Kenya & Uganda
Kenya & Uganda Delegation
August 15 - September 2, 2009
Filmmakers: Scott Galloway, A Man Named Pearl & Erin Persley, Empowering the Yard
Expert: M.K. Asante, Jr
Delegate Report
by M.K. Asante, Jr.
My recent experience as a Specialist with the American Documentary Showcase in Kenya and Uganda was profound, transformative, and inspiring. There is an African proverb that says “Carve the peg by studying the hole.” This has always held meaning for me and, recently, as I traveled through Kenya and Uganda with documentary filmmakers Scott Galloway and Erin Persley, this proverb jumped off the page and came to life.
Rather than devise a complete agenda and impose it on the students who came to our workshops in Africa, we first engaged in dialogue with our groups––learning their stories, fielding their questions and discovering their interests. Our response, usually on the spot, was to huddle, improvise and gear our lessons, workshops, lectures, and demonstrations toward their needs and interests.
For example, in Kibera, the poorest slum in Kenya, we talked about writing and structure because of the filmmakers’ desire to improve their scripts. In Kisumu, there were tons of actors, directors, and writers who had never filmed their work, so we had them write and direct scenes which we filmed, later screened for them and then critiqued. In Mombasa, Scott, Erin, and I took turns focusing on a variety of areas, including development, pre-production, production, post-production, distribution and overall documentary strategy. This flexible approach was a great demonstration of unity and really helped maximize our collective impact.
In Kampala, Uganda, there was an emphasis on screenings and discussions. These screenings were usually held in the evening at the National Theatre and always featured lively and important discussions. Although we screened films from America, the conversations that followed were always global, a demonstration of the universal nature of good storytelling. These discussions, even when heated, were always respectful and, without fail, always exceeded the time allowed for Q&A. As a result, the discussions carried out into the hallways, outside the doors of the National Theatre and invariably into the streets of Kampala. “This is what film is about,” I said to myself one night as I watched a group of students and filmmakers constructively discuss the film they had just watched.
One of the most exciting aspects of my experience in both Kenya and Uganda was the fact that both countries film industries are relatively new. That enhanced the significance of our events and also raised the stakes for everyone involved. Meeting with burgeoning directors, writers and other professionals was truly special (being there in the beginning!), Sharing with them the important and valuable resources that will invariably help build their new industry was mutually beneficial. The potential of the film industry in both Kenya and Uganda is enormous and we were all thrilled to have contributed to that development.
The coordination of events and activities by the American Documentary Showcase and the Embassies in both Kenya and Uganda were superb and very smooth. Days were usually long and packed with teaching, screenings and other programmed activities. Because of the rigidly packed days, we were largely unable to see local cultural sites that might have helped give more context to the countries we visited.
What initially attracted me to film as a profession, love and lifestyle was its ability to transform people, communities and even nations. This transformative power is what attracted many of the eager filmmakers and students in Kenya and Uganda to pursue their dream and to share their stories and time with us. Working with the American
Documentary Showcase, in that same way, was a transformative experience for me and, I’m certain, all who participated.
One of my goals as a filmmaker is to tell stories that take people past where they are to a place they had not yet considered. My experience with this Showcase epitomized this goal and made it a reality. Thank you for a wonderful opportunity and an amazing experience.
Togetherness Extreme
Trailer for Togetherness Extreme, made at the Hot Sun Foundation--which the Showcase visited on the 2009 delegation to Kenya
See M.K. Asante, Jr.'s Flickr slideshow from the American Documentary Showcase in Kenya and Uganda
Delegate Report
by Erin Persley
Kenya
My experience as a delegation filmmaker with the American Documentary Showcase was remarkable and extremely rewarding. Representing one of only a handful of short films and the only student film, I was both eager and prepared to showcase my own distinct point of view. Moreover, with the goal of the Showcase to “offer a broad, diversified look at life in the United States and the values of a democratic society as seen by American documentary filmmakers,” Scott Galloway, M.K. Asante, Jr. and I embarked on our journey. We met with numerous students, filmmakers and film enthusiasts over the course of 17 days, during which we shared our background and expertise, and worked together to build lasting artistic bonds through global avenues.
