message that we should not be obsessed with the way we look. We are perfect!" the jury intoned as Kasmaei of the Islamic Republic of Iran Television went forward to receive her award.
The Child Rights Award went to Quamar (Working to Live), a 10-minute film by Preeya Nair of India.
The jury said the film "shows the struggles of a girl being exploited by a shopkeeper where she works because she can't count. She would like to go to school but her mother doesn't think this is necessary for girls."
This was the second time the Child Rights award had gone to India following its introduction in 2006 when Jonny Ramesh's Agaram (Alphabet) won it.
For the second time since 2007 when Films by Children for Children won the Grand Prize at the 5th World Summit on Media and Children/Kids for Kids Africa in Johannesburg, South Africa, a Lola Kenya Screen production described by the jury as "a funny and educational film with a clear message that makes you just want to learn. It is a film for and by children", took the Kids for Kids Africa prize at the 2nd Kids for Kids Africa held in the framework of the 3rd Lola Kenya Screen.
The film, Little Knowledge is Dangerous, was written, animated, shot and directed by Samora Michelle, Adede Hawi NyOdero and Karama K Ogova during the 2nd Lola Kenya Screen film production workshop conducted by Maikki Kantola of Finland for Project Anima of Denmark in 2007.
Some eight films from Kenya, South Africa and Zimbabwe were in the 2nd Kids for Kids Africa Competition. They were Uncovering Secrets of the World by Mia Dupper of South Africa (2008); Ingwazi Jive by Abigal Mlotshwa, Fight Against Poverty by Tinashe Maravanyika, Ndaifara by Mercy Mafudze and Craig Kimu, and Oh Mama by Thelma Maduma of Zimbabwe made under the Postcards from Zimbabwe compilation (2006); and Little Knowledge is dangerous by Adede NyOdero, Samora Michelle and Karama Ogova, Manani Ogres by Joseph Hongo, Marcus Joseph, Norrick Joseph and Samuel Musembi, and The Wise Bride by Alexandria Ngini, Aysha Satchu and Layla Satchu (2007).
The jury, working under the guidance of Lola Kenya Screen Advisory Board Chair, Signe Zeilich-Jensen of The Netherlands, consisted of:
Wangari Mumbi Kiarie, 14, Nairobi, Kenya
Yvonne Kongu, 14, Kiserian, Kenya
Sharon Fortunate Mazvihwa, 16, Harare, Zimbabwe
Ian Innocent Mbae, 16, Nairobi, Kenya
Lola Kenya Screen 2008, held on the theme of "Peace-Building for a Sustainable Future", attracted some of the best possible films for children and youth in the world from 56 nations.
Lola Kenya Screen accepts and showcases a film only if its content is creative and demonstrates artistic and technical mastery, speaks positively to children of diverse backgrounds and cultures and provides strong role models for both boys and girls.
Additionally, such a film is expected to be child-driven and the stories culturally authentic, timely, and of universal appeal
Films and videos submitted to Lola Kenya Screen are made by, with and for children and youth rather than about children and youth.
Among the highlights of the awards ceremony was the music performance by 12-year-old MC Chee and her 8-year-old sister, Jojo and the Hellen Akoth Mtawali-led Afrizo band from Daystar University of Nairobi, Kenya.
Six documentary films developed in the Lola Kenya Screen Children and Docs workshop with the support of the Jan Vrijman Fund/IDFA of The Netherlands were screened as were three animation films made by 10 children under the guidance of Dr Eid Abdel Latif of Egypt with the support of Africalia of Belgium. The young filmmakers were drawn from Uganda, Tanzania, Zimbabwe and Kenya. The Rwandan representatives did not make it to Nairobi.
The international guests to Lola Kenya Screen 2008 included Kasmaei of Iran, Isabel Manuel of Zimbabwe, Dominica Kulia and Tony Mushoborozi of Uganda, and Ali Othman of Tanzania.
The resource people were Signe Zeilich-Jensen, Duco Tellegen and Meike Statema of The Netherlands and Dr Latif of Egypt.
Presented by ComMattersKenya in conjunction with Goethe-Institut and ArtMatters.Info, Lola Kenya Screen 2008 hired the Kenya National Theatre and Alliance Francaise in the central business district for its activities. Additional screenings were held in various video halls in the Kibera informal settlement. These additional shows were coordinated by the Hot Sun Foundation.

Success at Lola Kenya Screen's Day 3

2008-08-18T09:44:00.000-07:00

By Rushel Rang’ala

As days went by the third day of Lola Kenya Screen festival slowly made its way.Unlike the previous days this day was definitely successful in terms of attendance and audience satisfaction.

Although the weather was cold and threaten to prevent the day’s activities from taking place.The turn out was high and what triggered this from happening can only be well explained by the audience themselves.

On Monday and Tuesday the number of people who attended was twelve and twenty one respectively.On Wednesday it tripled Tuesday’s number which was impressive.

By nine o’clock the auditorium was set to go as the films were screened one by one. Laughter and giggles inhabited the auditorium making it obvious that every one was having a great time.

Young kids who got bored easily due to screen translation and the film taking a long time. saw it fit to play and jump in the room.Not only did they cause disturbance but also a lot of distraction.All in all they say kids will always be kids,and people ignored them and went on to enjoy the films.

During the time the films were being screened others saw it fit to release stress and kill boredom through sleep. Since the lights were off and the atmosphere conducive creating a suitable environment for people to engage in sleep.

In Kenya the freedom of expression is improvised in all corners of the country. Well after the end of each film applauds could be heard, and to add insult to the injury others shed tears. This can only be described in five words; MIXED REACTIONS OVERCOME THE AUDITORIUM.

Many people got to know about the Lola Kenya festival through the posters that had been displayed all over.

Mrs. Anke Domenke is an old lady from Finland who is a great fan of Lola Kenya Screen festival. She says that since it had been launched she has attended all festivals in Kenya. However she is sad that this year’s turn out has been really discouraging. She extends this rage to the organizers of the festival who she feels never let down proper arrangements on the festival. First and foremost the advertising was not well done laying a greater problem to this festival. As if this is not enough the posters were as well not widely spread. Hence people cannot acknowledge all about Lola Kenya Screen festival.

Talking to some people outside Alliance Françoise they felt and thought than the films being screened are in French. Hence people don’t see the need to torture themselves.

Jenippher Onkole an attendant loves films and thanks Lola Kenya Screen for what they are doing. She believes that through film not only can we get entertainment but intellectual fulfillment. Education and talent can also be achieved through film.

