Kebidoo (pronounced “kee-bee-doo”) is a South African artist whose music blends various international influences.

Her musical style combines iconic South African hip-hop and kwaito with international genres and music cultures such as UK underground grime, K-pop, and electro-pop. Kebidoo represents a new generation of South African artists incorporating global influences into their music.

Born in Mahikeng, in the North West province of South Africa, Kebidoo’s upbringing was uniquely shaped by her father’s career in the South African Airforce, which led to extensive international travel. These experiences exposed her to diverse cultures, inspiring her to blend genres in her music. Her professional moniker came as a phonetic spoof of the Setswana word for the colour red, “khibidu”, paying homage to her Tswana heritage.

Following her stint at a US-based artist development programme, Kebidoo released her first mixtape under independent music imprint Highlight Music Label, made an experimental hip-hop song with local Afro-Rock legend Tshepang Ramoba, and most recently she has attracted attention from South African record label Ossia Records. Some of her singles include “Agoiweng (Let’s Go)”, “Ke Nna Nna”, and more recently, “Do The Work.”

We spoke to Kebidoo where she opened up about her background, artistry, previous career in advertising, and the cultural nuances that influence her craft.

Your Instagram feed gives off the vibe of you being a girl next door, with an edgy personality. It sets you apart. Is image important to you in your world? 
Image isn’t everything to me personally, but it does seem to be pretty important these days. As an artist, or anyone trying to promote their work, I think it’s necessary to have an “image” of sorts. But you don’t have to be this meticulously well-thought-out thing from the beginning. There’s a lot of pressure to be a version of someone else or to fall neatly into a certain aesthetic. Just be your authentic self and the parts of you that catch the eye or pique people’s interest will naturally form an “image” for you. 

Collaborations seem to be a key part of your journey as an independent artist thus far. Your YouTube Vlog series, The Journey, shares behind-the-scenes footage of these collaborations and how they’ve affected your craft. Can you tell us more about how you approach collaborations and why they’re important? 
Collaboration is a tricky space because it’s trial and error. What works for me might not work for you. So it’s about being clear on what value your work creates and brings to the table so other people may see where they fit in. It’s also important not to be selfish in collaborations. Plans, people and conditions are constantly changing and you have to give room for growing pains. I have been lucky to work with people who see a place for themselves in a far bigger picture, and we collaborate as a means for all of us to realise our own goals simultaneously. I hope to take the lessons that I’ve learned from these projects thus far and apply them to my career path as I diversify and grow moving forward. 

Your voice has been used in television adverts across Southern Africa for brand commercials, and through sync representations, you’re starting to stretch into placing your music on television shows and movies. If you were to choose a series to place one of your songs, which one could it be? 
Locally, I’ve always wanted to get on those Blood & Water episodes. They’re known for very “meme-able” moments so it’ll be cool to see where my songs would fit in the storyline. That show’s soundtrack is really loved and supported by the viewers too so it would be an honour to be on such a platform. Internationally, it has to be Selling Sunset. Mainly because I binge-watch it every season, but also because my music is very bold and confident with lyrics about being ambitious and motivated like a lot of the women on the show navigating their careers in luxury retail. I can imagine my songs playing right after they get into a fight in a multi-million-dollar mansion or something like that. 

COVID-19 was a challenging time for many artists, but you saw it as a catalyst to make a bold commitment to being an artist. Can you share more about this decision and how it has shaped your journey? 
Before 2020, I was working in marketing and advertising, mainly as a researcher and strategist for small companies. The effect of the pandemic on local businesses in South Africa was really harsh, so a lot of people like myself lost work or clients. At first, it was scary, but I realised that there was no better time to hit the reset button on life. With the world changing around me, I felt like if I didn’t try then, I would never get the chance to try again. It has shaped my journey because I’ve had to prove that I am very sure of this decision to pursue a long-term career in music under unfavourable conditions. In terms of decision-making, I move in a way that allows my professional experiences to come into play. I think it’s been helpful in helping me understand the music industry on a global scale and navigating through it as an independent artist in Africa. Also, Rule Number 1 in strategy is “Do Not Rush.” So I think I’m more patient and I don’t put unnecessary pressure on myself because I understand that building takes time. 

Coming from the North West Province in South Africa, known for its strong traditional values, do you feel a tension between embracing your pop star identity, staying true to your roots and navigating this balance? 
It’s not really that hard. I know that Tswana culture loves pageantry. It was very important for the government of Bophutatswana (during Apartheid) to invest in art education because it was valued by the Tswana people across generations. To this day, when you go to any Tswana family function, there are traditional praise singers, marching bands, choirs, spiritual leaders, poets and dancers. We respect the art of performance and we really try to back our artists here (in Bokone Bophirima). My love for performance is only magnified by my Tswana heritage. Tswana women are bold, confident, strong and will tell you everything they need to. As long as I stay true to that essence of gratitude and see my talent through a lens of lineage rather than capitalism, I think I’ll always stay true to my roots even as my visual concepts evolve and change. 