Nairobi
Workshop in Nairobi
Our journey began in Nairobi, Kenya. The Cultural Attaché, Ellen Bienstock, greeted us at the hotel and went over the schedule, events and objectives of the week. We were quickly briefed on the emerging Kenya Film Commission and its co-sponsorship of the Showcase. The following, day we started our work in Nairobi and kicked off the Showcase with screenings at the Silverbird Prestige Plaza. Empowering the Yard played at 4:00 p.m. and then we had a short Q&A session. The audience was a mix of young filmmakers and established professionals and I was unsure how they would react to the film. I decided to introduce the film at first and then open for any questions or comments. The diverse audience asked about interview techniques and how to work with a non-profit organization. However, the most provocative question came from a young spectator who asked about the inclusion of Department of Corrections director, Justin Jones, in the film. The question allowed me to talk about how our desire to have the film and program implemented in other prisons in Oklahoma outweighed our wishes to keep the film and interviews centered on the incarcerated participants. I also spoke about how education and educational outlets can be a natural and influential aspect of documentary film.
After my screening, both the US Embassy and Kenya Film Commission hosted a small reception where we could meet and speak to other filmmakers and film enthusiasts. A Man Named Pearl screened following the reception. Scott then led his Q&A and spoke about his budget and decision to shoot in high definition. This first event was a great way to begin our work in Kenya and introduce us to the country’s burgeoning film industry. That Sunday, Scott, M.K. and I each taught two workshops at the Goethe Institute, where we discussed tenets in screenwriting, shooting and editing. Due to our varied experience and diverse approach to each phase of production, we had the groups switch instructors during the break to take advantage of the differences in our teaching expertise.
Kibera, Nairobi
Building on these workshops, we ventured outside of downtown Nairobi to Kibera, the largest slum in Africa. Here we partnered with the Hot Sun Foundation and met with ten students at their film school. M.K. started the session talking about the three-act structure and story guidelines. Scott and I followed with a discussion concerning shooting techniques, working with actors and post-production organization. We then watched a rough cut of their “behind the scenes” segment and offered constructive criticism on how they could improve. It was great to be able to actually view the footage with the filmmakers and editors present, and the experience allowed Scott and I to cite specific examples of blocking and editing transitions. Later that afternoon, we screened both films at a church in Kibera. There were some problems with the audience understanding the films’ complex interviews and, although Empowering the Yard screened in its entirety, we had to end A Man Named Pearl early. The audience still engaged in the Q&A and asked us to comment on stylistic issues.
Kisumu
Workshop in Kisumu, NairobiThe next stop on our Kenya adventure was Kisumu. As Kenya’s third largest city, Kisumu sits on the beautiful Lake Victoria and it allowed the three of us to see another facet to Kenya’s artistic community. All of the screenings and workshops were held at the American Corner at the Kisumu Library. The participants were quite young and had problems understanding the film’s concepts, so we spent the screening time talking to the audience about life in the United States and beginning filmmaking. We also redesigned the workshops for the young audience. M.K. and I designed a two-part workshop where the youth would write one scene in the morning and then we would film that same scene in the afternoon. We also gave them several restrictions: Each group had to choose a director, use the remaining group members as actors and only use locations and props accessible at the library. M.K. and I were unsure what each group would write about or how each scene would be accomplished; however, we were completely blown away.
The scenes discussed very mature issues, including the post-election violence, drugs in schools, and trouble in love and dating. In the afternoon, M.K. used his HD camera to shoot the scenes and I worked with the directors. My objective focused on getting the directors to learn blocking and camera angles and to practice working with actors. After we finished filming all three scenes, we sat down with the entire group to watch them. I led the discussion and asked the groups to discuss what parts worked and what could be improved the next time. It was really great to work with these young, aspiring artists throughout the day and to observe them watching themselves on camera.
The following day, we met with the advanced students and several professionals from the area. Instead of focusing on one element of production, we spent the day talking about how to overcome obstacles. Many of the artists felt that their city had been overlooked by the dominating Nairobi industry and we discussed ways to both come together in Kisumu and work with their fellow filmmakers and film resources in Nairobi. From that meeting came something quite remarkable: the announcement of the Nyanza Filmmakers and Arts Network. They decided on a list of objectives, including:
- Seek to promote Nyanza as a preferred film destination in terms of location.
- Compile on our soon-to-be-established website a database of all producers, directors, camera operators, screenwriters, gaffers and actors based in Nyanza.
- Host and arrange regular capacity-building opportunities for Film and Arts practitioners in Nyanza with a view to improving their skills.
- Partnering with other like-minded people and organizations to add value to art.
- Establishing exchange programs to other parts of Kenya and the globe.
This organization represents a new chapter in the Kenya film industry and M.K., Scott and I felt privileged to have been associated in any way with its early roots.
