In Retrospect: #NEWF2024 Fellows Summit and Congress
The acknowledgement and blessing of the elders quietly draws us in at the very beginning of all the great moments and milestones shared at NEWF. Newer fellows and first-time attendees hear the expectant silence right before Dr. Gcina Mhlophe’s song, not knowing how her gift for storytelling will flood the room and shift their connection to story and community. Others, peek curiously, wondering what a sophisticated, deeply accomplished woman like Dr.Winnie Kiiru might say to ignite their fires to face a future of promise afresh.
These women are the leaders of our time. So only fitting then, that they honoured us by opening our Fellows Summit and Congress, reminding us that we already have permission to thrive - in our communities and together as we endeavour to change the face of African storytelling. Pioneers in the fields of conservation and storytelling, sharing space with us to pay their wisdom forward, they soberly and gently affirmed that we are the future elders and carry a huge responsibility in creating space for those who will look to us.
Musician Zawadi YaMungu and Queen of Storytelling, Dr.Gcina Mhlope, opening the Fellows Summit. Photo by Eric Njobvu for NEWF.
#NEWF2024 is a whirlwind that starts our community's year and sets it on a busy course to bring ideas to life and keep the momentum created through networking, inspired dialogue and interactive learning at large. But this year was different. Word on the street is that it was our best yet - and from our side we are working towards even more positive growth.
Keenly tailored based on the feedback from the last few events, particularly the 2023 Summit and Congress, the newly expanded NEWF team set out to curate an event that leaned hard into the need to make the most of this rare opportunity to convene in these numbers. By dedicating the two days of Summit entirely to a series of workshops, each storyteller had the opportunity to think carefully about which skills were an immediate priority - and most needed learning and engagement - and immerse themselves in their chosen topics with more time than previous years to delve deeper, ask questions one-on-one and spend time with peers who had chosen to be there as well.
While the three days of Congress followed the traditional approach through a series of thought-provoking, industry-led panels, the audience prompted discussion and the coming together of the community and interested public parties - it also offered an extension of much-needed time for workshops and sessions for fellows would otherwise not have the time and place (collectively) to access.
This year's event didn’t only provide the opportunity to spend more time interactively learning about the topics related to fellows careers. Fellows from active cohorts like the ACVPL Story Lab and the recently introduced NFVF Environment and Belonging Story Lab convened to start unpacking their story development journey’s which will span the next few months. Producers Lab fellows were brought together for practical exercises crafted around the materials presented in the Research Workshop led by Samreen Farooqui from RoundGlass Sustain. Here, in groups, fellows delved into a chosen film topic and unpacked the research formula of sorts in a series of presentations where they could bounce ideas off each other, ask questions and fill the gaps in with a wider base of knowledge that will provide a more tangible reference for the continued research within each of their film projects and collaborations.
Rae Human (NFVF Environment and Belonging Cohort) and Wambui Waweru (NEWF Story Lab Lead) in conversation. Photo by Lumka Mgilane for NEWF.
Fellows with ideas on their slate were drawn to sessions like The Art of Interviewing, What Goes Into Making Your First Film, What’s Your Rate?, Where Are We Now? A Look At The Industry, Mastering Pitching & Fundraising with Uli & Tata's Nursery Rhymes - and for those interested in the investigative genre, Producing Environmental & Investigative Films. Story Development with Geoff Luck, a mandatory session for all fellows due to the great emphasis NEWF places on story development skills, eased in with a case study on seeking the story within topics. Following his chat with the audience, the floor opened to fellows for a widespread discussion unpacking questions and curiosities related to audience versus art, audience connection, the relevance (or lack thereof) of blue chip natural history films in Africa storytelling, the tools to bring to the table and so much more.
Many of these topics touch on the tremendous lack of transparency in the documentary film making industry, where the historical gatekeeping in storytelling and global media has created a mysticism both around what it takes to enter the industry (funding and making films) - and what it takes to tell an African story. Former head of factual at the SABC, Thando Shozi, questioning the relevance of blue chip natural history documentaries in Africa is food for thought considering the strength of the formula for blue chip being based solely on the old guards way of viewing nature: separate from African people whose home it is and separate from their agency as the true custodians of wildlife and the spaces that are equal parts wild and equal parts home.
How then do African storytellers tell their stories, what are the threads that run through them?
Merlyn Nomsa Nkomo (Ornithologist) in conversation with Nkirote Koome (Principal, Luminate Africa). Photo by Breno Luckano for NEWF.
