Posté le: Sam 10 Sep 2005 23:43 Sujet du message: Welcome to Nollywood!!!!!
American movies superstar, Wesley Snipes arrives Nigeria
By Umoru Henry
Posted to the Web: Friday, September 09, 2005
ABUJA—THE American actor and producer, John Wesley Snipes has arrived Abuja, the capital of Nigeria, amidst funfair, with a pledge to work in collaboration with Nigerian actors in a bid to move Nollywood to greater heights.
Speaking Thursday at a joint world press briefing held at the Dome, Abuja, Wesley, who disclosed that his first visit to Nigeria was in 1986 to work on one of professor Wole Soyinka’s plays, noted that with this close tie between Nigeria and America especially in the area of cross fertilization of culture and ideas, the dream of making Nollywood compete favourably with Hollywood will not be far fetched, adding that if given the opportunity to act in Nigeria, he would prefer to play active role in Hausa, Ibo or Yoruba films.
In his address, the United States of America Ambassador to Nigeria, John Campbell, who acknowledged the contributions of Sunny Ade, Soyinka and Achebe in promoting the cultural heritage of Nigeria in far away United States of America, said the coming of the American actor to Nigeria underscores the strong cultural ties that exists between Nigeria and the United States of America.
According to him, Wesley Snipes while in Nigeria for his four-day visit to Nigeria, many Nigerians both old and young as well as actors would tap from his experience and ideas, adding that the visit would go along way in boosting tourism potentials of Nigeria.
John Wesley Snipes, who arrived Abuja Thursday for a four -day working visit to some selected areas in Nigeria, was born July31,1962 in Orlando, Florida. He is probably best known for his role as the eponymous vampire hunter in the Blade trilogy of movies.
He has to his credit some selected Filmography such as Wildcats [1986], Major League [1989], King of New York [1990], New Jack City [1991] and White Men Can’t Jump [1992].
Others are Passenger 57 [1992], Demolition Man [1993], Drop Zone [1994], to Wong Foo, Thanks for Everything! Julie New mar [1995], The Fan [1996], Murder at 1600 [1997], blade [1998], The art of War [2000], Blade11[2002] and Blade; Trinity [2004].
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
LAGOS, Nigeria — As the sun rises over West Africa's new moviemaking capital, the Surulere district of Lagos, the cast and crew of "Blackmailed" form a four-car convoy to leave for their first day of shooting.
"It's like a dream come true," said Nonso Diobi, 21, who had snatched one of the lead roles in "Blackmailed" only two months after leaving his home in southeastern Nigeria for Surulere, here in the country's commercial capital. "This is where it all happens, where all the stars are who make big money because they can sell movies. I'm not a big star yet. But when I am, I will fix a big price."
Since the late 1990's, Nigerian movies have found a place next to offerings from Hollywood and Bollywood, Bombay's equivalent, in the cities, towns and villages across English-speaking Africa. Though made on the cheap, with budgets of about only $15,000, the Nigerian movies have become huge hits, with stories, themes and faces familiar to other Africans. It is now, according to conservative estimates, a $45 million a year industry.
Serious movies about Africa that win awards in the West are usually made by African filmmakers based in Paris or London, and resonate little among most Africans.
But Nigeria's pulp movies have had a wide influence on African popular culture — so much so that they have suddenly made acting an attractive profession in Nigeria and have transformed Surulere, an otherwise drab neighborhood of two-story businesses and houses, into a crucible of dreams and desires.
"This is Hollywood in Nigeria," Emeka Ani, 45, an actor whose two-room office in Surulere serves as the center for the Actors Guild of Nigeria, said on a recent morning.
Outside, on Folawiyo Bankole Street, a steady stream of eager young men and women paused before the audition notices on two boards. They milled around on the street, exchanging gossip and tips, causing traffic jams on the narrow two-lane street. When a star came by, a crowd gathered.
In Mr. Ani's inner office, within easy reach of a bottle of brandy, he keeps a file of Nigeria's famous actors and a list of guild members, which has grown to 5,000 from 500 since its creation in 1996. In the other room, he sells videocassettes of hundreds of movies, which are known here as home videos.
