Serve and Protect

The overview of "Serve and Protect", directed by S.W. Wilcox and Epic Muntzir reads: "In the future, justice is no longer blind. Or even human. The year is 2162. Mankind is still reeling from a cataclysmic crash from the greatest technological heights it has ever known. Advances in time travel and medicine were made, but at the price of faster advances in weaponry. The worst fears of the nuclear age were realized and the world was plunged into Atomic War. Now, there are only small pockets of humanity left. In one such city, cyborg police track a resistance fighter, speeding first through a neon city that gasps for energy-remnants and then into a desert showdown. The stunning 4k futuristic animation is achieved through expertise in Adobe After Effects. It details spinning tires, smoky streets and windblown hair to the finest detail, with song lyrics included as a final touch."

You're lying to yourself if you think you're free!
Corruption and power go hand in hand,

According to his director biography, S.W. Wilcox was certified legally blind in 2024, so he is "collecting my final video and scripts while I can still read for a few hours per day." He gives kudos "and horns up to computer-tech that allows breathtaking 4k illustrated videos...that add new life and enjoyment to even 50-year-old songs that millions grew up on." In his director statement he says: "Even those with law degrees are subject to human weaknesses. So no need to rant this is too controversial or disrespectful. Just cue the track in your car stereo and floor it! (Just kidding.)" He goes on to say that music "is a healthy type of chaos, a full three steps away from a destructive kind. Using lyrical phrases, music best introduces a topic for a constructive discussion...music, video, and book, rely heavily and healthily on symbolism..." He notes that "since the time of Gore's PMRC b.s., music and the related arts have been abused and downright stolen from the people of the world, IMHO. Perhaps, though, the Computer Age will help the people have their arts and sciences restored."

(You can read S.W. Wilcox's inspirational journey, including information about his book, Bards of Fantasia, HERE)

S.W. Wilcox mentions PMRC, The Parents Music Resource Center, an American committee that was formed in 1985. The group released a list of songs they found objectionable, including Twisted Sister's "We're Not Gonna Take It". Dee Snider famously testified before the U.S. Senate to defend one of the band's songs. Years later, in his article "1985 PMRC/Senate Hearings: Then and Now" he wrote: "I did welcome the opportunity to show the PMRC and the Senate subcommittee how you should not judge a book by its heavy-metal cover. Their indignant reactions to my  '80s rock-star look and their dropped jaws when I proceeded to take every one of their arguments apart were priceless." He also pointed out that years later, "everything and nothing has changed. The ultra-conservatives still want to dictate to the masses what they deem acceptable for the general public to see and hear..."

Forget the laws that you've been taught
We'll lock you up and let you rot!
We are the protectorate and we control the game
You fit our profile now do the walk of shame!

In a 2018 article titled "Don't Get It Twisted: 'We're Not Gonna Take It' Can Be Anyone's Protest Song", Rachel Martin wrote that when teachers in Oklahoma went on strike, their message "was amplified by a song - one that, 34 years earlier, had been the sound of student rebellion...was once named among the 'Filthy 15' songs singled out for offensive content and brought before Congress by concerned parents in the 1980s." In that testimony, Dee Snider had said: "The beauty of literature, poetry and music is that they leave room for the audience to put its own imagination, experiences and dreams into the words."

Criminalizing our population.
Turning us into a prison nation
Corruption and power go hand in hand,
Sent to devour the deeds of the damned
SERVE & PROTECT!

https://youtu.be/ko5wCF57lEg?si=ZDrnsuXG2ljrbJXO

Gaza, Dear Child II, Bepuwaveh, Lupe and the Galactic Corn Cake: A Halloween Reflection

 In the hero's journey, we first meet the horeoine in the Ordinary World, her normal state of affairs. It is only when the Inciting Incident occurs that the heroine is catapulted into the unknown. Ilsya Spencer's Beupevah ought to be considered the Ordinary World of every child: a fun, welcoming, creative, school environment where children are nurtured and are allowed to shine and flourish. This Halloween, I would like to reflect on the very real horros facing a child in Gaza, courtesy of a brilliant short animation film called Dear Child II, directed by Devin Peters and inspired by a letter written by Pulitzer Prize winning author, Chris Hedges.

"You know only the security barriers and fences patrolled by soldiers that surround Gaza."

Bepuwaveh is all about bridges, friendship, fun and freedom rather than barriers and fences: "Pojoaque Middle School students create a dialog, drama skit and culture around welcoming at their school and in their community." The children of Gaza experience the opposite - unspeakable horrors: "Trapped under the piles of smashed concrete. Your playmates. Your schoolmates...You see the chalky faces and limp bodies when they are dug out. I am a reporter. It is my job to see this. You are a child. You should never see this."