We argue that our stories should, amongst other things, be rooted in belonging, agency and dignity. These discussions and many of the questions asked, had us thinking about the one we went on to pose when we officially introduced the NFVF Environment and Belonging Cohort after Congress.
When last did a film from Africa make you feel like you belong?
The National Film and Video Foundation South Africa (NFVF) awarded funding to six storytellers to develop a short documentary film that speaks to people and their connection to the environment and wildlife. The selection of these storytellers culminated in an exciting partnership with us to host a Producers’ Lab that will see these projects through from story development to post production and distribution.
The first of these sessions took place during #NEWF2024 where the work lounge served as a venue for an introductory meet-up led by Wambui Waweru (NEWF Story Lead) and Nadine Cloete (NFVF Environment and Belonging Lead). This new approach to workshop-heavy programming felt like the best next step to build on NEWF’s journey. In our third year of Africa Refocused where the word guiding us is ‘refinement’, a strong sense of intentionality and the creation of opportunities that are focused on the professional development of fellows is how it manifests through daily work.
Building on the momentum from Summit, the cohort got their show on the road to meet up at eKhaya Storytelling and Research Centre in Sodwana Bay for a pre-production focused story retreat. Similarly, the ACVPL fellows met in Nairobi at the African Wildlife Foundation (AWF) HQ for their first official week-long workshop, to kick off a year-long journey towards completing their films.
And this is what it is all about - the meeting of diverse minds for one purpose: Creating momentum for an equitable, creative, community-centric future for African Storytelling - and with that a safe, accepting space where together we are bridging the gap in every part of the storytelling ecosystem in Africa and further afield - piece by piece, story by story.
Paul Nwulu (National Geographic Society) listening to a question posed by Arnold Shoko (Marine Scientist and Conservationist) during the Grant Writing Tips and Techniques session. Photo by Cahali Joao for NEWF.
Passionate about the topic of how on earth to get authentic African stories funded, Paul Nwulu, a Senior Director of Storytelling Programs with the National Geographic Society, pivoted his Grant Writing Masterclass set to invite 8 applicants for one on one feedback, to instead meet one-on-one with more than 30 fellows.
Hit favourites like Barabara Lawrence-Strydom’s The Master Dreamer Vision Session had fellows delving deep into what they’d like to realise in their lives and reflecting on what financial security and milestones look like when they’re bringing ideas to life. Complimentary to this was Hillary Sparrow’s workshop on Building A Personal Brand, an undeniably important part of setting a firm foundation for a career in this kind of industry, with clear messaging and intent being so essential for funding eligibility.
Targeted to the scientists, a group of SciComm passionate fellows participated in a Science Communications focus group hosted by Dr.Reyhana Maktoufi from HHMI Tangled Bank Studios, and explored Science Communication and Ethics with Sonya Lee. Both of these sessions share the fundamental goal of paving the way for multifaceted, ethical science in African science across all sectors and disciplines. NEWF’s interest in providing resources for scientists is not casual, without local scientists (many of which hold impressive doctorates and have an innate passion for the inclusion of indigenous knowledge) the representation on-screen and in research will remain lacking and continuing to limit the narratives about innovation and conservation in Africa.
A group of videographers and photographers in a technical demonstration led by Gino Naidoo (Videographer and Digital Creator). Photo by Anthony Ochieng for NEWF.
Our cinematography fellows engaged in follow up sessions for their RED Cinematography Lab with University of Notre Dame Professor William Donaruma, and had the opportunity to showcase some quick-edited footage from their exploration in Bayala Game Reserve to tease at some of what they’ve been observing, working with and learning about on the ground.Other interesting technically-leaning sessions included Get That Shot, Demystifying Editing, Deconstructing Shots and Sequences, TV Rushes to IMAX 3D and Creative Droning - all of which drew the fellows in and jogged their thinking from the creative to the technical (and back) of capturing it in ways that elevate and honour the nuance of African storytelling.
In her opening address at Congress, Belonging; A Conservation Story, Dr.Winnie Kiiru introduced herself as the first female Kenyan Director for Mpala Research Centre based in Laikipia, Kenya - a position for which she fiercely competed with many impressive male candidates. She spoke to something simple and curious, ‘locating herself’, in direct relation to the undeniable gap many of our fellows struggle with: being a woman in the storytelling, science and conservation industry.
What would it mean to ‘locate ourselves’ as women in this highly competitive industry?
Michelle Donde (Cinematographer and NEWF fellow) filming in the Great Ilanga. Photo by Anthony Ochieng for NEWF.