Others came for funny reasons, one lady who has been teased by her work mates because she can’t afford lunch saw the auditorium the best place to seek salvage from. All in all she thanks Lola Kenya for making the festival free hence accommodating people from all walks of life.

As the curtains drew down indicating the end of the films of the day, everyone seemed impressed and delighted. Due to being overwhelmed they rushed to the reception desk to inquire about of the next days programmed.

Well the wondrous work of film is evident and we can only say one thing. Thankyou Lola Kenya Screen for your unending support and love for film

Who Stole The Artefacts?

2008-08-18T09:38:00.000-07:00

By Bethsheba Achitsa

Its yet another bright morning, the sun high in the sky but the weather is not steady. One time its hot and the next moment its chilly making everyone freeze. Determined to know more about our hosts; Alliance Francaise and the Kenya National theatre we divide ourselves nto groups of two and there we are off to Alliance Francaise.

Walking nto the building along University way in Nairobi, the building stands adjacent to other buildings like view park towers and Goethe-Institut, we find the young Beatrice Wabwile who is the acting receptionist. She tells us the building was set up during the colonial era in the late 1940s. established with the aim of teaching French to Kenyans it also offers a venue where people can interact and know more about the French culture. The learning institution has grown with over five thousand students being enrolled every year.

Alongside teaching French, it also hostys exhibitions, plays and other cultural events; that’s why Lola Kenya festival is on going there. Wanting to no more, which the receptionist did not know she directed us to various offices and oops! It’s a fruitless journey. Noone in the Alliance Francaise knows whose the founder and there we are sent back without the information.
However we visit several rooms and realize that the rooms on the four storeyed building are classrooms. We hope that next time we go hunting for information at the Alliance Francaise there will be some one who is ready to share with us.

Realising that people cant be good at preserving information for the future generations, we hope that the same does not happen with Lola Kenya Screen film festival. The director will see to it that information is and will always be readily available to anyone at any time and anywhere.
Being the fifth dayof yhe festival with on lya day to go Lola Knya has achieved a lot. Unlike the first dy where there hadly had an audience, the audience has increased with more than 172 people ttending the festival. At the Kenya National Theatre over 50 peole have been coming in to watch the films on daily basis.

Kibera where the screening was also taking place, people stream in in order to quench their thirst for watching films. They liked the short films most as they left them in suspence. They would wish to see the directors who produce fimson more vital issues such as relationships. Lengthen the time for the films in a nutshell.The directors of the films should give the audience more, and more. They did a great job!

Hopefully, all who attended the festiva have learnt and have something to tell the days to come. Saturday as the curtains close down make it to the event and see the surprise in store for you.

About the writer

Bethsheba, 18, is a festival assistant and member of the Lola Kenya Screen 2008 Festival Press.

Tips on Creating Lively Articles!

2008-08-18T09:35:00.000-07:00

By Joyce Wanja,
For one to bring clearly the message they want to convey on arts a culture certain procedures that are followed. One must be composed and understand the content of what they are writing. It should be relevant and of importance in that there should be a reason as to why the piece of article is being written, one should understand human history and for it to come out clearly, the events are divided into aspects such as renaissance period, reformation, mannerism, revolution, enlightment,romantism,modernism and post modernism. The goal of the art should be well understood and also the element of form which are interplayed to contribute to the goals of the content.

The elements of work in a piece of article include form and content which simply means creativity and subject matter of the work respectively. The technique or procedure used which is the style that entails combination of elements in a piece of work plays a big role.

The piece of work should have the theme which is the first jest of the matter. It includes the message relayed. To make the article captivating , one could include comedy which is a story with an amusing plot or a tragedy where a person of high status is brought down .It could also end in suspense whereby what happens to the protagonist in the long run is not told .After laying all the strategic work in place , a medium is chosen to communicate to the audience .It could be electronic or print media .Electronic entails films and certain things such as cinematography ,sound whether its loud or soft , lighting whether blurred and finally editing which is the time taken .

The success of such an art put in performance relies so much on the director who is the person who interprets the play the basic formula used by many journalists around the world is 5ws and h. for a successive interview one could use the GOAT formula which entails
G-GOAL
O-OBSTACLES
A- ANSWERS
T-TIME

Why We Should Preserve Our Nature

2008-08-18T09:33:00.001-07:00

By Craig Kimu

Today I woke up expecting nothing good and exciting not that I was in no mood of fun but some things are just unexpected. When I arrived at the Alliance francaise because I did not want to miss some interesting movies that were being screened.

Talking of interesting movies I watched this Finnish movie called the Mystery of Wolves. This movie is about two young children who unexpectedly come across two young cubs. It happened that for these cubs to be lost there was an incident that had occurred earlier. Salla the twelve year old girl loves nature and enjoys the wilderness which is why she feels at home. This girl lives with adopted parents in a Finnish village where her father works as a soldier. Unexpectedly Salla’s biological mother Leila returns to the village after a ten year absence and that shocks and scares everyone. But it upsets Salla especially.

Salla turns up with her best friend a boy who lives close to her house when they come across the two young cubs they instantly fall in love with the cubs and want to keep the cubs despite that they have to hide away from ruthless man who is hunting for wolves for their fur especially the one that killed his dog and fled away.

That is how they come across Salla and her friend. They took the cubs and kept them for a few days until the ruthless hunter and a couple of his friends find out about the hide out .however the are afraid to get close to the kids because they will report them to Salla’s father. This gives them a challenge to save the cubs and find a safe place to put them without attracting so much attention and this leaves them with one option of leaving the cubs with Salla’s mother which Salla does not want too hear of.

Well Salla tries to cope with her own issues of living with her mother something is common and that is the love for nature. Salla has to learn to face her past. Salla and Leila are then united by their love for nature and animals. She then decides to face the challenge of saving the cubs and reuniting with the mother.

She then saves the cubs with the help of everyone who loves her though they went through a lot at times trying to dodge the ruthless man.

This story is an exciting and teaching story. I think if everyone was so concerned and caring likes Salla her family this would be some heaven on earth’. As we all know a good story to be there, there should be a good story to be good director.

Raimo O Niemi was born in 1948. He is best known for his films for children and young adults. Raimo Went to a film school in Moscow.

About the writer
Craig Kimu of Harare, Zimbabwe is a member of the Lola Kenya Screen 2008 Festival Press

A Moment With Meike Statema

2008-08-18T09:28:00.000-07:00

By Mary Gesare

No dream falls into a person’s lap, there’s always a price to be paid in terms of time, discipline, effort and perseverance. That is what we learnt after having one on one with MEIKE STATEMA.

