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    Overview General characteristics It is difficult to give a useful summary of the main characteristics of the art of sub-Saharan Africa. The variety of forms and practices is so great that the attempt to do so results in a series of statements that turn out to be just as true of, for example, Western art.

    Thus, some African art has value as entertainment; some has political or ideological significance; some is instrumental in a ritual context; and some has aesthetic value in itself. More often than not, a work of African art combines several or all of these elements. Similarly, there are full-time and part-time artists; there are artists who figure in the political establishment and those who are ostracized and despised; and some art forms can be made by anyone, while others demand the devotion of an expert.

    Claims of an underlying pan-African aesthetic must be viewed as highly contentious. Some further general points can be made, however, in regard to the status of precolonial sub-Saharan art. First, in any African language, a concept of art as meaning something other than skill would be the exception rather than the rule. This is not because of any inherent limitation of African culture but because of the historical conditions under which European cultures arrived at their concept of art.

    The Western separation of fine art from the lowlier craft i. This separation, therefore, cannot be applied without qualification to African traditions of precolonial origin. Philosophers of art in the West might agree that works of art are simply artifacts made with the intention of possessing aesthetic value, and in that sense art, which would include craftwork as well as works of fine art, would indeed be found in all parts of Africa as indeed it is throughout human culture.

    But even in this case, African art must be understood through the investigation and understanding of local aesthetic values rather than through the imposition of categories of external origin. It may be a field of well-hoed yam heaps as, for example, among the Tiv people of Nigeria or a display ox castrated in order to enhance its visual effect as among the Nuer and Dinka pastoralists of South Sudan that constitutes the significant work of art in a given area of Africa.

    Painting in Africa was long presumed not to exist to any significant extent, largely because it was to be found on the skins of human bodies, on the walls of houses, and on rock faces—none of which were collectible.

    Clearly, the aesthetic field in Africa is not so limited. The motive for the creation of any work of art is inevitably complex, in Africa as elsewhere, and the fact that most of the sculpted artifacts known from Africa were made with some practical use in mind whether for ritual or other purposes does not mean that they could not simultaneously be valued as sources of aesthetic pleasure.

    It is also often assumed that the African artist is constrained by tradition in a way contrasting with the freedom given to the Western artist. But, although there are traditions of art in which the expectations of patrons demand repetition of a set form in African art, there are also traditions of precolonial origin that demand a high level of inventive originality—for example, Asante silk weaving and Kuba raffia embroidery.

    There are other traditions in which a standard form can be embellished as elaborately as the artist or patron wishes. The important point is that particular traditions encourage creativity. That being said, some general characteristics of African art may be identified. Among these are innovation of form—i. It should also be noted that a primary component of traditional African art is performance and assemblage.

    The combination of music, dance, dress, and bodily ornamentation—as well as sculpture and masks—is frequently what imparts both significance and dynamism to individual art objects.

    Styletribeand ethnic identity A commonplace of African art criticism has been to identify particular styles according to supposedly tribal names—for example, Asante, Kuba, or Nuba. The concept of tribe is problematic, however, and has generally been discarded.

    Moreover, the very idea of tribe is an attempt to impose identity from the outside. That this happened is understandable, given the demands of colonial administration, but this historical contingency cannot help in understanding the dynamic of stylistic variation in Africa. Sometimes African art plays a part in this, as when a religious cult or a chief or a guild employs distinctive artifacts as a mark of uniqueness.

    Sometimes boundaries are based on linguistic differences, but this may be coincidental. As to differences of style, regularities of form and tradition do occur such that it is possible to attribute particular African art objects to particular places, regions, or periods. Four distinct variables make this kind of stylistic identification possible. The first is geography, in that, all other things being equal, people in different places tend to make or do things in different ways.

    The second is technology, in that in some areas differences of style depend on the material employed. The third is individuality, in that an expert can identify the works of individual artists; inability to do so usually derives from a lack of familiarity. The fourth is institution, in that the creation of works of art takes place under the influence of the social and cultural institutions characteristic of any given location.