Without broaching the place women hold in storytelling, science and conservation in a holistic way, we can’t speak to the authenticity of African stories and an equitable industry. When Dr.Kiiru reminds us of the absence of women in these spaces, and the unfortunate reality of how many women in leadership suffer stubborn imposter syndrome and leave the industry before they achieve what they set out to do for African conservation, this sober fact offered an opportunity to reflect on how strides like hers and other women we look up to remain significant.
As a scientist and advocate for women in environmental leadership who has won a state achievement award, she has taken time to do the same back home when she took her award back to the community who gave her so much for free, to honour their contribution to the work she so passionately endeavours to do. As a mother she encouraged us to acknowledge the mothers in this industry and take a moment to honour them. We envision a future where NEWF has contributed to the industry to a degree great enough to imagine that when fellows go out into the world and bring back awards, that they’ll have a continent wide (not to mention global) network that stood behind them, offering support or simply reminding them of why they are on their particular path to begin with.
We were incredibly excited to finally be able to host a special screening of Behind the Queens and two of the episodes from the series featuring women from and associated with the NEWF Community in some way; Faith Musembi, Erica Rugabandana and Erin Ranney. These ambitious productions left the audience, particularly the women flooded with inspiration and hope.
Dr.Winnie Kiiru during Belonging: A Conservation Story, the opening address for Congress. Photo by Cahali Joao for NEWF.
For those among us who have children, it moved us to consider how fiercely and naturally we protect our young - the daughters among us will in some way impact the future much like Binti; who if she survives to grow strong and tall, may go on to be a matriarch leading the way. The women behind Queens showed us too, the role we play in creating space for each other much in the way Dr.Kiiru does through Women in Conservation Leadership, a program she co-founded with two of her colleagues. Erin Ranney paying forward the generosity of her mentors by mentoring emerging female cinematographers in the field is the kind of culture that builds equity for women in the industry.
Similarly, Erica Rugabandana embarked on an expedition of her own to the Serengeti to capture the lions that are locally known to cross paths with the Maasai. Her film, Kuishi na Simba (Living with Lions), screened at Congress demonstrated a style of cinema that offers a case study for Mashozi’s question on the threads that run through African stories. Erica’s approach to reenactment was considered risky, but using real locals who resonate with her story and the meeting of generations, is what she says made it a success - and it shows. Her local audiences in Tanzania felt like they belonged. Because they do. And her global audience is able to view the issue of human and wildlife through a deeply authentic lens and that shows that it’s possible to learn the rules, only to break them.
An important win for Behind the Queens and Kuishi na Simba (Living with Lions) and is that it shows some of the reality of the settings we see in natural history. For Behind the Queens the reality of field work - the long treks, dangerous climbing, bad weather and the tremendous contributions made by locals who do a lot of heavy lifting, safely guide crews and ensure the success of these expeditions to observe wildlife for research and story. And for Kuishi na Simba, the real ways of life of the local people who are on the cusp of the two worlds blue chip documentaries have been created - except that in reality, it’s one world that requires tailored conservation management strategies that may not be necessary or work everywhere else.
Expeditions: A Storytelling Tool moderated by Samira Vera-Cruz (Filmmaker and ASFF Fellow) with Dr. Aristide Kamla (President and Founder of the African Marine Mammal Conservation Organisation), Raúl Da Silva Chomela (Manager Genetic Lab in Gorongosa National Park) and Dr. Rainer von Brandis (Research Director, National Geographic Okavango Wilderness Project) on the panel. Photo by Cahali Joao for NEWF.
And so, of course we thought about the role expeditions play in storytelling while we mapped out these workshops and paired screenings with each day of programming. For many fellows, a number of whom are National Geographic Explorers - exploring is a big part of their passion for conservation, science and story. As Carlos Naronha, a NEWF African Science Film Fellowship (ASFF) Fellow, would say: ‘That’s the point!’ Expeditions lie at the heart of many of the stories this community wants to, and are telling.
Each of these explorers use expeditions as a tool within their fields of expertise in ways that ultimately impact storytelling and positive strides for conservation. So, hearing about the work on the ground and unpacking practicalities in sessions like Expeditions: A Storytelling Tool shifts topics and discussions like these from a panel to real-life field readiness. Knowing what to expect and prepare for gives storytellers, scientists and conservationists a better chance at succeeding in the field (literally) and gaining the kind of experience and knowledge they need to move their projects forward - particularly if a tight budget is involved.
Michelle Donde (Cinematographer), Muhamago (Musician and Composer), Elke Bertolli (Underwater Cinematographer and Artist) and Yvonne Chizara (Filmmaker and Photographer) on Botswana Night. Photo by Eric Njobvu for NEWF.