MARY: Describe yourself or who exactly is Meike Statema.?

MEIKE: I am a 32 year old lady living in Holland and working with IDFA International
Documentary Festival Amsterdam, which is in collaboration with the Lola
Kenya screen festival.

MARY: Did you ever plan doing or being what you are now?

MEIKE: Of course, I talked to Mr. Ogova about the workshop, we both had ideas and
came up with a schedule for the workshop. I also came with some firms for
kids to watch during the festival.

MARY: What is your greatest lesson in life that you would like to share with us?

MEIKE: Always be open and listen to others, never judge anyone and try to think
positively.

MARY: Who is your role model?

MEIKE: My mother.

MARY: Do you like reading books? If you do why?

MEIKE: Yes, because they are a great inspiration.

MARY: Which book do you constantly refer to for life’s lesson?

MEIKE: The Alchemist by Paulo Coelho, It’s a Brazilian book, a small one in size but
talks about how you can guide yourself and the way you can view some things
in life.

MARY: Some few things that people assume you are and you are not?

MEIKE: Very confident, Sometimes I’m shy and don’t have the courage that people
assume I have, I’m truly not that confident.

MARY: Do you like exercising or diet?

MEIKE: Exercise, going to the gym and doing some exercise, dieting no because I like
eating.
MARY: Best dish, Favorite drink?

MEIKE: My favorite drink is water but my favorite food is paster and also vegetables.

MARY: Are you a fun partying?

MEIKE: Yes, very much because I get to meet with friends and have fun together.

MARY: Challenges of a travel programme?

MEIKE: I don’t like traveling in an aeroplane but I don’t have any alternative because
traveling by bus for a long distance is also tiresome, sitting down still for hours
is annoying.

MARY: What do you never leave home without when you travel?

MEIKE: My passport of course, and lips moisturizer nothing much.

MARY: What do you like about what you do?

MEIKE: Once you start talking and doing something while people are listening to you, I
find it interesting and also get psyched. I also get to meet new people and make
friends.

MARY: What does it take to make it in this field?

MEIKE: Passion, being friendly and also patient.

MARY: Favorite destination?

MEIKE: Kenya, I’ve actually been to Kenya twice and thanks to Lola Kenya festival I’m
here again for the second time and I like it because people are friendly and it’s
kind of fun being here. I also like New York City.

MARY: What would you bring back from your favorite destination?

MEIKE: New contacts from the new friends I’ve made and keep contact with them.

MARY: Word of advice to aspirers in the same field?

MEIKE: Always be open and not judge mental, don’t work alone be flexible and allow
yourself to take in new ideas from others.

About the writer
Mary Gesare, 18, is a member of the Lola Kenya screen 2008 Festival Press

Appreciating Ourselves

2008-08-18T09:22:00.000-07:00

By Mary Gesare

Sometimes in life we only look at what we don’t have and forget about the good things we have, but a time comes when we have to seize the moment and enjoy life to its maximum. Let us not live our life complaining about what we don’t have instead embraced what you have and never let go.
This is a documentary about a teenager by the name Yu-Ming who uses a camera to record what his daily life is like. The story starts at school whereby they have to wake up early in the morning and there is someone to wake them up. They meet in the dinning hall and most of the time it’s the soccer team which is always there. They take breakfast and later go to the football pitch to play. Yu-Ming says that he likes football very much and that’s why he’s always practicing it, the only problem they have together with his friends is concentrating in books and at the sometime play football.Yu-Mings roommate and also a friend nicknamed fatty is always a joker, during music lessons he makes fun of the music and sings in a croaky voice to make the other students laugh and not concentrate.
Yu-Ming started playing football since he was at grade three and that’s why it’s like part of his life. The winter season has finally arrived and Yu-Ming has to part with his friends because they are closing school, that is the sad part but the good part is that he is finally going to meet with his other friends at home, who they parted after graduating from grade 8, the feeling of being re-united together with his other friends, family members, relatives and cousins make him happy. Yu-Ming travels home by train and on the way he takes photos of the beautiful features of Asia which include: mountains, rocks and even trees using his camera.
On arrival at home, he receives a warm welcome; they celebrate together with family and friends. The following morning Yu-Ming wakes up early in the morning to go practice football together with his friends. They play football, make jokes and tell each other stories of what has been happening when some of them are away. The day is finally over and Yu-Ming is looking forward to the next day so that he can go visit his other friends who live in the next town.
The night becomes long since Yu-Ming is really looking forward to the next morning but finally its morning, Yu-Ming sets of early that morning so that he could be able to meet two of his friends and share quality time together. He starts first by visiting Yu-Ming Wang and not forgetting he has his camera with him to collect data. Yu-Ming Wang’s family is really struggling even though they lack luxurious things like T.V, cooker, fridge they still have basic things like food, shelter and clothing even though they use traditional way of cooking, using three stones, firewood and then lit a fire compared to Yu-Ming’s home, they have cooker, fridge and all the luxurious things one can ever dream of having furthermore they have over 300 pigs at home.
After visiting Yu-Ming Wang’s home, Yu-Ming sets off to visit his other friend Yu-Jiun Huang he goes by bicycle means, Yu-Jiun Huang lives with his grandmother who still works so as to make ends meet. Yu-Jiun Huang’s life is not different from Yu-Ming Wang, they also use the traditional way of cooking only that they have a T.V set something that Yu-Ming Wang don’t have. The family of Yu-Jiun Huang still has hope that they will get through with all their struggles, since people show their help by donating some stuffs to them and that’s why Yu-Jiun Huang always writes a thank you note to them. Yu- Jiun Huang grandmother leaves him together with his friend to have fun, they cook some traditional food, play soccer and finally time to say goodbye to his friend has come.
Yu-Ming sets of with all his findings in his camera, on his way he looks at his findings through the camera and notices that whenever he’s away he has never thought of the way his friends are living and the kind of things they have to pass through so as to make ends meet. He notices he has all along being unfair complaining about what they don’t have and on the other hand he is living a better life compared to his friends, he has everything he needs and what more could he ask for.
Yu-Ming learns that he should be thankful for what he has cause others out there lack even the basic necessities in life. That’s why it is important to know that what you get by reaching your destination isn’t nearly as important as what you become by reaching that destination.