Creativity abounds in Bepuwaveh. In the first few seconds of the film, we are welcomed with a drawing of an alien in a spaceship. A few minutes later, we see an art teacher explain how "Faux Food" -  a delicious looking burger - was made from toilet paper, water and paint!

"You are hungry. The bakeries are destroyed. There is no bread. You eat one meal a day. Pasta. A cucumber. Soon this will seem like a feast."

The next part of the letter sounds like a good plot for a Halloween movie. Sadly, it is the reality of many people around the world: "I tried to tell your story. I tried to tell the world that when you are cruel to people, week after week, month after month, year after year, decade after decade, when you deny people freedom and dignity, when you humiliate and trap them in an open-air prison, when you kill them as if they were beasts, they become very angry. They do to others what was done to them. I told it for seven years. Few listened. And now this."

Dear Child II is "stylish, artistic and horrifying, yet hopeful that we can do better, centering the story around children in this way affirms a message - that we must." Children are at the centre of Bepuwaveh, but there is no denying that the adults - the teachers and the filmmaker, Ilysa Spencer - believe that we can do better. From their actions, it is clear that they are doing better and are doing right by the children.

One adult, a New Mexico history teacher, gets emotional when talking about her grandmother: "She always made me feel welcome in her home...she always had food, my favourite food."

A child and her grandmother are at the centre of "Lupe Q and the Galactic Corn Cake", directed by Javier Badillo, written by Nat Marshik and Javier Badillo: "Lupe doesn't care about her abuela's cooking lessons, she just wants to rock with her badass punk band. But when Lupe finds herself battling an alien monster with her band, her abuela's lessons remind her that punk rock is more than just loud music, and connecting with her latin roots may just save their lives."

In the book "The Undead and Philosophy: Chicken Soup for the Soulless", Noel Carrols's chapter is titled "The Fear of Fear Itself: The Philosophy of Halloween". He tells us the history of Halloween then writes: "In fact all manner of monsters can inspire Halloween mumming - even those who hail from outer space - since they would fit into the Christian redefinition of the Halloween universe as demons..."

During the inaugural Global Artivism conference that was held this September in South Africa, Louisa Zondo listed some demons that we must fight: “We must address the scourge of poverty, inequality, corruption, gender-based violence, deteriorating mental health and well-being and the imminent threat of climate change. We must push for the end of genocide in Gaza."

You can read the full letter by Chris Hedges to the children of Gaza at: https://scheerpost.com/2023/11/08/chris-hedges-letter-to-the-children-of-gaza/

World Mental Health Day: Excerpts from ROFFEKE Interviews - podcast by Google's Notebooklm

I (Mildred Achoch) compiled a mental health document comprised of excerpts from ROFFEKE interviews, uploaded the document to Google's Notebooklm which then generated a podcast based on the information in the document. Below is the podcast and the interview excerpts, with links to the full interviews.

Interview: IVA ("Run" producer/singer/performer) and Camilla Natta ("Run" music video director)

ROFFEKE: IVA and Camille, how do you find your inner strength in a world and an industry that can be quite challenging for women?

CAMILLE: I’m excited to see things are changing in our industry, I think it’s an inspiring time to be a woman in our industry right now.  While only 22% of Hollywood directors are currently women, we’re still making changes faster than other industries like neurosurgery where less than 10% of neurosurgeons are women.  I have made an effort to surround myself with smart women in my industry (like IVA) who have been so generous in sharing their experience and supporting me.  Because of the importance of mentorship in our industry, we still have some way to go.  When you consider that twice as many main characters are male than female and then you break it down further, you see that in films with at least one woman director and/or writer, females comprise 57% of protagonists, whereas in films with exclusively male directors and/or writers, females only account for 19% of protagonists, it becomes very apparent that, as women, we still have great need of a greater pool of role models and it’s so important to support each other.  I’m grateful to be part of the female directors who can lead the way for the next generation of filmmakers, I want to be there for them, to encourage them.

The daily practice of showing up is also something IVA and I worked on together.  We’ve had a ritual of warming up our voices together every morning for the past 18 months and it just set us up for success.  It’s kind of like meditation, but we did it together, so it added a dimension of showing up for another person so you double up on your accountability and also your sense of achievement as a team.

