JUJU FACTORY (Dir. Balufu Bakupa-Kanyinda, 2007, 97min, Dem. Rep. Congo | Belgium) – An intelligent commentary on exile and migration, Belgium’s colonial history, racism in Europe, the psyche of the colonised and the de-colonised…
BALUFU BAKUPA KANYINDA was born on 30 October 1957 in Kinshasa (DRC). He studied sociology, history and philosophy in Brussels, Belgium. He took courses in filmmaking in France, the United Kingdom and the United States. From 1979 to 1981 he was an instructor in the French Cultural Centre in Lubumbashi. In 1991 he made his first documentary, Dix mille ans de cinéma, and in 1993 released a second documentary on Thomas Sankara. His first fiction film was Le Damier – Papa National Oyé! (The Draughtsmen Clash) made in 1996. He was a member of the board of short films at CNC in France from 1999 to 2001. Balufu was a member of the Input 2000 (International Public Television) in Cape Town, South Africa and a member of CreaTV, UNESCO’s program for televisions in the South between 2000 and 2003. Bakupa-Kanyinda is a writer and a poet as well as a film director. New York University invited him to lecture in 2006/2007 at the NYU-Ghana campus in Accra. Balufu is a founding member of the Guild of African filmmakers and producers.
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26.09. | 16:00-16:45 JOHNNY PITTS „On Afropean Culture“ I spent five months traveling through Europe on trains, searching for an alternative side of the continent, not offered in the tourist literature of its cities. Mine was a search for ‚Afropea‘, the land of 2nd, 3rd and fourth generation children of immigrants, too indelibly connected…
26.09. | 17:15-18:00 NADIA DENTON „Why the Best of the Nigerian Film Industry is Yet to Come!“ In this paper Nadia discusses the shape of the Nigerian film industry in the next 10 years drawing from the interviews compiled for her latest publication The Nigerian Filmmaker’s Guide to Success: Beyond Nollywood. Her talk will include…
27.09. | 17:15-18:15 SERGE ATTUKWEI CLOTTEY „Europe in the Eyes of Africa“ The model in the image is Rhodaline Parlon, a member of the performing art group ‘Golokal Movement’ with whom Clottey works closely. The use of the jerry-can symbolizes our own potential to carry others forward and influence their lives. Clottey’s images call for…