About the writer
Mary Gesare is a member of the Lola Kenya Screen 2008 Festival Press

The Best is Forbidden

2008-08-18T09:14:00.000-07:00

The Best Is Forbidden
By Esther Nyauncho

On the fourth day, at Lola Kenya Screen, Toti a fourteen year old Maasai girl, tells of her struggles since she was young. As she explains you can see same anger in her eyes.

When she was eleven years old, her mother told her that she would be married off. Her family badly needed the bride price cattle to survive. It was only five days to go after which she would be married off, she decided to run away with the help of her mother. This made her small sister to be married off instead of her. She is now happy with herself, because she is going to school and will be able to complete her studies and pursue he career.

Many of the other girls want to follow her, some of them ask her for directions when in a similar situation. However some women fight with her because they she encourages their children to run away and she is destroying their culture, which has been their from the post.

After she finishes school she wishes to help those who are behind her after school. She says she doesn’t want to follow the culture because she always 9felt ashamed when her mum saw her with a man, so if it were to follow their culture she would be ashamed every time her mother saw her with her husband asked whether she thinks this culture will steps, she denies stating that even after she ran away her siblings were sold off. Her twin sister was married off to an old man whose ten years older than their father, she did not run away with her sister ran away from her husband and away from the community but later returned because she feared being cursed by the elders. Toto does not believe in curses, she is brave, determined and is ready to help others. Later on in the story, she goes back to her community, All of them welcome her apart from a few women who dislike her and talk about her negatively. Her mother says she’s very happy to see her because they even wanted to visit her. Her father says he’s happy too and he advise her to work hard in school because she is the one who can help them in the future. She is given the Maasai blessings among them. She will be able to finish her studies and her health will be okay.

According to this, there are many issues in society that should be discussed and organizations should be formed that will help the girl child by fighting for their rights and abolition of unnecessary practices. The girls should also go to school and finish their education. Parents should not be blind folded by how much worth the bride price is instead they should focus on what is best for their children.

on the first day, at the Lola Kenya Screen Eid Abdel Latif, an ward – winning filmmaker, talks of what and how he got into the film industry.

He starts by telling us of his Trend, Mohammed, who loved films a lot and one day her was watching a cartoon, Mickey Mouse he saw one of the characters flying and he decided to try the same. He went to a building 9th floor and jumped down. Afterwards he died and that is when Abdel knew he had a calling to the film industry.

He now believes she has a calling and he believes the film industry has some magic in it. He has tried his works in different films and his work his wonderful, having been born in Egypt and attending and Princess balloon, its all about Dido and Princess balloon, imagines it could be a head and “dresses” it with the aid of his friends, the seagull, the crane and the sparrow. Thereby the balloon becomes a human being and tries to control the others arrogantly. It grows bigger and bigger till it finally blasts with the astonishment of Dakdok and his friends.

His fear is mainly on fictious film because he focuses on children for his films.

In the Kenya Screen Festival, he works with the film production workshop, which mainly comprises of chicken. His main aim is to have as many animated creatures, which is made of electric wives, cello tape and covered with material or plastacine which is molded into different shapes. They also face major obstacles like, not insting their stories in time and also bordomancy.

Eid says the children should watch move films since this will enable them to get move creative ideas and will also expound their knowledge.

Being born in Egypt does not make him to like only movies produced there, he ‘at times tries to watch other films from other countries, he likes fictious movies films because he powers of the characters are not limited they can do things which are past the Human capability. He also calls on others to join the film industry because one gets more and also the expand their creativity levels.
This tells us that we should all have our definition of art which should be able to guide us in all aspects of film.

On the fourth day, of the Lola Kenya Screen Festival at Alliance Francise, Patrick a film producer who also helps in airing the films talks of the obstacles facing this festival. First he says there is poor attendance due to lack of publicity. He says even though they spend a lot of money creating and supplying flyers it is not enough unless someone has heard about the festival from others.

He continues to explain why he thinks the festival is important, he says out of the small ideas one gets; one can easily start producing their own films, which will help in the growth of the film industry. According to him he thinks the festival is great and many children should attend because he believes children are creative when it comes to this field and they get to expand their knowledge. According to him film is good because it enables one to investigate issues in society.

On the same point Duco Tellegen, an award winning Film Maker who has made a film called Toti says the programme is aimed at indicating in protesting Film makers the desire to make documentary films for children and youth.

Among his films is one which talks about, a eleven year old Indian girl discovering and struggling with the fact that she is infected with the HIV Virus. It’s all about the challenges she faces including rejection and some of the things she can do. However even though she is this way same people still love her the way she is.

Clearly she faces rejection from others because of her status. People should learn to live with one another in love.

Make statements, a film producer in collaboration with Duko come up with a film about a fourteen year old Maasai girl, who when she was eleven, her cattle to survive, she decided to run away because she did not want to follow that custom and she wanted to finish her education studies.

After she finishes school she aims at helping other girls when in a similar situation and also the ones who helped her like her mother, who helped her run away. She also wasn’t to go to schools and create awareness about this to girls in schools because she also about the same in schools. She wants to be a teacher, because in this profession you get to pass about of knowledge to others and you get to interest with others.

This shows us that we have to teach the whole society about the goodness and badness of culture, because they say it takes a whole community to raise a boy to a man.

About the author
Esther Nyauncho is a memberofthe Lola Kenya Screen 2008 Festival Press

Here We Come, Young Filmmakers Announce

2008-08-14T11:11:00.000-07:00

By Bethsheba Achitsa
Young, energetic and smiling faces are what greet when you walk into the production workshop at the Lola Kenya Screen festival. Beaming with radiance are these young minds all set to become future filmmakers?

The production workshop facilitated by Eid Abdel latif an award winning filmmaker and academic who also heads the animation department at El Mania university in Cairo, Egypt. At the end of the festival the children and the youths in the production workshop will produce a film comprising a story, poem and song. The children have a great time as they draw, model and learn to make a film.

Children, ever dreamt of being a film maker? Then Lola Kenya festival would be the place for young the new thing that the participants have had to learn so far. This refers to the art of making models appear as real characters. You could simply do this. You need clay dough, wire to make the characters move, cameras and recorders, and there you are a filmmaker.

Alongside, the children’s workshop is also practicing filmmakers who are being guided on how to make film documentaries by Duco Tellegen an award winning filmmaker who has worked in Kenya several times. Solomon , a practicing filmmaker who had never ventured into documentary as he feared the costs and could not get funding or sponsorship from anyone. he has realised that through the support of Lola Kenya Screen he could easily do the documentary without incurring a lot of costs.