IVA:  We had a beautiful, wild ride creating this video together, and we have collaborated many times, which made our working relationship even more powerful on this film, both when things went right and if things went wrong - like losing a much desired makeup artist at the last minute or facing a large budget and finding ways to make it smaller while holding true to the vision. We had inner strength from a mutual trust and respect for each other’s artistry, and from having each other to lean on. Camille and I have a very strong friendship. We lift each other up when our self esteem is damaged by the industry, and help each other navigate through when life and work becomes challenging. We have a pact to be fully honest with each other, and we can hash through differences and fight sometimes and then discuss openly what happened with no hard feelings. As a musician, I focus on sharing my truth in the most effective way I can, which I find is through my music, and Camille helped me emanate a deeper, stronger version of myself in this video. A few years ago I lost my mother suddenly, and was also in a romantic relationship where I was a victim of domestic abuse for many years. I was grieving for a long time and felt somewhat defeated, and Camille helped me feel ready to “Run” with passion again. Camille and I also provided firsts for each other with this video, she as lead director and I in having the creative direction of someone of Camille’s caliber and deep knowledge of me as an artist. I was able to look into the camera with my full being, unafraid of being seen. That has given me a new perspective on my artistry, and about who I am. I know most of all that standing together is our strength, and I am grateful to have a friend and colleague like Camille who gives it to me straight and loves me with all her heart, as I do her. I hope that as two women creating this music video together we will be able to reach many more people and inspire other women to realize their creative visions fully, and as often, as possible.

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2023/03/interview-iva-run-producersingerperform.html

Interview: Dr. Lisa Spencer aka llysa - writer of Bad Syne

ROFFEKE: Bad Syne begins with the graffiti artist saying: “if there are more public places specifically allotted to the public creativity and the public's idea of whatever they want to do with art...in Europe, it’s a lot easier, just walk up to a wall and write on it, no problem, it’s legal.” There is always a tension between freedom of expression and those who want to regulate art. What are your thoughts about this?

DR. LISA SPENCER: The regulation of art is dangerous. In history, we see artists being persecuted because they often were brave enough to express commentary on social and political mores and structures. One of the purposes of art is to make change in thought and in the action of art, the world continues to open up, change, and heal. The freedom of expression should only be regulated by consideration for others in terms of, for example: racism, sexism, exploitation, etc. Governments...have banned forms of religion, language, and art, dance and song, punishable by death. Art’s significance is vast, but its freedom plays a role in human freedom and human rights.

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2024/01/interview-dr-lisa-spencer-aka-llysa.html

Interview: Dr. Nolan Stolz - composer of "Gravitation" (Part 2)

ROFFEKE: Advice for musicians, music scholars and creatives in general?

DR. STOLZ: My advice depends on their goals.
For creatives not relying on their work as their primary income, I say "create the art that you want to exist in the world: music you want to hear, films that you want to see" and so on. If it's mainstream, great! If it's experimental, great! I wish that could be the case for all, but if you are trying to make a living at your art, diversify by finding as many ways to earn an income by providing a needed service. This means you may need to play music you don't like, do lighting for a show you don't like, etc. Doing this is a business choice, not an artistic one. Both are perfectly acceptable, and it depends on the person and the balance that is right for them...

For scholars, know now that you won't make much money off of book sales or royalties. Income from scholarship will come in other ways, such as a teaching position and invited talks. My advice is "write the book [or article, etc.] that you believe should exist but doesn't." There is so much joy in knowing your contribution serves its purpose. It pays off in other ways, sometimes not until years later. If I hadn't written those essays for that collection (which was essentially for free—my payment was a physical copy of the two-volume book), I probably would have never gone to England, France, or Sweden to lecture on Black Sabbath, written the book on Black Sabbath, gotten a personal email from Ozzy Osbourne. . .

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2024/01/interview-dr-nolan-stolz-composer-of_8.html

Interview: Federico Santini - composer of "Boysong" from the film Quest for Feilong (Part 1)

ROFFEKE: In your “About Me” page on your website, it is mentioned that you teach piano and music education at middle schools, high schools and music schools. What would you say is the importance of music education in middle school and high school?

FEDERICO SANTINI: I believe that musical activity has an important contribution in strengthening cognitive, emotional, linguistic, motor and relational skills, especially in developmental age, where the brain is still in the training phase. This is why I believe music education in schools is important...the music, by involving the emotional sphere of the individual, especially at an age where this is not yet fully mature, guides him to greater awareness and maturation of the same...Music is also often recognized as having a social and aggregative role. In fact, I have participated in several projects whose main objectives include not so much the students' musical performance but socialization and integration in areas and situations of social hardship. Music urges us to listen to others in order to work in unison and each member of the group or orchestra is important, each one with their part. In essence, I believe that musical activity within schools includes various aspects and substantially integrates the individual's education."

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2024/02/interview-federico-santini-composer-of.html

Interview: Simone Massi - Director of "in quanto a noi" (From our side)

ROFFEKE: In these hectic times, how do you take care of your mental health?