"This is one of the most controversial movies ever made," he said, producing a copy of "I Hate My Village." Made in 1998, the movie deals with cannibalism, and the cassette's cover shows Mr. Ani chewing on what is supposedly human flesh.
Christian songs wafted through the office. By midmorning, the music had hardened to the dance rhythms of Nigerian high life, and the young would-be actresses working in his office — one in a clingy purple satin dress and one in tight jeans with a silver chain belt — were dancing to Ollie Gee's "Daddy Moh."
The crowd gravitated to Winis, a hotel and restaurant a couple of buildings away from Mr. Ani's that is the hangout for actors, directors and producers. They sit in the bar's very low chairs and, under the ceiling fans' deferential spinning, make deals over Gulder beer and hot pepper soup.
"If you stay here long enough, someone will talk to you and say, `Come work for me,' " said Don Olaolu Richard, 23, an actor who, in fact, had just landed a role with the production manager standing next to him, Kingsley Atoe.
Mr. Atoe, 33, had prowled Surulere since 7 a.m. to fill eight minor speaking roles and 20 extra spots for "Love of My Life." By noon, his mission was accomplished — or almost. "The only role I haven't filled is one for a white man, a speaking role in just one scene," he said, immediately offering it to the reporter interviewing him.
Shooting was starting in a couple of days, in keeping with the frenetic pace of Nigeria's movie production. With such low budgets, the movies are typically filmed over several days, with just one digital camera. The stories are perhaps no different from those found in Hollywood movies, though many have Africa-specific themes, like ritual killings and witchcraft.
By all accounts, the first big hit dates to a 1992 movie about human sacrifices, "Living in Bondage." It gave birth to the film industry, which is dominated by the Ibo ethnic group, said Remy Ohajianya, an actor who is chairman of the actors guild.
But the explosive growth occurred after 1998, Mr. Ohajianya said, when Nigerian movies began to be exported all over Africa, especially in the English-speaking countries. So many films were being made that, early this year, producers spat out 54 titles in a single week. After a four-month voluntary recess, the industry has agreed to limit the releases to eight a week.
A week or two after shooting ends, the movies flood the Nigerian market, sold for $2.15 a cassette and shown to the public for a few pennies in restaurants, video centers or private homes operating as movie houses. An average movie will sell about 50,000 copies and a blockbuster four times that.
According to estimates provided by producers and financial backers, the Nigerian movie industry now produces more than 400 movies a year. At that rate, the producers bring in an estimated $45 million a year; but other people, at movie centers, and bootleggers, also capitalize from the movies.
"I went to Ghana recently, and people recognized me," said Kate Henshaw-Nattall, 31, a popular actress who dropped by Mr. Ani's office. "I was shocked. People came up to me and said, `Aren't you the Nigerian actress?' "
Top actors like Ms. Henshaw-Nattall now earn perhaps $4,000 a movie, a sum that was inconceivable only a few years ago and one that remains out of reach for most working Nigerians.
Charles Awurum, 39, another popular actor, began his acting career in sleepy Imo State in 1982. He appeared on a weekly soap opera called "Dusk of the Gods" and made less than $7 an episode.
After his first movie in 1994, he said, he left Imo State for "greener pastures" in Surulere. He had a breakthrough with "Ekulu," a love story about an African slave and a white woman who frees him. When they come to Africa, she is rejected by his society, and they flee into the jungle.
"Upon which they meet some cannibals and become separated," Mr. Awurum recalled.
Nigerian intellectuals may dismiss these movies as exploitation. But their growing popularity, coupled with the big salaries, has changed the traditional perception of acting and actors in Nigerian society.
"Before, if you were an actor, people would just wave you away," Mr. Awurum said. "Before, you would kill your daughter if she told you she wanted to become an actress. Actresses were regarded as no better than prostitutes, kissing on the screen.
"Now, everywhere I go, people embrace me. Everybody wants to be my friend."