    But artifacts can be traded and then copied; artists themselves can travel; institutions, complete with associated artifacts, can move or spread from one area to another, sometimes because they are copied by a neighbouring people, sometimes because they are purchased, and sometimes as a result of conquest.

    The end result is a stylistic complexity in African art that defies easy classification. The names previously understood as referring to tribes can continue to be used, however, as convenient shorthand as long as it is realized that they do not all represent equivalent categories.

    One tribal name may refer to a group numbering no more than a few thousand; another may refer to the language spoken in a given area; yet another may describe an empire comprising peoples of distinct historical identities. John Picton Janet B. Hess Sculpture and associated arts Although wood is the best-known medium of African sculpture, many others are employed: Unfired clay is—and probably always was—the most widely used medium in the whole continent, but, partly because it is so fragile and therefore difficult to collect, it has been largely ignored in the literature.

    Small figurines of fired clay were excavated in a mound at Daima near Lake Chad in levels dating from the 5th century bce or earlier, while others were found in Zimbabwe in deposits of the later part of the 1st millennium ce.

    Both of these discoveries imply an even earlier stage of unfired clay modeling. About the time of these lower levels at Daima which represent a Neolithicor New Stone Agepastoral economythere was flourishing farther to the west the fully Iron Age Nok cultureproducing large, hollow sculptures in well-fired pottery, some of the stylistic features of which imply yet earlier prototypes in wood.

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    Some three or four centuries later, the smiths of Ifeseemingly unaware that unalloyed copper was not suitable for casting or perhaps wishing to demonstrate their virtuosityused it to produce masterpieces such as the seated figure in a shrine at Tada and the so-called Obalufon mask in the Ife Museum.

    In fact, zinc brasses were used more than unalloyed copper. The largest corpus of this work is from Benin, where zinc brasses were used almost exclusively. These copper-alloy castings, together with pottery sculptures the traceable history of which goes back even fartherare the main evidence for the early history of sculpture in sub-Saharan Africa. Wrought-iron sculptures are found in a number of traditions, mostly in West Africa, including the DogonBambaraFonand Yoruba peoples.

    Stone sculpture occurs in several separate centres, employing both hard and soft rock, but there is usually not much evidence of a development through time in a single place. Ivory is a highly prized medium in many parts of Africa. Its fine texture makes it suitable for delicate sculpture, while its rarity leads to its employment in many societies for items of great prestige. African wood sculptures are carved with similar tools throughout the continent. An ax may be used to fell the tree, but an adzwith its cutting edge at right angles to the shaft, is used for the substantive work of carving.

    The skill achieved with this tool is astonishing to the Western observer. Thin shavings can be removed with speed and accuracy, creating a surface especially when the form is convex that shows slight facets that catch the light and add to the visual interest.

    More-intricate work is done with knives. A pointed iron rod heated in the fire may be employed to bore holes in a mask for attachment to the costume and to permit the wearer to see.

    The surface of the sculpture is sometimes polished with the side of a knife or sanded down with rough leaves. West Africa This analysis divides the visual arts of West Africa into three broad areas: This is done partly to enable the reader to comprehend the diversity of styles and traditions within the region, while recognizing that there are themes common to all of the areas. Western Sudan This is the name conventionally given to the savanna region of West Africa.

    It is an area dominated by Islamic states, situated at the southern ends of the trans-Saharan trade routes. The sculpture here is characterized by schematic styles of representation. Some commentators have interpreted these styles as an accommodation to the Islamic domination of the area, but this is probably not an adequate explanation, since Islam in West Africa has either merely tolerated or actually destroyed such traditions while exerting other influences.

    Among the better-known sculptural traditions of the western Sudan are those of the following peoples. Dogon sculpture is intimately linked with spiritual beliefs related to ancestorsboth real ancestors and mythic Nommo spirits primordial ancestors created by the central god, Amma.

    Figures are made to house the spirits of deceased family members and are placed in family shrines, and masks are used to drive away the spirits of the deceased at the end of the mourning period. One type of mask, called sirige, has a tall, flat projection above the face a feature found also in the masks of the neighbouring Mossi and Bobowhich is said to represent a multistory house. The Great Mask, which is never worn and is made anew every 60 years, represents the primordial ancestor who met death while he was in the form of a serpent.