SIMONE: I try not to follow the media, not to rush. And then I try to take the good in life, accepting defeat and respecting others.

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2024/04/interview-simone-massi-director-of-in.html

Global Artivism Conference - September 2024

On September 5^th, 6^th and 7^th, I (Mildred Achoch) attended (virtually) the inaugural Global Artivism Conference which was held in Tshwane, Pretoria, South Africa. It was an entertaining, insightful, inspiring and encouraging three days and I look forward to the next one. Below are some outstanding quotes from the first session of Day 1 and the keynote address. The keynote was by Favianna Rodrigues and was titled “Art, Social Justice and the Radical Imaginary: An Art Talk”

“I give honour to the sacredness of all the journeys which have brought us to this moment where we are gathered here…” – Louisa Zondo (22:20)

“…we also have to create ideas, ideas for the future. We need that novel that is going to help us think different, we need that film…” – Favianna Rodrigues (42:52)

“The African struggle for dignity and freedom, in the mainland and in the diaspora, is unimaginable without the contribution of Motown, Jazz, the Blues, Reggae, Hiphop…” – Professor Maluleke (13:45)

“We must address the scourge of poverty, inequality, corruption, gender-based violence, deteriorating mental health and well-being and the imminent threat of climate change. We must push for the end of genocide…” – Louisa Zondo (28:12)

“…only art and purposeful activism can help us RE-member our broken relationships, broken relationships between humans, broken relationships between men and women, between humans and the environment, between the body, the mind and the soul.” Professor Maluleke (16:41)

“…we are in a battle for the imagination, we are in a battle for understanding history and the impacts of history…” – Favianna Rodrigues (37:22)

“…we acknowledge that our histories connect all of us in many ways, including the tyrannies of colonization, oppression, inequality, marginalization and violence yet we in South Africa know that our liberation depended partly on the solidarity we received from people all over the world.” – Louisa Zondo (27:25)

“We as artists…we have to fight for justice and peace, that is what it means to be an artivist…” – Favianna Rodrigues (46:14)

 “In the beginning, there was art…” – Professor Maluleke (11:44)

You can watch the Day 1 sessions on YouTube:

 

For more information, visit www.globalartivism.com

Sustaining An Ongoing Commitment to Justice, Equity, Diversity and Inclusion Through Active Collaboration - Imaginable Futures fireside chat

On June 28th, 2023, I (Mildred Achoch) attended a virtual fireside chat titled “Sustaining An Ongoing Commitment to Justice, Equity, Diversity and Inclusion Through Active Collaboration” organized by Imaginable Futures. At the end of this very insightful and educational session, I asked a question related to mental health and activism (minute 46:20). Imaginable Futures summarized the panelists answers at the end of their post about the event. You can read their responses HERE and watch the entire session HERE.

"Show me your budget and I'll show you what you value." (Minute 45:54)

Video Interview: Daniel Lir and Bayou Bennett – directors of “Connection”

Daniel Lir and Bayou Bennett had set the bar high with their short film “Time is Eternal” so my expectations were in the stratosphere as I begun watching “Connection”. They - including the international cast and crew - did not disappoint! I (Mildred) sent Daniel and Bayou the following questions and they answered them in an awesome video. Enjoy!

1. Your short film “Connection” is a beautiful and captivating piece with a strong environmental theme and that spans different countries in different continents. Making films has an impact on the environment. How did you both and the cast/crew take care of the environment during the filming of “Connection”?

2. “Connection” begins with a quote by John Lennon: “A dream you dream alone is only a dream. A dream you dream together is a reality.” The cast and crew of “Connection” is diverse, which serves to enrich the short film. Was this choice part of the writing/pre-production or did it evolve as the project took shape? What inspired this film and the overall vision?

3.  Sticking with the theme of “Connection”, apart from Berite Labelle, Daniel Lir and Bayou Bennett, what are the other connections between this film “Connection” and the short film you previously submitted to ROFFEKE “Time is eternal”?

4.  Africa has 54 countries, including Nigeria, the home of Nollywood. Why Ghana as a location?

5.  If you both were to argue for “Connection” to be included as part of the curriculum in schools/colleges, what would you say?

Interview: Peter Böving - Writer, Director, Producer of The Heaviest Order (Part 3)

ROFFEKE: In part 2 of the interview, you said: “…something often overlooked in creative processes is that experimenting with mistakes often leads to entirely new ideas, possibly even the best ones!” Please share any examples either from “The Heaviest Order” or any other creative work of yours where mistakes took you in new and interesting directions.