Surely, that change explained why 115 aspirants showed up at the audition of "Blind Justice," a work in progress about a state governor whose daughter is killed. Most of the hopefuls were young men and women, though the audition also attracted older people, children and a 3-foot-tall man.
They appeared before the director, Paul Obazele, whose effusiveness was not diminished by some truly bad performances and was perhaps fueled by the bottles of Guinness at his feet.
"I want attitude! Attitude!" he yelled at an actor. "That's why I brought you back. You have depth! I want you to release it!"
More candidates came in. More waited outside. An hour passed. The director lost none of his effusiveness.
"Fine, fine-looking boys in this place," he said, looking at one actor. "The girls here are not as beautiful as the boys."
"I've found some good candidates," he said later. "I like the dwarf very much. I'll place him in the governor's office. He'll just stand there, without speaking. People will wonder who is this mysterious figure."
One hopeful actress, Miriam Isaiah, 19, said her parents had agreed to let her pursue her acting career as long as she stayed in college, where she was studying mass communications. She had appeared as an extra in three movies already.
"I want to be an actress," she said, adding that nowadays she spent more time in Surulere than in school. "That's my dream — to be a star."
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
ils faudraient qui changent de registre un peu,les histoires de sacrifices et cie renforcent les stéréotypes
Je vais poster des trucs en français pour ceux qui sontavec l'anglais _________________ "tout nèg a nèg
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
NOLLYWOOD BOULEVARD ; L'INDUSTRIE DU CINÉMA AU NIGERIA
Le Monde 2 - 30/04/2005
On connaissait Hollywood en Californie, Bollywood à Bombay, voici Nollywood au Nigeria. Une industrie hyperprolifique capable de produire près de 1200 films par an. A Lagos, les polars ultraviolents et les comédies romantiques sont tournés à la va-vite avec des budgets dérisoires. Et le public africain s'en arrache les cassettes dans le monde entier. Le photographe Ludovic Carème a rencontré dans ce pays très religieux les plus grandes stars de Nollywood, des femmes qui ont trouvé dans le cinéma le moyen de leur libération.
Environ 1200 longs-métrages tournés chaque année. Des dizaines de stars au service d'une industrie qui emploie plus de 300000 per-sonnes et génère plus de 100 millions d'euros de chiffre d'affaires annuel. Mais les visages de ces acteurs ne sont connus que du seul public africain. Ils viennent du Nigéria, de Nollywood (contraction de Nigeria et de Hollywood). Ici, c'est l'envers de Bollywood, l'usine indienne du cinéma mondial: pas de gros budgets, ni de salles de cinéma d'ailleurs, pour cause d'insécurité chronique et de crise économique. En revanche, 67% des Nigé-rians possèdent des magnétoscopes. Car, à Nollywood, tout est filmé en caméra vidéo et commercialisé en K7 sur les marchés nigérians.
Surgies du pays le plus peuplé d'Afrique -120 millions d'habitants -, ces fantasques productions rayonnent sur tout le continent et au-delà grâce à la plus importante diaspora noire du monde. Produire une home-vidéo ne coûte que 222 euros la minute, soit 50 fois moins que pour un film réalisé au Burkina Faso. A Lagos, capitale économique du Nigeria et deuxième ville la plus peuplée d'Afrique, moins de deux semaines suffisent pour tourner un film et moins d'un mois pour le retrouver dans les boutiques du monde entier. Sur tous les tons et à toute vitesse, Nollywood mixe la culture de la mondialisation et la post-modernité nigériane: vaudou, pétrodollars et insé-curité. Après l'horreur et l'ultraviolence, la mode est aujourd'hui aux comé-dies romantiques et aux sagas évangéliques produites pour l'une des nations les plus pratiquantes du monde.