Your live performances are known for their energy and passion. How do you channel your background in digital media to create engaging performances for your audience? 
My main goal in music is to be a powerhouse performer that can fill stadiums around the world. In my head, it’s not just me getting on stage, it’s me what makes up a solid performance. So the wardrobe, sound, graphics, props, fan departments, etc. all need to come together. I think that has made me a “less selfish” performer, in that I understand that everyone needs to feel like they get something out of each performance. I’m still finding my perfect structure and ideal team to really show my full potential. So far it’s been fun experimenting and finding what works for the crowd. I hope that soon I’ll be able to put on my own solo concert or perform full sets at music festivals, so I can do bigger things on stage. 

Social media has played a significant role in your career. How do you use digital platforms to connect with your fans and showcase your music? 
Social media is an easy and convenient way for listeners or consumers to find you and connect with your vibe. Working in digital media, I spent a lot of time on these apps, but I didn’t always put myself out there. So when I started to make music I had to learn to get comfortable sharing more of myself. My producers have hounded me a few times to post more consistently. So I had to change my mentality back to when I was just posting for fun as a kid. Stop looking at the analytics and think about the people who may discover me in the future. I want them to see my authentic life, so I don’t have to keep up any lies or posturing when I get more famous.

You have previously gushed about your love for K-Pop, has it influenced your approach to music? 
I admire how that ecosystem has taken the world by storm while remaining very authentically Korean. I started researching K-pop when it was still a “micro-trend” nearly a decade ago, so I’ve been able to track and witness its expansion as a fan and as an industry professional. What I’ve learned by watching their trajectory is how important structural support is in the global music and media game. You don’t have to bend to the whims of other foreign markets if you make sure that the domestic economy retains involvement and keeps benefitting the local system first. I think K-pop inspires my approach to craft and navigating the industry rather than my music. In South Africa, we don’t have an entertainment company with private facilities or global networks like those in South Korea. In fact, the industry is largely unregulated and the government department which runs it is always in the middle of corruption scandals. So I started to subconsciously look to other markets for inspiration.  I look up to entrepreneurs like JYP (of JYP Entertainment) and Teddy Park (of The Black Label) as inspiration; they both built businesses with so many investors, sales and fans by having their own signature sound that infused global influences with indigenous themes. That’s what I try to bring to my career and music. 

As you continue to evolve as an artist, what are some of the themes you hope to explore in your music? 
I hope to make music for all moments of life. I don’t want to put a limit to what I am or am not willing to express. But I want to my music to be something that always fits on your playlist. Need a song to listen to on your way to a big pitch meeting with a client? I’m there. Need a song as you head out on your way to yet another Bumble date? I got you. Need some lyrics to scream into your pillow on one of those hard days? That too. I hope to work with more producers who are open to experimenting and are interested in creating an eclectic soundscape that really comes alive on stage.

Kebidoo’s music is accessible via Spotify and YouTube.

One of Nollywood’s most successful filmmakers in recent years deploys an effective combination of brand goodwill, aggressive marketing and a fairly cohesive screenplay to break national box office records.

An Ambitious Plot

When she gets pregnant out of wedlock, Jedidah Judah is disowned by her conservative parents, forced to drop out of school, and flung into the streets. Her attempts at finding love (or companionship, at least) only result in serial misadventures, and she ends up being a mother to five sons, each by men in different ethnic groups.

Despondency sets the tone for this crime dramedy set in a fictional town that passes for downtown Lagos. Co-directed by Funke Akindele (Omo Ghetto, Battle on Buka Street) and Adeoluwa Owu (The Griot), the film’s cast includes Jide Kene Achufusi (Brotherhood), Timini Egbuson (Superstar, Breaded Life), Uzor Arukwe (Prophetess, Sugar Rush), Uzee Usman (Fantastic Numbers), Olumide Oworu (The Black Book), Genoveva Umeh (Blood Sisters, Breath of Life), Nse Ikpe Etim (Shanty Town, Mr & Mrs) and Tobi Makinde (Battle on Buka Street).

Jedidah commands respect in her squalid community as a philanthropic entrepreneur, and dotes on her five sons amid their frailties: Emeka is a sales rep weary from the financial responsibilities of being a first-born son, Adamu can only find a security gig, Pere has keen eyes for other people’s property, Shina is a punch-drunk street urchin, and Ejiro (the last son) is an artsy but immature man caught up in young romance.

The Judahs have their stormy existence further upended when Jedidah’s kidneys cave in to alcoholism (an addiction which sprung from her depression), and the boys find themselves at a crossroads. Unable to raise funds for their mother’s urgent kidney transplant, these brothers, not always seeing eye to eye, decide to pull off a high-stakes burglary.