Mombasa
After Kisumu, we departed for our final destination: Mombasa. With the breeze of the Indian Ocean in our hair, we were eager to embrace this coastal city. The workshops took place at the Muslim Civic Education Trust Building, which worked with a local company, Coastal Films. The three of us again decided to divide the workshops and M.K. focused on screenwriting, while Scott and I concentrated on shooting and editing techniques. The following day, we screened our films at Wild Waters Water Park in Nyali. Due to the unconventional location and distance from downtown, there was a low turnout. We spoke to the viewers about our films and answered questions concerning gaining interviewees’ trust and issues of lighting.
Overall, our time in Kenya was very rewarding and well spent. Visiting multiple cities in Kenya allowed the three of us to see the diverse issues facing Kenya filmmakers, and gave us a broad view of the budding film industry there.
Uganda
Kampala
The program continued as we arrived in Kampala, Uganda, without Scott Galloway, who had to leave the continent due to an illness. After we settled into the hotel, we attended a reception hosted by the Deputy Ambassador and met with several Embassy officials along with members of the Uganda Film Network. We introduced ourselves and got a chance to briefly speak to several filmmakers. We tried to gauge what they would like to speak about later this week and how M.K. and I could frame our workshops. They did not have a scheduled screening for Empowering the Yard and I spoke to Joann Lockard about finding a time to screen it. We also talked about having a screening of The Black Candle, so we could lead a much more detailed Q&A.
Uganda Film Network, Kampala
We again met with the Uganda Film Network the following day at the National Theatre and made a list of items to cover at the workshop. Many at the network had made films before and appeared to be more interested in distribution, funding, production value and building an audience. That afternoon, we returned to the theatre to screen Street Fight. We had a large audience for the screening and, after the credits rolled, M.K. and I facilitated a Q&A session. We fielded questions about Marshall Curry’s style of shooting and involvement in the film, which led to an intense discussion of race and politics.
The next day, M.K. and I met with filmmakers from the Film Network at a nearby hotel. We spent time discussing distribution options and grants, and focused a great deal on different strategies they could employ to build their emerging film industry. I also spoke about the Global Film Initiative, whose mission is to promote “cross-cultural understanding through the medium of cinema,” and which offers grant, acquisition and distribution programs. After the workshop, we screened Empowering the Yard and The Black Candle before a large and enthusiastic crowd at the National Theatre. We answered questions concerning using a narrator, interview techniques and how to structure a short film. The stimulating discussion illustrated the power of documentary film to inspire, engage and ignite communities around the world.
Riding on the positive and infectious energy of the previous night, we met with mass communication, music and drama students from Makerere University. M.K. spent most of the morning discussing slug lines and talking about the various steps in the three-act story structure. I followed with exercises centered on working with actors, blocking and creating a shot list. The students responded really well to the workshop and seemed eager to begin working on their own film work. That afternoon, A Man Named Pearl screened to another large and energized crowd. Viewers brought up questions about race and racism in America, which led to a spirited discussion about needing to support Uganda filmmakers. After the formal Q&A, the real Q&A about race and community began as M.K. and I met with swarms eager filmmakers and enthusiasts who asked us diverse questions, and praised the program that brought us there.
Ending the week of inspiration, we screened Project Kashmir at the Uganda Supreme Council with inter-faith organizations. After watching Project Kashmir, we talked about the struggles of identity. One leader paralleled the struggle there to Uganda and stated, "We must stand as Ugandans, not as Muslims or Christians." Another remarked that he was privileged to see these women taking a leading role in showing the struggle for peace. I thought all of these comments were especially powerful since we screened in a mosque during the holy month of Ramadan.
Later, we screened FLOW at the Embassy and had a lively discussion with environmental activists and some politicians over the role of locals and how grassroots strategies could succeed in Uganda. One woman said that after seeing the film, she really believed that "the 21st century will be the century of the common people." It was great to see a sense of hope and inspiration, and many remarked that activists should partner with Ugandan filmmakers to spread this knowledge.
The following week, I met with second- and third-year students from Makerere University in Kampala. We spent the whole morning discussing documentary film. I showed Empowering the Yard and spoke about the obstacles and successes of the film. We also talked about making films with certain restrictions, such as time constraints and securing locations. I was able to speak about some techniques used in documentary film, like re-enactments and verité shooting. One student even brought up the notion of ethics in documentary and issues of authenticity. I think the discussion was really incredible to both facilitate and participate in with students and faculty. I also talked about different techniques used in A Man Named Pearl and The Black Candle. I was able to pass out some t-shirts from the National AIDS Fund and copies of the DVDs. Overall, it was really great to work with Sister Dominic and the students.