Dans cette industrie de l'urgence, à l'image du pire et du meilleur de l'Afrique urbaine, les femmes nigérianes ont trouvé un nouveau moyen de s'affranchir. Qu'elles soient costumières, productrices ou actrices, les his-toires de ces femmes sont autant de scénarios. A Nollywood, on trouve d'ex--étudiantes en droit enchaînant une dizaine de tournages par an, d'an-ciennes danseuses de musique traditionnelle fuji osant dévoiler leurs courbes malgré la pression religieuse des églises pentecôtistes, des doyennes de comédie yoruba passées par les pièces de Wole Soyinka, ou des starlettes spécialisées dans des rôles de bad girls qui leur collent à la peau. Mais aussi des musulmanes haoussa enfreignant, pour la passion du ciné-ma, la charia régulant le nord du Nigeria. Et évidemment des stars installées dans les quartiers très chics de Lekki, le Beverly Hills de la mégalopole nigé-riane. La plus grande de ces stars, Genevieve Nnaji, touche 17000 euros par film. Elle en a gagné plus de 150000 en 2004. Derrière elle, Rita Dominic, Ste-phanie Okereke, Bukky Wright, Shan George, Stella Damasus-Aboderin, Bimbo Akintola, l'explosive Cossy Orjiakor ou la nouvelle Grace Everly sont les autres têtes d'affiche les plus lucratives du moment.
.
JEAN-CHRISTOPHE SERVANT
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
« Il est plus facile d’extraire de l’eau d’un caillou que d’obtenir des données fiables sur l’industrie de la home vidéo au Nigeria », soulignent les auteurs de ce premier ouvrage franco-africain consacré au phénomène des productions vidéo nigérianes. Il n’empêche : on ne s’était jamais aussi bien intéressé à l’émergence de ce qu’on surnomme désormais « Nollywood », cette usine à rêves employant près de 300 000 Nigérians. D’abord considérées avec dédain par l’intelligentsia, ces productions ont envahi aussi bien les étals à cassettes du Sahel musulman que les magnétoscopes de l’Afrique urbaine chrétienne. Le tout moyennant des budgets de production tournant autour de 222 euros la minute, contre 10 769 pour un film classique d’Afrique francophone ! « De cette production vidéo effervescente pourrait surgir aussi, dans les années à venir, un renouveau du cinéma africain, ancré, cette fois, dans ce qui lui a le plus manqué tout au long de son histoire : le public. »
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
Grâce à la vidéo, le Nigeria est devenu le premier producteur de films au monde. Un choc pour les cinéastes réunis dans la ville italienne du 14 au 21 mars.
Miracle à Milan est le titre d'un des films les plus connus du néoréalisme italien de l'après-guerre. Mais, cette année, le véritable « miracle », pour les cinéastes africains francophones, a été d'apprendre, en cette ville prédestinée, que leur continent détenait le record mondial de la production de films ! Et cela, loin devant le continent nord-américain et le sous-continent indien !
Lors du Festival du cinéma africain qui, du 14 au 21 mars, fêtait sa quinzième édition, une rétrospective a été consacrée à la vidéoproduction, de plus en plus prolifique, de films populaires tournés avec de tout petits budgets, essentiellement au Nigeria. Surnommée « Nollywood », cette industrie connaît un tel succès qu'elle atteint aujourd'hui le chiffre de 1 000 à 1 200 films produits annuellement (contre 800 pour « Bollywood », la production de Bombay, en Inde). Des films tournés à bon marché où coexistent tous les genres : le film d'action à l'américaine, la comédie ou l'évocation de croyances magiques populaires, avec une préférence pour le mélodrame familial - le moins coûteux à réaliser. Leurs protagonistes sont sujets à d'extraordinaires persécutions, à d'invraisemblables coups du sort ou à de gigantesques catastrophes, avec un thème récurrent : la stérilité de la femme. Dans le cinéma du Sud chrétien, c'est souvent un pasteur qui offre un soutien et exorcise les démons qu'affronte le héros ou l'héroïne. Dans le Nord haoussa et musulman, c'est un imam qui servira de guide spirituel.