However, he does not encourage the others to venture into documentaries unless they are determined. Though he says he could easily do a documentary and comfortably present it to an organisation.

Not all that glitters is gold. Like any other event or person, Lola Kenya screen festival has its shortcomings. The children though had a lot of fun, the teens who are in the production workshop did not like all about modelling. They disliked the early lunch breaks but hoped that the event will be more organised come next festival. They suggested that it would be wise if the workshop would be exposed to working with real characters. Since the society is gender sensitive and change is as good as a rest, the director should welcome a lady tutor for the production workshop next year.

Guests from other countries, include Tony mushoborozi a journalist working for New vision paper in Uganda. He said Lola screen was such a great event and like in Kenya the Ugandans have the Amakula festival held annually in May. Interacting with him realises the great passion for bananas the Ugandans have. In each homestead bananas is all one can see as it is their food staple.

Ever known that Uganda has the most number of radio stations with over two hundred stations. He noted that Kenya televisions had quality programs that keep one glued to the screen. Congrats to the television stations.

Actually, Lola Kenya screen was meant to harness the talent in youths and children. Youths have learnt that that it’s not all about having a passion and lacking determination, the two go hand in hand . the film press thought that journalism is all about appearing before a camera and saying :
“hallo viewers this is… reporting for…”
Little did they know it’s all about learning about journalism and meeting journalistic deadlines.

Next time you hear of Lola Kenya screen festival don’t brush off the idea, make a point of making it to the venue.

Zimbabwean Film Tackes 'Rejection' at 3rd Lola Kenya Screen

2008-08-14T11:08:00.000-07:00

By Mary Gesare

Everyone likes being accepted and appreciated regardless of their color, nationality,ability or disability. Being rejected is one of the most unfair things that can ever happen to a person. Here is a story that tells you how painful it is to be rejected.

The film starts in a train whereby a single woman by the name Molly McBride together with her son Peter are escaping from their country South Africa because it has been politically torn apart. In the train they meet the train attendant who is unfriendly to them and that’s not all, it’s just the beginning of what they are about to encounter being a mixed race in a foreign country. They settle in a small village in Botswana, peter is afraid that he’s never going to cop with life there as a foreigner but his mother promises him that everything is going to be fine.

After settling in, Miss McBride decides to go and look for a job as a teacher so that she could be able to sustain herself and her son. Luckily, she is employed as a teacher in a nearby school and her son also gets admission in the same school. She starts teaching immediately; this is not easy for peter being in the same class his mother teaches. The first day in school doesn’t go that well for Miss McBride, she is coldly treated by the other teachers making her feel out of place, aside from that she gets a warm treatment from the students, they appreciate what she is trying to do and they seem to like her very much.

The head teacher of the school on the other hand is a hypocrite who pretends to like McBride’s approach on the kids but to be honest he’s after something which we’ll soon find out as the story unfolds. Peter on the other hand makes friends, something his mother has been unable to do. The first day after school Peter sets off for hunting with his friends.

The following morning Miss McBride on her way to school, meets the school kids making fun to an old lady whose clothes are toned and dirty such that you can’t differentiate if she’s walking barefoot or wearing shoes, they are toned beyond repair and there is nobody who even sets an eye on her. Miss McBride pity’s this woman and sends those kids away, she tells them to apologize but they refuse and leave the place.

That incident leads to the topic Miss McBride was going to teach at school that day .She tells the kids a story about South Africa where there is a group of people who think that they are better than others, she asks the kids if that’s good, they all agree its not good and now understand why they shouldn’t tease that old lady again.

Just before the lesson is over the other female teacher inform McBride that she is needed in the office by the head teacher. She goes to the office and all is well, she explains to the head teacher why she had to stop those kids from teasing the old lady, the head teacher congratulates her and tells her to continue fighting like Nelson Mandela.

During the weekend Miss McBride gets a visit from the head teacher, he brings along a book with Mandela’s story and gives it to Miss McBride. McBride welcomes him and they both have tea together .just before the teacher leaves, Peter comes home from playing and finds him there they exchange greetings and after the guest Leaves.
Peter asks his mother if she is not afraid of what the people might think if the teacher becomes a frequent visitor. his mother answers by telling him that he is the only friend she has and he only came to ask about South Africa.

After the weekend things don’t go that well for Miss McBride, all the teachers turn against her including the head teacher after trying to force a relationship between them and to add to that she looses her job, as if that’s not enough the head teacher goes to her class and informs the students that their teacher will not be coming because she’s gone mad. This comes as a blow to peter because he came to school together with his mother in the morning and nothing was wrong with her. that day from school peter went home straight to check on his mother, he tells her of the rumors which were circulating in school about her being mad, he asks for an explanation from his mother and since she cant really explain what happened between her and the head teacher, they get into a fight and peter runs away, he tries to kill himself by jumping from the top of a mountain but he couldn’t do it.

He spends the night out and the following morning he goes to school and faces rejection from the other students including his friends, they send him away and claim that he is mad too like his mother. Peter goes home only to find his mother depressed, drinking and smoking at the same time. He lacks the words to tell his mother, they argue again and peter goes to rest. the next morning peter wakes up early only to find a crowd of women not far away from their compound, he decides to go look at what was happening, he found out that they were staring at the old lady who the kids were teasing, he asked what had happened to her only to find out that she had fallen down. Peters mother also joins Peter, asks for his forgiveness and requests peter to help the woman into their house as she goes to fetch water since everybody else had left the venue without helping.

After taking the woman inside they give her food and water and finally the woman gains strength, she thanks Miss McBride together with her son for standing for her all the time. That day a woman comes to thank Miss McBride for helping her relative something their family has been unable to do, she says she has nothing to offer in return but only a pail of water for showing her goodness.

Miss McBride appreciates and that’s where her life takes a turn around, she is now accepted in the village and the teacher who was unfriendly to her becomes her friend and even tells her the head teachers evil doings and that is what she uses to get her job back as a teacher and tells the head teacher she’ll take him to court for misusing his position to use all the female teachers in the school. The film ends after Miss McBride has been accepted in that community and has made friends with those who had once rivaled her.

That’s why she says those who judge Africa should be sorry for themselves because Africa is full of friendly people.

About the writer
Mary Gesare, 18, is a member of the Lola Kenya Screen 2008 Festival Press

The 3rd Day at Lola Kenya screen Registers Great Success

2008-08-14T11:02:00.000-07:00

By Rushel Rang’ala

As days went by the third day of Lola Kenya festival slowly made its way.Unlike the previous days this day was definitely successful in terms of attendance and audience satisfaction.