From expeditions to the Okavango, Nkashi: Race for the Okavango sparked excitement as the theme for this highly anticipated screening had all attendees donning their best in blue, white and black to celebrate all things Botswana with a traditional Botswana-inspired banquet dinner and live entertainment from Koolkat Motyiko. Films like these show how interconnected the storytelling ecosystem is - or at least an example of how interconnected the future of African storytelling should be. Local crews, local voices and a sharp focus on impact topped off with award-winning composition - Nkashi represents an inclusive, thoughtful approach that offers a case study for a more authentically African blueprint.
Similarly, we were honoured to have Taira Malaney, a close member of the NEWF community who is always open to sharing and mentoring, join us to show her film Turtle Walker. While not an African story, it had us collectively captivated from start to finish. A case study on empathy, this film married the deep resonance of being human with a conservation message that carries with it a tender, authentic and rare attention to detail. The technical excellence is a powerful example of the art of editing in collectively honouring a story - seamlessly creating flow from one format and technique to another. It reaches audiences in more ways than an observational documentary or pure reenactment is capable of doing. The 8 years of dedication to telling this story shows. It reached far beyond talking heads and science devoid of people to a place that holds space for real people to relate a sense of custodianship that can be incredibly difficult to communicate when a species is not directly accessible.
Mildred Sama (Filmmaker), Taira Malaney (Filmmaker, Turtle Walker), Gunjan Menon (Filmmaker) and Barbara Lawrence-Strydom (Founder, BDLS Africa Master Dreamer). Photo by Breno Luckano for NEWF.
Photography has in many ways gone further than film in terms of isolated subjects and accessibility. Peggy Sue Amison, Artistic Director of East Wing, a gallery founded in Doha brought her 25 years of experience reviewing and curating photographs on stage for ‘Photography as an Artform to Drive Social Impact’. Offering an engaging look into the opportunity for photographers to make an impact through platforming their work and building bodies of work that have a clear story and hold meaning, and took us through a few compelling photographs from bodies of work that encapsulate art as activism.
Showing references from Rehab Eldalil’s ‘The Longing Of The Stranger Whose Path Has Been Broken’ and excerpts from ‘Shine Heroes’ by Federico Estol - her session leaned into Kaitlin Yarnalls’s famous quip ‘Audience and Purpose’, a topic that closed the final day of Congress and left fellows and guests with the task of considering afresh where they find themselves in the storytelling ecosystem. For photographers, this is a lot to do with creating art that captivates an audience in just a few shots - and seeking curators who align to the work they’re doing. While for film, it speaks to stories set apart by clear purpose and intentional audiences that set a story apart enough to be eligible for funding and broadcast.
As storytellers who gather to hear the truth and find ways to exist as ourselves in this expansive industry, Kaitlin offers the reality as is it: Yes, NGS and many other platforms and organisations are creating access by holding space and putting their money where that space is - but it still has to be good because it remains a competitive field that requires pure drive and absolute excellence.
And of course, in creative careers, this often means that we need to seek new ways to platform our identities when our projects don’t fit certain sets of criteria - it’s a matter of seeking the loophole as part of the process, leaning into community and collaborative energy - and in doing that, creating niche audiences, industry representation and new ways of approaching stories in authentic ways that may create more niche funding opportunities in future.
NEWF Fellows and crew at #NEWF2024. Photo by Cahali Joao for NEWF.
The good news is that the talent in Africa is ripe - we see it in the amount of talent funded by grants across Africa. We see it in self-funded initiatives across Africa. And we love to see it in African philanthropy focused in similar ways. Within NEWF alone, there are more than 55 films in various stages of productions, with NEWF first feature film Indoni Yamanzi, featuring the story of Sli Mbuyazi, teased at this year's Congress.
All of these sessions and screenings represent forward momentum that speaks to the heart of NEWF’s intention to bring like minded professionals and thought-partners from the industry, and all levels of talent together in a meaningful way that creates a movement of change beyond aspirational representation. ‘Changing the narrative’ is not so much how NEWF shows up as an organisation (although this is true), but how we show up as a community of individuals at varying professional levels supporting each other in creating the industry and kinds of opportunities we wish to see in industries that have long excluded authentic African perspectives.
We are telling Africa’s stories through our lens. We are are learning the criteria and rules, and rewriting them projects that challenge the industry and refocus their lens to see the Africa that we see, and that we are so intricately part of in our daily lives. The drums that closed this year's Congress in NEWF traditions have translated to an energetic rhythm guiding us as we continue finding ways to tap into opportunities, connect with others and change the narrative.
How will you change the narrative for the future of African storytelling?