À Milan ont été découverts plusieurs films parmi les plus représentatifs : à commencer par Living in Bondage (« Vivre en esclavage »), de Kenneth Nnebué, un immense succès qui a déclenché en 1992 le boom de l'industrie vidéo au Nigeria. Son sujet ? Un des thèmes dominants de Nollywood : la prospérité de l'élite bourgeoise de Lagos serait liée à des pratiques occultes et surtout à des rituels comprenant des sacrifices humains, combattus par l'exorcisme chrétien. Également présentées à Milan, les épopées traditionnelles font appel à un passé mythique où abondent forces surnaturelles et sortilèges, tel Igodo, Land of the Living Dead, de Don Pedro Obaseki et Andy Amenechi. Malgré la faiblesse de ses moyens (et un côté « kitsch » inhérent à la majorité de la production nigériane !), ce film dégage une magie naïve et populaire qui rejoint, par moments, celle du célèbre Yeelen du Malien Souleymane Cissé. Car, dans l'ensemble d'une production très médiocre, commencent à pointer quelques talents, comme celui de Tunde Kelani qui réussit, dans Saworoide, une allégorie politique où le spectateur reconnaît sans peine l'ex-dictateur sanguinaire Sani Abacha et l'actuel président Olusegun Obasanjo.
Aujourd'hui, paradoxalement, Nollywood considère la piraterie vidéo comme le fléau numéro un, alors que c'est elle qui lui a donné naissance : toute sa diffusion repose sur une infrastructure créée pour pirater les films américains, indiens et chinois de Hong Kong. Cela explique le coût très bas imposé aux productions : on tourne très vite et pas cher, en une semaine, puis on vend un maximum de copies originales en deux semaines, avant que n'arrivent les copies pirates, et on s'empresse d'entamer un autre film. Car aucun droit d'auteur n'est respecté : les diffuseurs « officiels » reproduisent beaucoup plus que prévu, les pirates à leur tour dupliquent et vendent sans contrôle, les chaînes de télévision retransmettent sans acquitter de droits, et les exportateurs revendent les films sans autorisation.
À la suite de Nollywood, des industries vidéo ont prospéré au Ghana et au Kenya. Quelques spécimens de cette production étaient également présentés à Milan, démontrant que, dans ce dernier pays, les films vidéo n'ont malheureusement plus de relation avec les cultures et les croyances populaires africaines, mais se contentent de copier les comédies sentimentales d'Hollywood.
L'électrochoc provoqué par la révélation des vidéo-films anglophones n'a pas empêché les cinéastes francophones de faire bonne figure à Milan : notamment par la confirmation de la bonne santé du cinéma burkinabè (avec les longs-métrages Ouaga Saga, de Dany Kouyaté, et La Nuit de la vérité, de Fanta Regina Necro). Et la confirmation de l'irrésistible avancée du cinéma marocain, avec de vraies réussites, comme les longs-métrages L'Enfant endormi, de Yasmine Kassari, et Le Grand Voyage, d'Ismaël Ferroukhi. Le cinéma tunisien, autrefois à l'avant-garde du Maghreb, semble stagner : il n'a présenté qu'un documentaire, Sur les traces de l'oubli, de Raja Amari, et un court-métrage, Visa, d'Ibrahim Letaïef (Tanit d'or des dernières journées cinématographiques de Carthage) - tous deux, il est vrai, de bonne facture. Malgré un cinéma encore sinistré, l'Algérie a brillé avec Al Manara, de Belkacem Hadjadj, un film consacré à la guerre civile, qui a remporté le prix parallèle Cité de Venise.
Côté palmarès officiel, le septième art africain a fini par pâtir, comme on pouvait s'y attendre, de la récente ouverture de la compétition à l'Asie et à l'Amérique latine. Présidé par le Nigérian Wole Soyinka, Prix Nobel de littérature, le jury a décerné le Grand Prix à un film du Kazakhstan, Le Chasseur, de Serik Aprymov, et le deuxième prix à Whisky, de l'Uruguayen Juan Pablo Rebelio, l'Afrique n'arrivant qu'en troisième position avec L'Enfant endormi, mais se rattrapant avec le meilleur court-métrage de fiction, Le Jour de la mère, de Tsitsi Dangaremba (Zimbabwe), et les meilleurs documentaires, Alit deuxième Paris, d'Idryssou Mora Kpai (Bénin-Niger), et Brown, de Kali Van Der Merwe (Afrique du Sud).