Although the weather was cold and threaten to prevent the day’s activities from taking place.The turn out was high and what triggered this from happening can only be well explained by the audience themselves.On Monday and Tuesday the number of people who attended was twelve and twenty one respectively.On Wednesday it tripled Tuesday’s number which was impressive.

By nine o’clock the auditorium was set to go as the films were screened one by one.Laughter and giggles inhabited the auditorium making it obvious that every one was having a great time.

Young kids who got bored easily due to screen translation and the film taking a long time. saw it fit to play and jump in the room.Not only did they cause disturbance but also a lot of distraction.All in all they say kids will always be kids,and people ignored them and went on to enjoy the films.

During the time the films were being screened others saw it fit to release stress and kill boredom through sleep. Since the lights were off and the atmosphere conducive creating a suitable environment for people to engage in sleep.

In Kenya the freedom of expression is improvised in all corners of the country. Well after the end of each film applauds could be heard, and to add insult to the injury others shed tears. This can only be described in five words; MIXED REACTIONS OVERCOME THE AUDITORIUM.

Many people got to know about the Lola Kenya festival through the posters that had been displayed all over.Mrs. Anke Domenke is an old lady from Finland who is a great fan of Lola Kenya festival. She says that since it had been launched she has attended all festivals in Kenya. However she is sad that this year’s turn out has been really discouraging. She extends this rage to the organizers of the festival who she feels never let down proper arrangements on the festival. First and foremost the advertising was not well done laying a greater problem to this festival. As if this is not enough the posters were as well not widely spread. Hence people cannot acknowledge all about Lola Kenya festival.

Talking to some people outside Alliance Françoise they felt and thought than the films being screened are in French. Hence people don’t see the need to torture themselves.Jenippher Onkole an attendant loves films and thanks Lola Kenya for what they are doing. She believes that through film not only can we get entertainment but intellectual fulfillment. Education and talent can also be achieved through film.

Others came for funny reasons, one lady who has been teased by her work mates because she can’t afford lunch saw the auditorium the best place to seek salvage from. All in all she thanks Lola Kenya for making the festival free hence accommodating people from all walks of life.

As the curtains drew down indicating the end of the films of the day, everyone seemed impressed and delighted. Due to being overwhelmed they rushed to the reception desk to inquire about of the next days programmed.

Well the wondrous work of film is evident and we can only say one thing.Thankyou Lola Kenya for your unending support and love for film

The Goings On at 3rd Lola Kenya Screen

2008-08-14T10:59:00.000-07:00

By Nancy Musyimi

Another lovely day in Kenya, where the climate is hot and cool. Lola’s workshop kicks off at around nine in the morning. I salute my colleagues and we catch up on the previous night’s happenings. The director Mr.Ogova greets us and leaves us with the day’s instructions, “Go to the Alliance Française auditorium and do your work,” he says.

My colleagues choose to sit at the front of the auditorium where it’s most uncomfortable for me. So I remain desolate but vigilant at the rear seats. The first film was full of art. There were mouldings which had been animated. The origin is South America. This was most fascinating for me as I later came to know the pros and cons on the production. They were actually real mouldings made by children contrary to my thoughts. The theme was very captivating though. It was about learning to be helpful and friendly; to love your neighbour as you love yourself!

The second one was titled, ‘Max’s words.’ The theme was on finding out what you love and doing it enthusiastically. Max one day realized his brothers have some hobbies yet he does not have even one himself. He sits down to think then finally decides he wants to collect words this words end up making him realize his dreams of writing a story his brothers are even taken aback and are support there was a lot of creativity in the style used to convey the message the brainchild should receive a standing ovation.

The third was mainly targeted on older children, able to make decisions. The theme is on the fact that parents should realise our dreams and be supportive. Quite intense don’t you think? The boy was being raised by a single parent as his mother was dead. He is an only child who finds it hard to relate with his father. Probably some of you have been or are going through something close to this. Do not lose courage but be determined.

My recap was on three more films with related themes but on diverse cultures and origins. It is about growing up and the challenges that come with it. Boys recognise the opposite sex, girls being more conscious about themselves and so on. We all have to go through it sadly

About the Reporter:
Nancy Musyimi, 19, is a student at Metropolitan College, Nairobi

Lola Kenya Screen 2008 Begins!

2008-08-14T10:56:00.000-07:00

By Bethsheba Achitsa

After a long wait, the 3rd Lola Kenya screen festival kicked off at Alliance Fraincaise, Kenya National theatre and several video halls in Kibera. The event runs between Monday 11 and Saturday 16 August, 2008.scheduled to begin at 8.00 am the event did not start off as scheduled due to few hitches.

The event held annually, has attracted participants from Zimbabwe and the Eastern Africa region. Among the guests are (id Abdel Latif who is the facilitator for the production workshop), Duco Tellegen and Meike Statema.

The festival whose theme “peace-building for a just and sustainable future reflects what happened in various African countries. With the aim of placing audiovisual works in the hands of the children, participants in the skill development programs see the efforts made by the event and preach peace in later years so that we have no issues of internally displaced persons as witnessed in Kenya this year.

The films showcased on Monday the 11th at the Kenya National Theatre were exciting as they put across very informative messages to the families for instance All Girls Together.

The official opening ceremony took place at the Kenya National Theatre at 5 o’clock. The event presided over by Mr. Silver from the department of culture as the chief guest, he appreciated the efforts of the director for Lola Kenya screen for giving the children a chance to be. He discouraged parents from sacrificing their children’s ego by choosing for them what they should do.

He also insisted on sharing whatever little ideas that they have for through this do we help others realize their dream. He pledged to support the program as long as it lives in any possible way.

The director in his opening remarks expressed his dismay in that though the festival is based in Africa most of the filming was directed by people from the west countries. He wished to see someday the same being done by the Africans. He appreciated all who made it to the event.

Watch out for more actions from the venues. Have an eventful week wont you?

About the Writer:
Bethsheba Achitsa, 18, is a festival assistant with Lola Kenya Screen

'The Professor' at 3rd Lola Kenya Screen

2008-08-14T10:53:00.000-07:00

By Joyce Wanja

He is jovial, optimistic and full of determination. He has a huge passion for film and zeal to make a difference as far as film is concerned. And he is facilitating the children’s film production workshop at 3rd Lola Kenya Screen in Nairobi, Kenya.