    Other important masks used in public ceremonies to ensure the passage of the deceased into the realm of the ancestors include the kanaga mask, whose architectonic form represents an array of concepts, animals, and the authority of God; and the satimbe mask, a rectangular face surmounted by the figure of a mythical and powerful woman.

    The structure of the satimbe mask—its projecting and receding forms—recalls the facades of the mosques of ancient Mali. Dogon kanaga masksKanaga masks worn by Dogon dancers of Mali.

    These masks are traditionally associated with funerary rites to honour deceased relatives and to guide their spirits to the realm of the ancestors. They were found in caves in the Bandiagara escarpment. The Dogon attribute them to an earlier population, the Tellem.

    These figures, usually of simplified and elongated form, often with hands raised, seem to be the prototype of the ancestor figures that the Dogon carve on the doors and locks of their houses and granaries; investigations have confirmed that the Tellem were ethnically a different people from the Dogon, though the art style appears to have been handed on from one people to the other.

    Their traditions include six male societies, each with its own type of mask. The society known as Ntomo is for young boys before circumcision. The masks associated with Ntomo have a line of vertical projections above the face, signifying beliefs related to human creations. The Tyiwaraan age grade that prepares young men to be husbands and fathers, focuses on agriculture.

    Its mask uses a headdress representing, in the form of an antelopethe mythical being who taught men how to farm. The Komo is the custodian of tradition and is concerned with all aspects of community life—agriculture, judicial processes, and passage rites. Its masks, which are considered to be enormously powerful, are shaped in an elongated animal form decorated with actual horns of antelope, quills of porcupine, bird skulls, and other objects.

    Masks of the Kono, which enforces civic moralityare also elongated and encrusted with sacrificial material. The Kore, which challenges immoral authority and hypocritical morality through sexually explicit gestures and buffoonery, once employed masks representing the hyena, lion, monkey, antelope, and horse but now is represented primarily through puppet performances.

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    Ancestor figures of the Bambara clearly derive from the same artistic tradition as do many of those of the Dogon; so also do their sculptures in wrought iron. Such figures are made by blacksmiths, who—because of their skill in transforming material from the earth—are believed to control great amounts of power nyama. Chiwara headdressBambara dance headdress of wood in the form of an antelope, representing the spirit Chiwara, who introduced agriculture; from Mali.

    These headdresses, attached to a wickerwork cap, are worn by farmers who, at the time of planting and harvest, dance in imitation of leaping antelope. In the National Museum, Copenhagen. The National Museum of Denmark, Department of Ethnography Another art form significant to the Bambara is a textile known as bokolanfini.

    Traditionally, bokolanfini patterns served as cues to broader reflections on life; contemporary textiles are created in Bamako and elsewhere solely with fashion in mind. They are notable as centres of the cloth trade and for their architecture see African architecture. Moreover, in their immediate vicinity many sculptures in pottery of uncertain age have been found.

    They may have some association with the empires of Ghana and Mali 7th—13th and 13th—16th century, respectively.
    Nigeria History Much has been said and written about Nigeria, her people and culture, economy and politics, that sheds light on the tremendous potential of this African Giant. However, little is known to the outside world about the many exciting tourist attractions available in Nigeria: Historic sites nestled amid rivers and rain forests, breathtaking mountain vistas, remote creek villages, miles of pristine beaches and exotic national wildlife reserves.

    There are also museums, festivals, music and dance, a rich cultural melange right down to everyday traditional markets. These are just some of the spectacular sights and sensual delights awaiting the traveler to Nigeria. Nigeria has the largest population of any country in Africa about millionand the greatest diversity of cultures, ways of life, cities and terrain.

    With a total land area ofsq. Nigeria is the 14th largest country in Africa. Its coastline, on the Gulf of Guinea, stretches km mi. Nigeria shares its international border of 4, km mi. Chad, Cameroon, Benin, and Niger. Until the capital was Lagos, with a population of about 2, but the government recently moved the capital to Abuja.