À l'issue de la table ronde consacrée au boom de la vidéo populaire anglophone, où les tenants francophones d'un cinéma africain de qualité n'ont pas manqué de faire entendre leur différence, on ne pouvait qu'admirer la maîtrise du doyen sénégalais Sembène Ousmane, l'un des rares cinéastes qui aient réussi à concilier cinéma militant et cinéma populaire. Son dernier film, le remarquable Moolaadé, avait ouvert le festival. Révolté par le fait que le public africain soit condamné à n'être que le consommateur passif des images des autres, n'avait-il pas déclaré : « Navets pour navets, je préfère encore que ces navets soient africains. » Message reçu cinq sur cinq, et qui a donné naissance à... Nollywood.
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
For some time, Zimbabwe Television (ZTV) has been taking people down memory lane by showing video clips of yesteryear films as part of the Silver Jubilee commemorations.
Whether the national broadcaster had realised that the clips would capture the imagination of Zimbabweans or not is debatable, but one thing remains, that they have far greater appeal than the locally produced films and dramas they are currently screening.
Excerpts from dramas produced in the 80s and 90s such as Mukadota and Mutirowafanza have left a lasting impression on Zimbabweans so much that hardly a day passes without hearing someone mimic Mutirowafanza (the late Simon Shumba) retort to his girlfriend's justification for demanding material things from him): "Iwe wenge usingandibate-bate? (Were you also not touching me?"
Zimbabwe's film industry, however, has of late failed to grow despite the abundant talent, great potential and high technological equipment.
As a result, it continues to suffer, especially against other African film productions.
The introduction of African movies on ZTV's late Saturday night viewing slot has really revived waning interest in viewers who of late were opting to retire to bed early or switch to satellite viewing.
Top of these African movies are those from Nigeria, which hundreds of thousands of Zimbabweans have fallen fell in love with, including their fabulous actors.
Carrying various themes that touch on the African lifestyle, the movies have assumed the tag of the most sought after programme among viewers of all age groups.
The films are usually on witchcraft, tradition, customs, infidelity and other heart-rending themes that have seen Zimbabweans enmeshed hook, line and sinker into these storylines.
Ardent African movie followers would easily remember a popular Nigerian-produced film which featured a rich man who married a wife his mother disliked.
The mother-in-law would try every trick in the witchdoctor's book to get rid of the "much prayerful" daughter-in-law, but eventually the daughter-in-law would conquer the evil works of her husband's determined mother.
Funny enough, half of these African movies that are shown on the local screen have same themes, but Zimbabweans, being the starved lot in terms of entertainment, have remained a loyal lot to these movies!
There are, indeed, quite a number of reasons which make the movies lovable to locals, the most powerful being that people are able relate to almost everything said, done or seen in the films.
"With Nigerian movies I can easily understand the set-up. They have rural scenes, and you have people fetching firewood, going to the well and chiefs are featured.
"Although it may not be identical to our own kind of rural set-up but, it sure is something I can identify with," said Mr Farisai Sarimani of Kuwadzana.
His sentiments were echoed by Mr Gift Muzenga, who said some aspects of African culture transcended political and geographical boundaries.
"You see, we are Africans and there are certain things we have in common. One of them is that we are very superstitious," said Mr Muzenga.
He added that instead of local productions attuning themselves to changes that are taking place in the continent where African film producers are making movies about their own people, they invariably imitate Western concepts.
Despite the popularity of the "African movies", there is a growing discontent among viewers who feel that Zimbabwe should also shoot and market similar productions. A Harare teenager Martha Rusike said she would love to watch a locally produced movie and one that projected the Zimbabweans lifestyle.
"Now we have no option but to watch the Nigerians when we could instead be viewing our own talent," she said.
