Ousmane Sembène and African cinema now

In African spirituality, memory is a life-affirming process that transcends mere recall to become a preserver of life. This ethos resonates powerfully as we mark 100 years since the birth of the filmmaker Ousmane Sembène.

As a young first-generation immigrant of Nigerian and Cameroonian descent living in the United States, I found myself beckoned by African cinema – or perhaps that should be African ‘cinemas’, the plural better conveying the multiplicity of stories, traditions and untapped potential on the continent. The profound narratives and unique perspectives of African film offered a window into a world that was both familiar and novel to me. After creating the film blog Shadow & Act in the 2000s, which became something of a cultural touchstone, I felt a deeper pull towards African film – an area that has been underrepresented, undervalued and even trivialised on a global scale. I saw an opportunity to create a fresh media platform: Akoroko, which is defined by its desire to delve into the African cinematic canon, uncover its interconnected aesthetic and cultural threads, and chronicle legacies while pondering future trajectories. Serving as a curated space for both film history preservation and critical commentary around new African cinemas, Akoroko aims to build a community around film discourse, especially in English-language territories. The platform also spotlights the continent’s moving-image pioneers and trailblazers, consciously reaffirming their rightful place in a global cinematic canon.

Akoroko is among the latest in a longstanding and ongoing series of efforts that have contributed to the evolution of cinema cultures across Africa. Given the platform’s objectives – the building of bridges between African cinemas and the rest of the world, and the preservation of African film heritage – it is natural that we celebrate the birth centenary of Sembène, who was so instrumental in shaping discourse on cinema across Africa. His work is an integral part of the majestic tapestry of cinematic voices that spans 54 countries. Sembène’s dedication to authentically portraying the myriad of African experiences, and his use of cinema as a medium to critique social issues and celebrate African culture, remains pivotal.

Sembène’s ‘model’ of cinema as both political intervention and artistic expression aligns with that of key contemporaries such as Djibril Diop Mambéty and Haile Gerima; his films critiqued oppressive systems and celebrated the resilience, creativity and solidarity of African people. Sembène was also instrumental in assembling the International Conference on Cinema Production in Africa, first held in Niamey, Niger, in 1982; it serves as a historic example of the collective journey of African cinema cultures. Remembering this conference goes beyond mere commemoration: it’s about acknowledging solidarity, recognising trials and celebrating achievements.

The continued growth of Africa’s film industries is heartening; they currently contribute $5 billion to the continent’s annual GDP, according to the Pan-African Federation of Filmmakers (Fepaci). The digital revolution that was sparked early in the millennium, and accelerated by the exigencies of the Covid-19 pandemic, changed the game: the widespread use of new technologies, the affordability of digital film equipment and the rise of online platforms have undoubtedly empowered a new generation of African filmmakers. But despite these advancements, notable challenges persist. Among them are the informal nature of the film and audiovisual sectors, piracy, intellectual property issues, lack of education and training, limited internet connectivity, gender inequality and political impediments to freedom of expression. And lamentably, most parts of the continent still have an underfunded film industry. In the midst of all this, the need to safeguard Africa’s film archives has never felt more pressing. As Aboubakar Sanogo, executive secretary of Fepaci, has emphasised: “The memory of African cinema must be available to train the new generation of filmmakers, providing them with African filmmakers as models of what cinema can be.”

The West’s rising interest in African stories brings both opportunity and risks, such as the misrepresentation and appropriation of African narratives. There is a case to be made that the challenges African cinemas face today persist because we have not sufficiently preserved and honoured our rich filmic heritage. Yet even with these challenges, African moving-image cultures remain vibrant, reflecting the panoply of artistic expression and political resistance among African people. The key is to ensure that Africans themselves drive growth
and development.

Delving into intersections of architecture, culture and identity, Ghanaian Scottish architect Lesley Lokko’s ‘Laboratory of the Future’, an exhibition at this year’s Venice Biennale, is a perfect present-day distillation of the creative possibilities of the African continent. Transposed on to the terrain of African cinemas, this ‘laboratory’ becomes a metaphorical arena of experimentation and redefinition. Lokko envisions a dynamic space where African identities are explored and reimagined. It challenges conventional norms and embraces the eclectic mix of African histories and futures. It’s an approach that resonates with the transformative potential of African cinemas, where filmmakers experiment with narratives, styles, themes and the pushing of boundaries.

In Sembène’s centenary year, diffusing the past through the imaginative spectrum of a ‘Laboratory of the Future’ embodies a type of boundless possibility. It speaks to the greater purpose of Akoroko, which exists not just as a platform but as a movement primed to capture the renaissance of African cinemas. It’s a nexus where African film communities can converge to learn from the past, engage with the present and shape the future. Our stories and triumphs are the bedrock. Together, these perspectives will articulate Africa’s pivotal role in the global cinematic narrative.