    In general, there are two seasons, dry and wet, throughout Nigeria. Near the coast, the seasons are less sharply defined.

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    Inland, around the two great rivers, the wet season lasts from April-Oct. It was in Nigeria that the Bantu and SemiBantu, migrating from southern and central Africa, intermingled with the Sudanese.

    Later, other groups such as Shuwa-Arabs, the Tuaregs, and the Fulanis, who are concentrated in the far north, entered northern Nigeria in migratory waves across the Sahara Desert. The earliest occupants of Nigeria settled in the forest belt and in the Niger Delta region. Today there are estimated to be more than ethnic groups in Nigeria.

    Hausa-Fulani in the north, Yoruba in the west, and Igbo in the east. While there is no direct evidence to link the people of the Jos Plateau with the Nok culture, or the Eze Nri of today with Igbo Ukwu, the history of Borno dates back to the 9th Century when Arabic writers in north Africa first noted the kingdom of Kanem east of Lake Chad. Bolstered by trade with the Nile region and Trans-Saharan routes, the empire prospered.

    In the next centuries, complex political and social systems were developed, particularly after the Bulala invasion in the 14th Century.

    The empire moved from Kanem to Borno, hence the name. The empire lasted for 1, years until the 19th Century despite challenges from the HausaFulani in the west and Jukun from the south.

    To the west of Borno around 1, A. However, unlike the Kanuri, no ruler among these states ever became powerful enough to impose his will over the others. Although the Hausa had common languages, culture, and Islamic religion, they had no common king. Kano, the most powerful of these states, controlled much of the Hausa land in the 16th and 17th Centuries, but conflicts with the surrounding states ended this dominance. Because of these conflicts, the Fulanis, led by Usman Dan Fodio insuccessfully challenged the Hausa States and set up the Hausa-Fulani Caliphate with headquarters in Sokoto, commanding a broad area from Katsina in the far north to Ilorin, across the River Niger.

    In the west, the Yoruba developed complex, powerful city-states. The first of these important states was Ile-Ife, which according to Yoruba mythology was the center of the universe.

    Ife is the site of a unique art form first uncovered in thel93Os. Naturalistic terracotta, bronze heads and other artifacts dating as far back as the 10th Century show just how early the Yoruba developed an advanced civilization. Later, other Yoruba cities challenged Ife for supremacy, and Oyo became the most powerful West African kingdom in the 16th and 17th Centuries.

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    The armies of the Oyo king Alafin dominated other Yoruba cities and even forced tribute from the ruler of Dahomey. Internal power struggles and the Fulani expansion to the south caused the collapse of Oyo in the early 19th Century.

    Benin developed into a major kingdom during the same period that Oyo was becoming dominant to the west. Although the people of Benin are primarily Edo, not Yoruba, they share with Ife and Oyo many of the same origins, and there is much evidence of cultural and artistic interchange between the kingdoms. The King Oba oE Benin was considered semi-divine and controlled a complex bureaucracy, a large army, and a diversified economy. Benin's power reached its apex in the 16th Century. Of these, the Igbo are probably the most remarkable because of the size of their territory and the density of population.

    Igbo societies were organized in self-contained villages, or federations of village communities, with a society of elders and age-grade associations sharing various governmental functions. The same was true of the Ijaw of the Niger Delta and people of the Cross River area, where secret societies also played a prominent role in administration and governmental functions. But by the 18th Century, overseas trade had begun to encourage the emergence of centralized systems of government.

    Abeokuta, the capital of Ogun State, lies on the Ogun River amid rugged, rocky hills, offering excellent photo opportunities. Home of adire cloth, Abeokuta has an intriguing array of markets which sell a wide range of exotic goods. Olumo Rock, sacred to the Egba people, is on the east side of the Ogun river. Visitors should engage a guide from the tourist center at the bottom of the rock where one can explore the caves used as sanctuary during the Yoruba civil war.