"In real life there are rich and poor people everywhere we go. How can there be just rich people in a film? Pasina kana vekumushawo here vakomana?" said a Harare woman Mrs Ratidzo Chitsero.
"The Nigerian movies no doubt appeal to almost everyone. They talk of our lives as Africans. And that's what we want in a film, something we can understand and easily relate to," she said.
"We Zimbabweans want to watch a film that teaches us something. We want something that after watching we can say we have learnt a thing a two," she added.
So, the Nigerians have been popular for bringing to life issues affecting people not just in Nigeria but in other African countries as well.
The Nigerian film industry has indeed become a part of life in Zimbabwe. Even their traditional dress has also crept into the country.
Zimbabwean men and women are now seen donning the flowing West African robes.
It is again not surprising to hear people imitating the West African accent.
Expressions such as "Please my sistao I beg of you" or "Does lowve (love) fill my stomach" and the very popular "God forbid, I won't allow it, over my dead body" are now commonplace, not in Nigeria, but here in Zimbabwe.
All this points to the fact that all people want is something they can identify with, something they can be left talking about long after the curtains have gone down. Our film industry, however, has failed viewers, and there is an urgent need for those in the industry to produce captivating work.
Many would remember with nostalgia how local actors such as the late Safirio Madzikatire (Mukadota) and the late Shumba would entertain the crowds by their convincing comic antics in dramas.
Sadly though, there has not been much production of local works since the death of the two and many other film icons who have since retired or are now late.
There, however, has been notable local full-length productions, including Tsitsi Dangarembwa's award-winning Kare Kare Zvako, Neria, Everyone's Child and Yellow Card that managed to attract wide viewership because the themes were, indeed, strong and people could relate to them.
Viewers were never left questioning the writer's aim and motive as the films perfectly had a point to drive home and did so without leaving the audience wondering what the directors had in mind when they put the film together.
With the advent of the "African movies" that have put local productions under threat, the question now is: Can Zimbabwe revive its film industry and match or even outclass those of other countries?
The fact still remains that Zimbabwe has an abundance of talented actors, both young and old.
What our film industry needs are producers who are creative and with highly artistic minds, producers who can use even the bare they have to come up with the best. Ben Mahaka, popularly known as Tom Mbambo in the local soap Studio 263, believes that the country boasts of both talent and equipment that is above par compared to many countries in the region.
"We have some of the best filming equipment in terms of sound, picture quality, editing and production.
"One of our biggest challenges is that we don't have the required resources in film production, and when we do get the chance to produce something of our own there is usually a tendency to imitate the European style of film production," he said.
He said it was high time people realised they could do well even if they produced a film based on local social issues and the Zimbabwean milieu.
"The film can do well even if it has a Zimbabwean theme and content. The Nigerians are doing it and their films have grown to have an enduring appeal to many people not just in Zimbabwe, but in the region as well," he said.
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
ki nèg nwè ki nèg klè
ki nèg klè ki nèg nwè
tout nèg a nèg
nèg klè pè nèg nwè
nèg nwè pa lè wè nèg klè
nèg nwè ké wéy klè
senti i sa roune nèg klè
mè nèg klè ké wéy klè a toujou nèg
sa ki fèt pou nèg vin' blang?
blang té gen chivé pli long?
pou senblé yé nou trapé chivé plat kon fil mang!!!
mandé to fanm...!
mè pou kisa blang lé vin' nwè?
ha... savé ki avan vin' blan yé té ja nèg!
a nou mèm ké nou mèm dépi nânni nânnan...
chinwa soti, kouli soti, indyen soti, blang soti
mèm koté nèg soti
Si une de ces 2 filles croise mon chemin, ma vie est foutue.
Elles ont de plus la seule coupe de cheuveux devant laquelle je fonds comme un glaçon au soleil.
Sinon c'est vraiment très interessant, ces articles sur Nollywood.
Merci, Pakira.
PS: Je transfère le topic dans culture, ça en vaut la peine.
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