In the afternoon, I met with leaders of many youth and democracy organizations to screen The People's President. Many issues were brought up from the film, including notions of building an image, creditability, likeability and authenticity. There was a great debate about politicians using the media to reach the people and whether the president should be conscious of this relationship. There was also a connection drawn between Ugandan media and politics and the film. Many members of the audience felt that the media there was much too underdeveloped and needed to improve in order to be a more effective way of communicating with its people. We also talked about representations of Presidents George W. Bush and Barack Obama and the idea of the "common man" as president. I think it was very interesting to hear perceptions of the presidency and how Ugandans felt the media should influence public opinion.
That night, the Embassy hosted a dinner at a local Indian restaurant for many key members of the arts community. I met with the Coordinator of the National Theatre, Joseph; the choreographer for the local dance troupe, Steven; and two other filmmakers, Irene and Sara. It was a very engaging dinner as we spoke about the arts community and how the local film industry can grow. We also spoke about the just-announced upcoming film production, which will focus on the Lord's Resistance Army and its kidnapping of school girls some 20 years ago. There was also much talk about the three of us returning with new films and leading more workshops in the future. It was great to speak of working with these great artists in the future and wonderful to form these lifelong artistic bonds.
The last day of the program, I had a follow-up meeting with the Uganda Film Network and had a great final discussion. Since the earlier workshop focused on screenwriting, funding and distribution, this time we focused on documentary filmmaking. We talked about how to write and develop the story for a documentary, including using re-enactments, voiceover and various styles of filming/camera angles. There was also a heated discussion about the pitfalls and issues when portraying another culture and the issue of representation/authenticity in film. We also tried to discuss how documentary works differently than journalism, as well as the idea of visual poetics. It was great to reconnect with these filmmakers, and their entire group expressed appreciation in seeing the films, meeting the filmmakers and the program as a whole. We even took a small group photograph and, of course, were immediately invited to come back with our next films!
Kampala, Uganda was a fantastic second part to the engaging and inspiring program. Screenings at the National Theatre were well advertised and well attended and every group was enthusiastic and thoughtful. We definitely missed Scott’s energy and knowledge and kept him in mind throughout the week.
The entire trip was incredible and I feel so fortunate to be a part of it. The program was very positive and had a real impact on all the participants. Also, working with M.K. and Scott was great and we all learned a great deal from one another.
Delegate Report
by Scott Galloway
My inspiration for writing this American Documentary Showcase report was a package from Kibera in Kenya, the largest slum in all of Africa.
Kibera, Nairobi
A young filmmaker in Kibera practices framing
On our journey through Kenya, we visited the Hot Sun Foundation. The foundation works with children who live in Kibera. a slum of over one million people. I was so impressed by the Hot Sun Foundation and their students that I commissioned them to shoot and edit a little piece on youth soccer in Kibera in the hopes that I might be able to use the footage to raise money and awareness for my next documentary.
Inside the package was a DVD, which brought back many memories of Kibera: the weather-beaten roofs, the crushing poverty and the smiles and laughter of children. In the DVD they were laughing and playing soccer. Their collective joy reminded me of the laughter, curiosity and genuine appreciation the students at the Hot Sun Foundation had for our delegation when we spent the day with them.
I recognize the American Documentary Showcase has many important objectives: communication, understanding and the sharing of ideas, cultures and experiences. It seems to me that all of these missions are embodied in the alliance Erin Persley, M.K. Asante and I formed with the Hot Sun Foundation.
Following are excerpts from my personal journal:
Nairobi
August 14: After arriving in Nairobi and checking in to the Nairobi Holiday Inn, I met fellow filmmaker Erin Persley and we arranged a meeting with US Embassy attaché Ellen Bienstock. Erin and I met Film Specialist M.K. Asante and then Ellen that evening. The embassy had been very busy with Secretary of State Hillary Clinton’s visit. The Secretary left Africa that very day. We were briefed on our travels and assignments then Erin, M.K. and I had a late dinner.
August 15: We were picked up at 3:00 p.m. and taken to a US Embassy/Kenya Film Commission gala. Erin’s film, Empowering the Yard, screened at 4:00. The gala was at 5:00. My film, A Man Named Pearl, screened at 6:00. Both were very well received. The head of the Kenya Film Festival asked if the films could be in their upcoming festival.
August 16: We were picked up at our hotel by a U.S. Embassy driver and taken to the Goethe Institute, where Erin, M.K. and I were to teach fellow filmmakers. The classes would be broken into two categories: Beginners and Experienced. We decided that we would all try and teach both classes. In the Experienced group, the students were very interested in learning the business of filmmaking. It was a long day. We finished at 7:30 p.m. and were driven back to the hotel.