He is Eid Abdel Latif, a professor in the field of film. Born in Cairo, Egypt, in 1968, Dr Latif attended Shubira Military School and thereafter the College of Fine Arts. He established an animation department at El Minia University, which is the only one in the Middle East.

He has won 12 international awards for his documentaries which are running in Germany, France and many other countries. These include, Chin Idia festiva, international youth creation in Germany, Grand prize of the international , First prize of graphic in Cairo, First prize in of painting in Cairo, Prize of the best documentation among others. He has done many films for children and has launched an annual animation film festival called Miniton in Egypt. The details about the festival are readily available at mimatoom.com.
He says that his inspiration was drawn from the late Mohammed who was his child hood friend. It was through a tragic incident that professor Abdul came to discover his call to film. It all happened when they were nine years old. His friend tried to practice what he had seen on a popular cartoon programme called Mickey Mouse, whereby Mickey ate peanuts and became super Mickey mouse in that he could fly and do other extra ordinary things.
Mohammed decided to try what he had seen since he believed he could do it. This act marked the end of Mohammed’s life when he jumped from the ninth floor of a certain building. Since then, the professor’s heart was full of questions on what was there in that film that made Mohammed believe that he could fly.

It was through the process of answer searching that led him to try his hand in film. Since then he has been teaching film and practicing the art himself. He believes that there is something magical that is in film

Joyce Wanja, 17, is a student at Moi Forces Academy in Lanet, Nakuru, Kenya

Meike Statema: An Angel from Holland at 3rd Lola Kenya Screen

2008-08-14T10:42:00.001-07:00

By Rushel Rangala

They say that goodness comes from the heart and is a self-driven virtue. Ms Meike Statema is a beautiful lady from Holland who loves to help and upgrade young people from a low status. She is the coordinator of the Lola Kenya film festival. This is an organization that deals with young people who aspire to be journalists and filmmakers. I had a one-on-one session with her which revealed what young people mean to her. She has a good initiative for children and works towards developing an identity for young people.

Besides having a great insight on languages, she likes good food, dancing and definitely working in the media. She also works with IDFA, an organisation that deals with international films. This is a clear indication of her love for film and her un-ending support towards this.

One of the things that Meike hates and has always been against is the way parents and adults control young people. She says this is hindering the growth and development of talent in young people.

She loves Kenya and since her arrival on Saturday she has been enjoying her stay. In her country Holland, children are getting a lot of exposure in the media since it has been included in the school program. She believes film can take people, especially children, a step further

Her education has been successful all the way through to Amsterdam University where she studied media and film-making, earning her great achievement.

Being a young, beautiful and unmarried lady she would wish to one day get married and bear children. Apart from this she has great ambitions in life, through her work she would like to reach many people especially children through film. Also she would like to continue with Lola Kenya Screen and take it to greater heights.

Meike’s dream is for the Government and other well wishers to realize what young people can be able to offer and extend a helping hand. In Holland the Government gives funds to young people to develop their talents.

Imagine what a beautiful world we would be living in if we had many people like Meike.That is why I cannot deny that she is an angel sent from heaven. I hope through her lifestyle people may be touched and create a difference in Kenya. Its obvious that her helping hand can only be defined as a golden hand from Holland.

About the Author:
Rushel Rangala, 16, a member of the Lola Kenya Screen 2008 Festival Press, attends Cardinal Otunga High School in Mosocho, Kisii, Kenya.

Lola Kenya Screen 2008 Kicks Off!

2008-08-10T09:17:00.000-07:00

The time we’ve all waited for with bated breath is finally here.

The 3rd Lola Kenya Screen begins on Monday, August 11, 2008 a t 8.00 am.For 12 hours each day—August 11-16—films will be shown at Alliance Francaise, and Kenya National Theatre in the Nairobi central business district with additional shows in the Kibera residential neighborhood between 8.00 am and 8.00 pm.

The Lola Kenya Screen skill-development programmes—Film Production Workshop, Festival Press, Film Jury, Programme Presentation—hold at Kenya National Theatre daily between 8.30 am and 4.00 pm.

The official opening of the festival is on Monday August 11 at 5.00pm at the Kenya National Theatre.

The festival is held annually with the aim of placing the tools of audiovisual media works in the hands of children and youth. This year’s festival is one of its own kind attracting participants from the eastern and southern Africa region. Films to be showcased are from 56 countries around the world

Presented by ComMattersKenya Ltd in conjunction with Goethe-Institut in Kenya, Lola Kenya Screen 2008 is supported by the Jan Vrijman Fund/IDFA of The Netherlands and Africalia of Belgium).

ArtMatters.Info is the official media partner.

The resource people at Lola Kenya Screen 2008 include Duco Tellegen, Meike Statema, Signe Zeilich-Jensen and Eid Abdel Latif whose presence has enriched the the Lola Kenya Screen movement.

Among the children participating in the official skill-development programmes are Mary Gesare Mogusu, Bethsheba Achitsa, Esther Nyauncho, Joyce Wanja, Craig Kimu (Arts and Cultural Journalism), Ian Innocent Mbae, Wangari Mumbi Kiarie, Polet Njeri (Film Jury), Charmaine Ndolo, Charlene Ndolo, Crystal Ndolo, Mina Ogova, Zitoni Kayonga Tristan Tani, Bree Tonga, Othman Bakar Othman (Film Production Workshop), Vanessa Wanjiku, and Daki Mohamed Jirma (Programme Presentation).

Also taking place will be ‘Children and Docs’, a hands-on production workshop with practicing or professional filmmakers aimed at equipping them with skills to make documentary films for children and youth.

Among those participating in this programme, that is facilitated by Tellegen, are Susan Mwangi, Rupinder Jagdev, Sheila Mulinya and Yonnie Andal.