    At the rock's summit, visitors can enjoy a tremendous view of Abeokuta and the Ogun River. World-renowned Benin bronze scuptures date back to the 15th Century when the Oba of Benin ruled the large and powerful Edo kingdom, a period when bronze casting was an art used to glorify the Oba.

    Ina British expeditionary force sacked Benin and hauled off many of the bronzes to London. Still, several good examples of the bronze artifacts remain in both the Benin and Lagos Museums. Today, bronze casting is still continued in several streets in the city, including Igun and Oloton streets.

    Another attraction in Benin is Chief Ogiamen's House, a prime example of Benin traditional architecture built before The house miraculously survived the "Great Fire" during that period which destroyed most of the city. Located along the edge of a thickly wooded forest belt, it was called Eba-Odan, meaning a town at the edge of the forest.

    Places of interest include Dugbe market, a huge traditional marketplace, the Parliament Building, the University of Ibadan, Nigeria's premiere university, its Teaching Hospital and Cocoa House. The Yorubas consider it to be the cradle of creation and civilization. Legend says that it was at Ife that Oduduwa, sent by Olodumare, the Yoruba creator-god, established the first land upon the waters that covered the earth, thus founding Ife.

    His sons spread to other parts of Yoruba to create further kingdoms. Ile-lfe became a remarkable center for arts, producing both terracotta figures and bronzes dating from the 12th to 15th Centuries, second only in fame to the Benin bronzes. It was a trading post between the Benin Kingdom and the Portuguese until the arrival of British traders in the 19th Century, presaging the colonization of the interior. Lagos is divided into several parts, each with its distinctive character.

    The heart of the city is Lagos Island Ekocontaining most of Nigeria's commercial and administrative headquarters. It is linked to the mainland by three road bridges, and to Ikoyi Island and Victoria Island by road. The latter are mostly residential areas with palatial houses, expansive gardens and five star hotels in a gorgeous setting.

    Finally, Oba's Palace sits majestically on Lagos Island, portions of which are over years old with a newly contructed extension. The Idanre Hills, with curious dome-shaped peaks, are located in Idanre, southwest of Akure. The hills have a socio-religious significance, having protected inhabitants from invaders during inter-ethnic wars in the distant past. Onitsha, located on the Eastern bank of the River Niger, is famous for its robust market and commercial activity. The traditional Ofala festivals, performed by royalty in Anambra, are rare pageants of color and fanfare.

    Calabar is an attractive city on the bank of the New Calabar River, near its confluence with the Cross River, which has a long history as the regional port of eastern Nigeria. Residents here trace their ancestots back to Babylon before the time of Christ. First visited by the Portuguese at the end of the 15th Century, CALABAR is also the center from which many missionaries ventured forth in the 19th and 20th centuries, including Mary Slessor, who arrived in Calabar in Places of interest include the National Museum in the old Residency Building.

    The building was prefabricated, shipped from Britain and erected atop Consular Hill inlater known as Government Hill. The museum itself is history, a vibrant colonial stylecitadel commanding superb views of Calabar and the Calabar River. The museum traces the history of Calabar and the surrounding areas in a spacious setting.

    Enugu is the center of the Nigerian coal industry, situated in attractive, hilly country with wide roads and expressways and main arteries leading north, south, east and west. It also boasts one of the best hotels in Nigeria, the Nike Lake Hotel. The Museum, overlooking the river, encases the history of the local Ibibo people plus an important collection of wooden Ekpo memorial carvings that portray the male ancestors of the Ibibo people, believed to be two to three centuries old.

    The Igbos are renowned for their music and dancing, especially the colorful masquerades in which the dancers wear elaborate masks. It is called "The Garden City" because of its abundance of trees and parks. Now the second most important port in Nigeria, Port Harcourt did not exist before Nearby are the two historic ports of Bonny and Brass, formerly connected with the slave trade, but which now serve as oil ports and terminals.

    The town is a good base from which to explore the local creek villages and towns. Sites include the State Museum, which features many examples of local culture including masks and carvings. The Cultural Center on Bonny Street has a stage and auditorium for plays, dancing and a shop where tourists can purchase local handicrafts. The Azumint Blue River sports beautiful clear water with sandy beaches.