PETER Böving: In my first "life," I was a musician – 25 years on live stages and in a constant process of learning. There, I recognized the approach of "Error as Opportunity" and quickly cultivated it. Whenever tonally thrown off track while improvising, I noted that mistake – or, more sympathetically, the blue note – in the corresponding context and firmly integrated it into the further arrangement from that moment on. Ideally, one then weaves unpredictable turns in their improvisation on these detours. The crucial aspect is to "sell" what one is playing outwardly and always know where the emergency exit is, if in doubt... In filmmaking, I experience these moments much less frequently. A surefire way to create surprising moments is to "overlay" music or sounds onto one's films, ones that one would never have thought could fit together or complement each other. Approaching such a process openly ensures that one can certainly hear where a "match" can occur.

 

ROFFEKE: In part 2 of the interview, you also mentioned that your parental home influenced you to prevent food waste. In what ways did your parental home influence you in terms of creativity and the arts?

PETER: In addition to a few obligations, I was allowed to be a child. I would say that I played disproportionately much – often with things that were not necessarily age-appropriate. I essentially disappeared for years. Once, when my parents went on a summer vacation with my brothers, I chose to stay alone with my grandmother. During that period, I built ancient Rome from Kellogg's Cornflakes packages. When my family returned after weeks of relaxation, my fingers were sore, I was chalk-white with a happy face, and most importantly: Rome was completed!

ROFFEKE: “The Heaviest Order” has been featured in many film festivals all over the world. What advice would you give regarding making a film’s festival circuit successful?

PETER: This is something that probably few filmmakers are truly deeply involved in. My films also vary too much for me to create a guide to success.

A good idea or story, combined with originality and unique features, in my opinion, form a solid foundation for a film to gain attention at festivals. Impressive visuals and witty dialogues can also contribute, but in my opinion, they only bring something when the first point is fulfilled as well. Festival short films are, in any case, the ideal playground to experiment. Courage is often rewarded in the festival scene more than one might assume. Even if things don't go well at festivals, at least there is enjoyment in the production process.

What has personally helped me often: In addition to festival regulations, I also review photos from past screenings. If the atmosphere appeals to me and I feel I would enjoy being a guest there, it serves as a deciding factor for me to submit my work.

 

ROFFEKE: In “The Heaviest Order” there is a scene where the words “Something not right in Denmark” appear. I searched Denmark and food waste and came across a 2017 BBC article which said: “Around 29,000 tonnes of bread and cakes are discarded every year in Denmark, mainly because it is sold in portions larger than people need….” The article also says: “Yet Denmark now has more initiatives tackling food waste than any other country in the world.” It seems Denmark is tackling the food waste problem, so I’m curious, what were you referring to in that scene? :-)

PETER: "Something is rotten in the state of Denmark" is just a saying originating from William Shakespeare's play "Hamlet." In Germany, it is often used to point out discrepancies, corruption, or general issues in a situation. In reality, it doesn't have much to do with the "present-day" Denmark. On the contrary, the Scandinavian countries are always one step ahead of other European states in terms of environmental protection, quality of life, innovation, and technology. So, dear Danes: No hard feelings, but you are also a bit to blame. This example vividly illustrates that not only does the internet not forget...

 

(The BBC article is "The country where unwanted food is selling out" by Prathap Nair, 24th January 2017. Look out for part 4 of the interview. You can read part 1 HERE and part 2 HERE)

 

Interview: Peter Böving - Writer, Director, Producer of The Heaviest Order (Part 2)

ROFFEKE: There are new artificial intelligence tools that, with a prompt, someone can create animated music videos or short films within minutes. What are your views on artificial intelligence? As a stop motion animator, what are the ways you see artificial intelligence being of use? What would you never use artificial intelligence for when it comes to animation?

PETER Böving: My sense is that AI will play a significant role in the creation of computer-generated animations. It seems like there won't be a stone left unturned. I can't elaborate much further as I have given my heart to the analog approach. The greatest strength of stop-motion animation lies in its analog nature, allowing one to potentially smell the materials and adhesives used in a film. Naturally, AI is gradually finding its way into my film and audio software without me actively installing anything.
However, something often overlooked in creative processes is that experimenting with mistakes often leads to entirely new ideas, possibly even the best ones! This only works when one has previously tinkered with the controls oneself. AI works largely flawlessly and doesn't reveal any vulnerabilities. But there are aspects of AI that I already wouldn't want to do without: the potential in the area of image scaling and restoration.

I will consciously keep artificial intelligence away from sound and music production, though. The evolution in this field has taken peculiar turns even before the era of AI: Instruments are being played live less and less, and arranging is often done using modular systems. However, in music, my observation is that it's not as easy to deceive as in the film medium. Those who merely 'claim' or hide behind 'effects' will be exposed much quicker by the human ear!