Kibera, Nairobi
Workshop in Kibera, Nairobi
August 17: We were picked up at 7:15 a.m. and driven to Kibera. In the heart of the slum is the Hot Sun Foundation, a group dedicated to teaching filmmaking to the residents of this community. We spent the day working with the handful of students who were so appreciative to meet and learn from us. At the end of the day, we walked six blocks through tragic slums to a small church with a tin roof and benches. A Man Named Pearl began but only lasted twenty minutes. The assembled could not understand it. Their English is heavily accented with Swahili and the English in the film is heavily accented with Southern drawl. It was unfortunate that they were unable to understand the film. But all was not lost. When the film ran, I gave my little HD camcorder to one of the students and asked him to film shots around Kibera. He was so thrilled by the experience that his enthusiasm won the day.
Kisumu
August 18: An early start at 5:30 a.m. for a 7:15 flight to Kisumu on the western edge of Kenya. Coming in to Kisumu we flew right over Lake Victoria, one of the most famous bodies of water in the world. Kisumu does not have the elevation of Nairobi so the temperatures were much warmer and more humid. It is a beautiful corner of Kenya with wild flowers and trees everywhere. I did an 11:00 a.m. radio show with Ellen Biestock promoting our arrival and upcoming events. We went to the American Embassy’s new cultural center. Children who study at the center were brought in and asked to watch the film. Given their young ages, Ellen wisely decided not to show them our films. They would not understand the English or the challenging subject matter. Instead we talked to the children about filmmaking in America, but actually more about living in America. They appreciated our visit.
August 19: We spent the day in Kisumu teaching filmmaking. Erin and M.K. worked with the beginners and I spent the day with the “expert” filmmakers. I put “expert” in quotes because they had little opportunity given their location and finances to make films. “We have such concern to put bread and butter on our tables; filmmaking isn’t our priority,” they said. It is impossible to argue with this logic. They asked many questions about the business and were fascinated to learn of Netflix, Amazon.com, TiVo and the machinations of distribution.
Perhaps the most interesting discussion dealt with what the Kenya filmmakers thought of Ugandan films. They believed that Ugandan films were superior to Kenyan films. The head of their group, an elderly gentleman who had a sort of Godfather-like quality amongst his peers, made the following observation: “The dictators who ran Uganda threw out all of the outside media. They forced their people to look inward. And in so doing, they made better filmmakers because the films they made were about Ugandans; they were Ugandan stories.” At the end of the day, I returned to the cultural center where Erin and M.K. were finishing up with the beginners. They had decided to shoot scenes with the groups. They wrote screenplays, storyboarded and shot scenes. Those scenes were then played back to the group. I will never forget the looks on the students faces when they saw their work!
August 20: We had two workshops this morning. The assembled ranged in age from 11 to 60. They had virtually no production experience. We talked to them about coming together and forming a film community. I did get the sense that folks in Kisumu feel alienated, isolated and overlooked. There were many references to how things are done in Nairobi. It was as if the third largest city in Kenya was a forgotten town on the lake. I drew an analogy to Cleveland for many reasons. Nevertheless, they were very appreciative that we had taken time to visit. (Since our return, this group has assembled and formed a production community!)
We had a 6:15 p.m. flight and were told to leave early because Kenya Airlines was asking ticketed passengers to catch later flights. The reason they were doing this was so that the plane could be “lighter.” Why lighter you ask? Because they were doing construction on the active runway! We needed a lighter plane so that we could get up in the air before we came to the construction. The plane went to the end of the runway and turned around. The pilot hit the engines, while holding the brakes. The brakes were released and we skyrocketed down the runway, thankfully clearing the construction. Late that night, we checked into our hotel in Mombasa. We were now on the eastern edge of Kenya at the beach. The Indian Ocean was only 100 yards away.
Mombasa
August 21: Erin and I spent the morning teaching students at the Muslim Center in Mombasa. Like the group in Kisumu, they did not have much experience. The talk was fairly introductory. They too were thankful that we had come to Mombasa. I checked into our hotel in the afternoon. As I was putting my suitcase away, I looked out the sliding glass door onto the Indian Ocean. There I saw a man walking a camel down the beach. This is definitely something you do not see at Myrtle Beach!
August 22: The Kenya Film Commission lined up an extremely unusual place to show our films. We are playing outside of town at Wild Waters––a large water park in Mombasa. The location was remote and a mid-afternoon screening did little to attract a crowd. Our films played in front of nine people. This was our final screening in Kenya and it spoke to the challenges we faced with the Kenya Film Commission. Granted, they are a new organization, but why would they screen at a water park when there are theatres on the main streets of Mombasa? Their participation throughout the process was very limited.
Thanks again to everyone affiliated with the American Documentary Showcase. Despite my truncated trip, it was an incredible experience and one I am very grateful to have experienced.