    Tourists can rent canoes for a ride down the river to stop at a beachside picnic site, outfitted with wooden chairs, tables and grills for a pleasant riverside barbecue. Visitors to Akwette will be impressed with its unique weaving industry. Besides being the administrative seat of government, Abuja is a beautiful city surrounded by rolling hills, with ample mountaineering potential. The Gwagwa Hills, near Suleja, the Chukuku Hills, the Agwai Hills and the famous Zuma rocks are just some of the awe-inspiring manifestations of nature's beauty in the area.

    BIDA is a lively town, famous for its handicrafts and colorful market, and is the principal city of the Nupe people. Bida is famous for its glass beads, cloths, silver and brass work, it's carved 8-legged stools made from a single piece of wood, and decorative pottery. Bida's market truly stands out as a traditional showcase of local commerce in Nigeria. Particularly impressive during the rainy season, the falls span meters across with a sheer drop of 30 meters, which creates a dazzling rainbow effect as the water cascades over the top into a cloud of spray below.

    ILORIN, an ancient city, is the southernmost point of Fulani expansion and bears characteristics of both north and south.
    For Vaya film tickets only, click here. Each appointed with their own task to complete, their separate quests intertwine in a series of gripping narratives: Zanele Zimkhitha Nyokachaperoning a young girl en-route to reuniting with her singer mother, is given an exciting offer to appear on television that may be more than meets the eye.

    Nhlanhla Sihle Xabaexcited by the prospect of getting rich quick, gets caught up in criminal activities. As they struggle for survival, they attempt to hold steadfastly to their integrity and dignity in a city in which they hoped to find protection and solace. Festival Statement The urge to reclaim stolen images and voices has been a motto for African filmmakers and artists since the 60s.

    Cinema has served as a megaphone for the African people to let the world know about their collective and individual struggles. As Frantz Fanon said: Today, filmmakers from Africa and the diaspora use creativity in its widest sense to free themselves from historical preconceptions and contemporary economic and sociopolitical constraints.

    Their films are characterized by formal experimentation while stressing the need to communicate powerful messages to their audiences. They offer us playful narratives where genres mix and dialogue with the arts and non-western filmic traditions subvert and surprise audience expectations. Issues such as human rights and civic duty, ecological concerns, technological interconnectedness, and ethical behavior find representation. These filmmakers show the immense possibilities of engaging in open experimentation with an engaged attitude that flees from univocal stories to map the diversity of the world.

    The story of three strangers coming from the country to Joburg, Vaya is a portrait of a tough and exciting city in a way never seen before. Kalushi and Noem My Skollie Call Me Thief demonstrate the vitality of the South African thriller with two true accounts of resilience and heroism in apartheid South Africa; while the documentary Uprize! Makama — a hilarious social satire and metanarrative about what it means to be Nigerian today.

    Based on real-life events, the poetic and epic journey of emigration, Ewir Amora Kelabi by Ethiopian director Sewmehon Yismaw will be the centerpiece of the program and a worldwide premiere.

    We recover the jewel Mapantsula from Oliver Schmitz, the first anti-apartheid film, made inand a rarely screened short by Jamaican filmmaker Lebert Bethune, Malcom X: Other films touching the revolutionary impulse are the documentary Footprints of Pan-Africanism about the role of intellectuals from Africa and the Diaspora in Black liberation movements since the 50s, with Ghanaian Nkrumah at the center, and the stunning archival work Kemtiyu, Cheikh Anta, focusing on the trailblazing scholar of African history.

    Play the Devil, from Trinidad, a mesmerizing tale about the loss of innocence, loosely inspired on Black Orpheus; and Ayiti Mon Amour, a lyric reflection on life in post-earthquake Haiti. Quartiers Lointains spans Africa and Europe, revealing how formal experimentation can turn dramatic situations into art in the first animated short from Libya 80 and the fairytale of South African reconciliation in Kanye Kanye. The festival will also feature a digital art exhibition exploring dance and movement, via virtual reality.