Information courtesy of lolakenyascreen.or.ke

11th ZIFF Festival of the Dhow Countries Awardees Unveiled

2008-07-20T04:43:00.000-07:00

The Zanzibar International Film Festival's Festival has announced films that excelled in its 11th Festival of the Dhow countrie.
Without any analysis, your favourite blog, SayIt-Sema, reproduces the list here for your perusal:

THE GOLDEN DHOW
Awarded to a film that exemplifies excellence in film language and one highlighting Dhow culture.
Ezra (2007, Dir: Newton I Aduaka, Nigeria/France)

THE SILVER DHOW
Awarded to a film that is a runner up to the Golden Dhow awardee.
India Untouched (2007, Dir: Stalin K. India)

SHORT/ ANIMATION
Awarded to the best short film in the festival reflecting mastery of the short film structure and aesthetics.
Subira (2007, Dir: Ravneet Chadha, Kenya/India)

EAST AFRICA
Awarded to the best film by an East African filmmaker that shows the greatest commercial aptitude and potential marketability
African Lens (2008, Dir: Shravan Vidyarthi, India/Kenya)

SPECIAL JUROR'S CHOICE
Laya Project (2006, Dir: Harold Monfils, India)

SEMBENE OUSMANE PRIZE
Awarded to a film that takes a particular look at topics of development coperation.
INTO THE LIGHT by Peter Glen, 2007, USA

SIGNIS JURY AWARD
Awarded to a film that is deemed to to exemplify universal and spiritual values that enhance human dignity, justice and tolerance.
TARTINA CITY by Issa Serge Coelo - (Chad)

Special Commendations
Behind this Convent By 2007, Gilbert Ndahayo (Rwanda)
African Lens 2008, by Shravan Vidyarthi (Kenya)

East African Talent
Subira (2007, Dir: Ravneet Chadha, Kenya)

VERONA JURY AWARD
Awarded to a film deemed the best African feature film in competition.
Behind this Convent 2007, By Gilbert Ndahayo (Rwanda)

FIPRESCI JURY PRIZE
Awarded to a feature film from the Dhow Countries that combines cultural astuteness and commercial potential.
EZRA directed by Newton I. Adauka, Nigeria/France, 2007

THE ZIFF CHAIRMAN'S AWARD
The award is given to a film that reveals an acute reflection on contemporary issues in a balanced manner in these times of polarised perspectives.
In The Name of God , Shoaib Mansour, Pakistan, 2007

THE AIR TANZANIA AWARD FOR THE BEST EAST AFRICAN FILM
African Lens (2008, Dir: Shravan Vidyarthi)

THE UNICEF AWARD
For the Best film that encapsulates issues of children and Women
The Kadogo Brothers, 2007, Ivory Coast, By Joseph Muganga

Lola Kenya Screen 2008 Launched

2008-07-19T08:11:00.000-07:00

3rd Lola Kenya Screen Launched, Venues Confirmed

Lola Kenya Screen, Africa’s premier audiovisual media platform exclusively designed for children and youth, was on July 13, 2008 launched in Zanzibar, Tanzania.

During the three-hour ceremony held at the historic Beit-el-Ajaib (House of Wonders) building in Stone Town, a UNESCO-declared World Heritage Site, a six-film programme—the Lola Kenya Screen Bouquet—was presented.

AFRICAN FOLKTALES ANIMATED and FILMS BY CHILDREN FOR CHILDREN, made by children during the annual Lola Kenya Screen Film production Workshop in 2006 and 2007, were screened alongside THE CELEBRATION and AUDIOVISUAL REIGNS documentaries on Lola Kenya Screen 2006 and 2007 were part of the programme that ran under the Festival of Festivals banner of the 11th ZIFF Festival of the Dhow Countries.

The Lola Kenya Screen foundation has hired the Kenya National Theatre and Alliance Francaise in the Nairobi CBD to run its festival programmes between
August 11 and 16, 2008.

Peace-Building For A Just And Sustainable Future
The theme of the 3rd Lola Kenya Screen—that is presented by ComMattersKenya in conjunction with Goethe-Institut and supported by Africalia Belgium and the Jan Vrijman Fund/IDFA—is ‘Peace-building for a Just and Sustainable Future’.

Lola Kenya Screen Brings Africa To Nairobi
The official Lola Kenya Screen programmes—Film Jury, Festival Press, Programme Pressentation, Film production Workshop—is in 2008 drawing participants from Kenya, Tanzania, Zanzibar, Uganda, Rwanda and Zimbabwe. The event is also showcasing films from 56 nations.
Since August 2006, Lola Kenya Screen has showcased 868 films from 71 nations representing all the six continents in various genres, formats and lengths.

Egyptian and Dutch Experts
While the Lola Kenya Screen 2008 Film Production Workshop for children and youth will be conducted by Eid Abdel Latif, an award-winning film director, film festival director and academic from Egypt, an equally award-winning Dutch filmmaker, Duco Tellegen, will take care of Lola Kenya Screen 2008 ‘Children & Docs’ for professional filmmakers interested in making documentaries for children and youth.

Both workshops will create films that will premiere during the closing ceremony of Lola Kenya Screen 2008. As is the tradition since 2006, all the films will then be marketed around the world.

Lola Kenya Screen Shows Around the World
Meanwhile, the films made by children during the second Lola Kenya Screen film production workshop in 2007 continue to show around the world; they are lined up for showing at the Arci Movies Festival in Naples, Italy (July 2008), Auburn International Festival for Children and Adults (September 2008) and London Children's Film Festival (November 2008).

Achievements of Lola Kenya Screen
Based on the Lola Kenya Screen objectives—making at least five, high quality, culture-sensitive short films annually; helping entrench creativity in eastern Africa; promoting distribution and consumption of audiovisual media; and networking—Lola Kenya Screen 2007 whose popularity and growth has been phenomenal since its inception in October 2005, was a resounding success.

Lola Kenya Screen 2007 enabled 11 children to make their own films, equipped 15 youth to make television programmes for children and youth, empowered six children to work as arts and culture journalists and six others to judge audiovisual media productions. Still other children had the chance to work as programme presenters (MCs) during the six days of the festival in 2007.
Together with the inaugural event in 2006, Lola Kenya Screen has added 21 child filmmakers, eight journalists, nine film judges, four MCs, and 15 youth television producers to Kenya’s creative spectrum.

Ten young women and men got an opportunity to learn audiovisual and cultural events management, and worked at Lola Kenya Screen 2007 as volunteers in the press, jury, programmes presentation and production workshop.

Lola Kenya Screen may be just two years old and with limited financial resources but no festival in eastern Africa has exhibited as many films—250—from as many nations—46—and equipped young people to make films, appreciate and judge audiovisual media production, present the programme and file daily report on the festival as we.

The Future of Lola Kenya Screen
Lola Kenya Screen has been established in Kenya as a movement that uses appropriate and available technologies to deliver audiovisual media content that complements, enhances, entertains and promotes learning among the generation of today and tomorrow—children and youth—in the promotion of literacy, gender equity, independent thought, human rights, environmental responsibility and global health.

Guided by the African communal spirit of ‘I am because we are’, Lola Kenya Screen continues to reach out to individuals and organisations who share the vision that the mass media must create opportunities for children and youth to define their development holistically with a view to partnering with them.