 

ROFFEKE: What are you doing in your own life to prevent wasting your food?

 

PETER: The whole program, I think: Planned shopping, making use of leftovers, proper storage, and minimizing waste or composting. However, I also know no other way: My parental home has greatly influenced me in this regard. We threw out little, whether it was money or food. Despite having the financial means, at our home, recycling came first before considering buying something new (of course, food was not recycled:). Probably, the post-war years, which strongly influenced my parents, still play a role here.

What I have newly discovered for myself, though, is the 'regrowth' of vegetable scraps. In our kitchen, there are little water glasses in every corner where leeks or vegetable onions grow again. That a harvested plant sprouts again is almost a miracle! After 4 weeks, there are fully grown, harvestable plants in the glasses again. Anyone who has ever grown leeks in their garden would have reason to doubt now. After 4 weeks, not much has happened in the home garden bed with a young plant, to be honest.

 

(Look out for part 3 of the interview. You can read part 1 of the interview HERE) 

Interview: Peter Böving - Writer, Director, Producer of The Heaviest Order (Part 1)

ROFFEKE: Stop-motion animation takes a lot of time. How long did it take you to create "The Heaviest Order" and what challenges did you face?

PETER Böving: My biggest challenge is always the same: the start of shooting! After spending weeks on set design and characters, a large, imaginary wall builds up. Instead of being happy to finally get started, it always takes a bit of time before I really get going. Perhaps this is because stop-motion animation is like a live performance with a big unknown. However, once I've started, I usually stick with it – at least 28 days a week, continuously. It took 8 months for this film. However, I switch between tasks during that time: lighting, sound, editing, music, VFX – more or less in a bio-rhythmic manner. When one activity tires me out, I switch to another that challenges me on a different level. As long as I don't get sick, I usually maintain this 12-hour workload for months. But if I do interrupt the work, I run the risk of bringing the aforementioned problem into the studio: the start of shooting!

ROFFEKE: You have managed to creatively bring to light the serious topic of food waste, a topic that many people are either not aware of or are not interested in tackling. What advice would you give creatives who want to use their art to talk about serious societal issues?

PETER: I'm not sure if I'm in a position to give advice on this. Honestly, I'm just relieved every time I come up with a trick to present the respective subject in a creative way. Overall, the challenge might be to find a balance between a humorous story and infotainment to make an environmental film work. A personal dramaturgical touch is to keep the audience in the dark about my intentions for as long as possible.

In my current film, I admittedly went a bit overboard. The punchline would have worked even if the film had been only half as long, as originally planned in the script. However, during production, I found joy in 'stretching' the story. An example of this is a scene in the film where one of the over-the-top protagonists gets the idea to drill a tunnel in a giant cake to run his model train through. This was not in the script; during filming, this absurd turn of events seemed inevitable to me. After all, I practically 'lived' in the set and understood the perspective of my protagonists a bit better every day.

This is both the blessing and curse of productions where one person does everything. The desk-bound planner becomes an activist, creating space for adjustments while risking getting hopelessly bogged down. In the end, I stopped pushing it further simply because I didn't want to exceed a runtime of 10 minutes. As a rule of thumb, films longer than 10 minutes are a criterion for exclusion at many festivals.

ROFFEKE: Speaking of food, what are your thoughts on the ongoing German farmers strike?

PETER: A highly charged topic: I fully agree with the farmers and their demands. However, I believe that there are also many other issues being unleashed right now, issues that have been building up over decades. On the other hand, I'd like to point out that currently, we have an Agriculture Minister who is about as good as it gets. I hope that this realization will permeate the broader public. (As we know, it took a while even for our former Chancellor Schmidt to be recognized.)

(Look out for Part 2 of the interview with Peter Böving)

Public Participation Workshop (2023) and ROFFEKE Conference (2020)

In 2020, during the Covid Pandemic, I (Mildred Achoch) organized an online ROFFEKE Conference where various players in the Kenyan rock community shared their triumphs and challenges. On June 19^th and 20^th, 2023, I attended a Public Participation workshop organized by KICTANET and ICNL. The workshop was informative and hands-on and it inspired me to go back and reflect on the 2020 ROFFEKE Conference in light of Public Participation principles.

Below is my preliminary attempt. The goal is not perfection, rather, it is to begin putting into practice what I learned during the workshop.