    The festival caravan will then move on to Maysles Cinema in Harlem where documentary films will fill the screens for three whole days. The African Who Wanted to Fly, an unforgettable portrait of martial artist and actor Luc Bedza, proves that no dream is impossible when, against all odds, a child from Gabon becomes a master of Wushu in China. The murdered dreams for a new Burkina Faso of Captain Thomas Sankara find their intimate counterpart in So Far Away from Vietnam, where Vietnamese-Senegalese families continue to experience the effects of colonialism.

    Across these venues, the festival will present a total of 25 feature-length films and 36 short films from 25 countries—celebrated African films from the continent and the diaspora. Regular festival prices apply to tickets for the screening only and they can be purchased at filmlinc. Other films taking up this theme include the Tunisian dramedy Zizou, set at the outset of the Arab Spring; the South African drama Kalushi, based on a true story during the Soweto uprisings; the South African documentary Uprize!

    Struggle for Freedom, a rarely screened repertory title chronicling the American leader as he took on global issues; and Footprints of Pan-Africanism, a documentary on the role of Africans in the independence movement. It includes a digital art exhibition exploring dance and movement via virtual reality.

    A pre-sale to Film Society members will begin Tuesday, April On May 19, the festival lands at Maysles Cinema in Harlem for a three-day program of documentaries. Zanele Zimkhitha Nyokachaperoning a young girl en route to reuniting with her singer mother, is given an exciting offer to appear on television that may be more than meets the eye. Premiere Wednesday, May 3, 7: The result is an unpredictable adventure, the story of how far one man will go to fulfill his destiny, and a tale for the ages about the resilience of the human spirit.

    World Premiere Preceded by: Harari and Oromiffa with English subtitles Jessica Beshir, Ethiopia,7m For the past 35 years, Yussuf Mume Saleh journeys at night to the outskirts of the walled city of Harar to bond with his beloved hyenas.

    New York Premiere Friday, May 5, 6: Instead, she gives the narrative back to the Haitian people, whose lives cannot be reduced headlines. And as her characters begin to heal, Felin suggests that the island will too. Co-presented with Cinema Tropical. Sunday, May 7, 6: Footprints ultimately celebrates the challenges young generations continue to pose to those who have yet to pick up the baton of the great Pan-African dreamers.

    Co-presented with Africa-America Institute. New York Premiere Preceded by: Premiere Sunday, May 7, 1: A story about classism and how people from different economic and cultural backgrounds think and behave, Green White Green plays with stereotypes to illustrate just how similar we are despite our diversity and prejudices. New York Premiere Friday, May 5, 8: After being brutally beaten by police during the Soweto uprisings, he goes into exile and joins the liberation movement; a series of violent events lead Mahlangu on a journey that culminates in his being forced to stand trial for his life, using the courtroom as his final battlefield.

    Kemtiyu is a portrait of this trailblazing scholar—venerated by some, derided by others, and unknown to most—an honest, enlightened political figure who had an insatiable thirst for science and knowledge.

    New York Premiere Thursday, May 4, 6: Mapantsula tells the story of Panic, a petty gangster who gets caught up in the growing anti-apartheid struggle and has to choose between individual gain and standing united with others against the system. Monday, May 8, 9: Barely into their teens, Abraham and his three friends form a gang, more out of self-preservation than malice.

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    As they grow up, Abraham now played by the intense Dann-Jacques Mouton and his gang turn to petty thievery. Noem My Skollie is both a tribute to the human need for stories—and storytellers—and a realistic look at youth gang behavior. When the naive young man meets James, a powerful, affluent businessman offering friendship and guidance, his world spins out of control.

    Gregory and James face each other once again—on Carnival Monday, when young men cover themselves in blue paint, dress as devils, and become lost in the frenzy of drumming and howling. Friday, May 5, 4: Sunday, May 7, 4: After he becomes a satellite-dish installer, interacting with people from all walks of life, he falls madly in love with a young woman who has ties to a mafia group working closely with the governmental regime.

    His quest to set her free becomes his reason for living, and he proceeds unconsciously into the growing tide of a revolution about to wash over Tunisia. Premiere Saturday, May 6, 3:

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