Challenges	Comments/Questions/Follow-up
“Cost of equipment. This equipment is not cheap…the cost of insurance is also very high…it is difficult for artists to buy the equipment, store the equipment, maintain the equipment and pay for insurance…” - George Gachiri, rhythm guitarist of Kanyeki. Also guitarist of Hybrid Intuition.(Minute 5:16)	Policies about instruments? National Creatives Summit : review of policies and legal instruments. Progress of policy reviews?
“The main challenge we face as a band that plays predominantly rock music is that…you are competing with other genres…If other genres of music have a larger audience, that means from a marketing standpoint, you find radio station playing them…” – George Gachiri, rhythm guitarist of Kanyeki. Also guitarist of Hybrid Intuition.	Summit: digital platform for creatives. When? Process of submitting creative work? Guidelines to reduce bias and discrimination?
“It’s not easy to shoot [music videos] in Nairobi. Getting permits is a problem. With “Hello Light” we went at night… set up quickly, shoot and move out before anyone notices anything…if you wait to get all the permits, it’s just too much of a process.” – Murfy’s Flaw. Question 5, minute 1:18	Governor Sakaja: permission for filming to be done in Nairobi.  Is it actually safe to do so or will there be running battles with Kanjo? (“Sakaja waives permit fees for photographers and filmmakers in Nairobi. September 28th 2022, ntvkenya.co.ke) “Sakaja stated that he was keeping his promise to the creative economy to make a living without being harassed by authorities.”
“…support or finances to foot the video-shooting bill.” – James, Lead singer of Kanyeki. (Minute 3:11)	Youth fund? Film Fund?  "Gov't in plans to establish film fund as Kenya Marks 12th Edition of Kalasha Awards." Creatives summit: co-production agreement was signed by the CS and that a Kenya-South Africa co-production platform would be set up.  When will this be up and running? Upgrading of stadia so that they can also cater for the creative economy.  Stadia as music video locations?  “Wilderness” shot in stadium).
Wishlist: Soundtrack for film and TV. “It would be a great thing to have bands’ music playing to support the local scene.” –Cyrus, Kanyeki drummer. (Minute 2:19)	Creatives summit: free legal services. (Minute 1:10:01 and 1:11:26)  Process of accessing legal services?

 

Africa Day, Africans Rising, Borderless Africa, Mastercard Edtech event at Ihub, African Diaspora

On 25th May, Africa Day is celebrated in Africa and all over the world. I first celebrated it in May 2019, when I attended “Google’s Africa Day Outreach: Creative Bootcamp” at Nairobi Garage. 

    

I'm in the purple checked sweater.

In 2023, ROFFEKE celebrated Africa Day with Africans Rising under the theme of “Borderless Africa”. The ROFFEKE Borderless Africa YouTube playlist features short films and music videos submitted to ROFFEKE since 2015, that have been created by or feature Africans in the continent or in the diaspora. 

The Kilimanjaro Declaration 2.0 was adopted on 31st August 2022 in Arusha Tanzania. In the declaration, the 2022 All African Movement Assembly (AAMA) declared that:

1. Africa is a rich continent, and her wealth belongs to all her people. We commit to fight for economic justice qualified by socio-political development.

2. Africans have a diverse, rich, and powerful heritage that is important to heal ourselves and repair the damage done by neoliberalism to our humanity and environment. Being Africans and embracing African philosophies such as “Ubuntu” are sources of our pride.

3. African youth and women are a critical foundation for building the success of our continent and must play a central role in building the Africa We Want for Unity, Justice, Peace and Dignity. We are committed to building an intergenerational dialogue and strategic collaboration with our elders to advance a shared vision.

4. Africa’s diaspora, whether displaced through slavery and colonialism or part of modern-day migration occasioned by political, economic and climate change factors, is part of Africa’s history and future. We commit to ensure that their reservoir of knowledge, skills, resources and passion are part of advancing Africa.

Also on Africa Day, I attended (virtually) an event titled “The African Diaspora, Trade, and Investment Symposium”. The event’s YouTube video description: “This #AfricaDay, OECD Development Centre and Minnesota Africans United are gathering investors, policy makers and diasporic groups, to share examples of the many ways African #diasporas engage in private sector development to the benefit of both “mother” and “new” home countries.”

The next day, on 26th May, I attended Mastercard Foundation’s EdTech event that was held at iHub. In the past, iHub has played a role in helping ROFFEKE achieve its mission of promoting rock music in Kenya via film. In September 2015, ROFFEKE held a screening of short films and music videos at iHub. Read some of the attendees' comments HERE. 

ROFFEKE is passionate about education. On January 24th 2023, ROFFEKE commemorated Education Day with a document highlighting the knowledge shared by ROFFEKE alumni from all over the world. On January 24tth 2022, ROFFEKE commemorated Education Day with a report highlighting the hashtag #edumental which ROFFEKE first used at an Education Day event on January 20th, 2020, right before the pandemic. In that report, I wrote: 

“Why is ROFFEKE – a rock film festival – interested in education? There are many reasons but in short, education is part of the objectives of ROFFEKE. Also, education plays a crucial role in the achievement of ROFFEKE’s mission: to promote rock music in Kenya via film by dispelling rock ‘n’ roll myths and misconceptions.”

The main objectives of ROFFEKE are:

1. To showcase local and international rock ‘n’ roll films and music videos for the purposes of education and entertainment.

2. To organize workshops, forums and seminars related to various aspects of rock music and the film industry.

3. To provide a platform for emerging and established, local and international rock bands.

The Mastercard Foundation Edtech event was inspiring. I sat through the first few presentations by talented Edtech startups namely Snapplify, Easy Elimu, Funky Science, Silabu, Elewa, Arifu and Virtual Essence. Clearly, a lot is being done by Kenyan entrepreneurs to tackle the challenges of education in Kenya and Africa.

Later, as I was reflecting on all these events, I could not help but connect the dots. One speaker at The African Diaspora Trade and Investment Symposium, Christopher Brooks, is a venture capitalist of African descent with a passion for Africa. He pointed out that he was on the lookout for projects he could invest in. I strongly believe that the projects I saw during the Mastercard Foundation Edtech event are ripe for this kind of Afro-cenric investment. Christopher said:

“I have a bias when it comes to this kind of conversation. We invest in tech. We invest in tech specifically because it scales quickly, creates enormous value quickly and then when there is some sort of liquidity event or exit, you can redeploy the gains and it just becomes this ever-expanding economic pie. I’m a big believer in tech. Africa is actually producing right now some of the world’s best innovative technologies. (From minute 49:22 to 49:50)

At this African Diaspora Trade and Investment Symposium, I was inspired by all that the diaspora is doing to help Africa. However, as an African in Africa who sees a lot of opportunities in the “motherland” I begun feeling uncomfortable with the narrative of Africans always being recipients of aid, even if it is from fellow Africans. I asked via the Zoom Q and A feature: How can Africans also help Africans in the diaspora?

In the chat, I made a small contribution that challenged the narrative that African youth only want government jobs. While it is true that many Africans look to government jobs due to the stability they offer, many African youth are entrepreneurial, as evidenced by the Mastercard Foundation Edtech event. I pointed out in the chat that many Africans are interested in and are active in the creative economy.

“The Mystery of Capital: Why Capitalism triumphs in the West and fails everywhere else” by Hernando de Soto was mentioned by Christopher Brooks. He said: “What I learned as I read that book was that talent is equally distributed among the human population but opportunity is not.” (From minute 40: 49 to 41:08)

I would argue that even this lack of many opportunities in Africa…is actually an opportunity!

Christopher Brooks went on to say: “Our venture capital firm has the goal of creating a world where transformation capital is accessible to all not just to some so that is how we invest. We find really great entrepreneurs of colour with really great ideas and we deploy strategic capital in the right amount at the right time to help those entrepreneurs scale their businesses and eventually exit their businesses creating brand new economic value." (From minute 42:52 to 43:17)

He also said: “I wanna actually go a couple of layers deeper than the current conversation. When Africans were imported to America as slaves, we were told, we black people, were told that we were not fully human. America told black people that they were three-fifths human, and that meta-narrative of less than human has been indoctrinated in people throughout American history." 

(Check out "ROFFEKE University: Lesson 1 - Slave Trade, The Blues and Rock ‘n’ Roll" and “Of 'African' Products and 'Mzungu' Music”)

"So one of the things that we must do, we all must, even members of the diaspora, must examine our worldview and ask ourselves, do we really believe that talent is equally distributed across the world, because in many nations, especially developed nations, we’ve been taught that talent is not equally distributed. We’ve taken this darwinistic approach, survival of the fittest, and we’ve basically said that the developed nations are the fittest, the nations that are developing or less developed are not as fit, are not as smart, are not as good, and that is just diabolical and patently untrue. I think the root, the foundation of any solution that has to do with the continent of Africa must be, Africans are brilliant. Africans are capable. Africans are investment-ready. Africans have the best solutions for Africa. If we really believe that, even those of us who are members of the diaspora, we will continue to tap into the genius of the African people that live on the African continent and we will build a better society because it will be deeply informed by those who live and breathe the African air every single day. That’s how we at Brown Venture Group and that’s how I as an individual investor and practitioner look at the world and that’s how I’m approaching the work. The best solutions for Africa come from Africa.” - Christopher Brooks. (From minute 1:06:14 to 1:08:00)