A Refreshing Screenplay, At Least By Nollywood’s Standards

Systemic misogyny, familial bonds, toxic work culture, love, family dysfunction and sacrifice are the overarching themes in this movie which is doused in typical Akindele-esque humour, but succeeds in steering clear of the path to ridiculousness: there is way less slapstick and none of the garishness of her previous features. With Barnabas Emordi’s elegant cinematography and a production design that manages to get the basics right, A Tribe Called Judah makes for a visual experience that is, at least three-quarters of the time, aesthetically pleasing.

Compared to her previous efforts as lead actor, Akindele hands in a more measured performance, and while her diction is still flavoured by “Jenifa-speak” (leaning into the titular semi-literate character from her uber-successful TV franchise), she avoids the vociferousness that sometimes dilutes the quality of her work: her previous effort, Battle on Buka Street, was accused of having “several scenes and a few subplots that felt redundant.”

Egbuson flourishes in his role as the thieving but adorable Pere, while Arukwe and Ikpe-Etim bounce off each other well enough to provide comic value and at the same time set up a catalyst for the moral greyness on which the film is anchored. The standout performer, however, is Makinde, who immerses himself in the role of the loyal albeit troubled Shina, eliciting laughter with every one-liner as seen in his exchanges with members of his gang. Oworu and Umeh do not necessarily pull off the most convincing ghetto couple – they hardly pass for poor young adults – but their dynamic is a tad lovely to watch; there is a childlike cuteness to it.

Credit should go to Collins Okoh and Akinlabi Ishola, whose joint effort created the movie’s screenplay. Their ability to work out adequately fleshed-out backstories for some of the lead characters, without incessant reliance on flashbacks, makes a huge difference. The infusion of crisp dialogue and great comedic timing helps sustain high levels of hilarity for long stretches of the movie’s 134-minute runtime.

Falling Short In The Tiny Details

But the humour in this film is also its undoing. There is such a thing as laughing too much, especially when a film is still expected to harbour certain dramatic elements. American film critic Rafael Abreu, in his essay “Dramedy Explained – A Study of the Comedy Drama Genre” writes that “the ratio between drama and comedy can vary, but most of the time there is an equal measure of both, with neither side dominating.” 

Abreu adds that “establishing the topic of your comedy-drama is important, but you need to make sure your characters can carry that weight.”

The transition from funny to poignant is botched more than once, and while enough motivation is established to keep rooting for the characters, the actors fail to inject the volume of pathos required to draw out empathy from the audience when it’s due: surely, the tragic death of a loved one should evoke more emotive reactions than what is on display. A better score to back up the dramatic sequences could have helped to halve the emotional deficit, but this dramedy falls short in this regard.

A Tribe Called Judah is also guilty on other counts, as far as cinematic sins go. The film’s second act, where the bulk of the conflict lies, is fraught with sequences that fail to pass the tests for plausibility: adrenaline is not enough for a band of amateur thieves to easily fend off professional robbers in fisticuffs and a gunfight, especially in a sequence that attempts to borrow elements from Hollywood heist flicks like Steven Soderbergh’s Ocean’s Eleven and Guy Ritchie’s Snatch. The visual effects team looks to have dropped the ball in a few scenes, and the hasty execution of the denouement almost ruins what is an otherwise delightful viewing: the third act has been the bane of many a Nigerian blockbuster, but this one just manages to limp above the finish line to a satisfactory climax.

Michael Aromolaran, editor at The Culture Custodian, acknowledges that A Tribe Called Judah, in aiming to provide a riveting narrative, falters in a few respects.

 “It succeeds as a comedy, even as an action flick. But how does it perform as a family drama? Not so well”, he writes. “To raise money, the siblings rob a rumoured criminal’s store. But the robbery goes wrong – loads of gun-fu the brothers hadn’t anticipated – and the boys learn that actions, even well-intentioned ones, have consequences. But do they come by new emotional knowledge about each other, about themselves, about their mother? Not that we see.”

Box Office Figures and Marketing Genius

However, Michael and I both agree that the movie is an entertaining spectacle that thrives on a winning recipe, and with more right than wrong steps, it culminates in a crowd-pleasing effort, as box office numbers have shown: this month, it became the first Nollywood film to make 1 billion naira at the box office, making it the highest-grossing Nigerian film ever. It is also the first Nollywood movie to have consecutive weekly admissions of over 100,000.

 In his words, “Akindele can be proud of herself. She’s directed a film that’s well-made generally, while providing a formula for box office success of the billion-naira variety: messy family drama, mixed with genuine humour and some flying bullets. A Tribe Called Judah is genuinely funny, and as far as narratives go, it is almost blameless.”

It is important to consider Akindele’s box office triumph in context. The average weekly cinema attendance for Nollywood films in 2023 was recorded at 19,733, compared to 35,590 in 2020 and 30,895 in 2021. Also, there have been marginal increments in the average price of cinema tickets: across screeners in Nigeria’s city centres, tickets go for an average of N7,000, compared to N3,700 in 2020, according to an industry report curated by film publication IN Nollywood. This is not unconnected to the hyperinflation that has plagued the Nigerian economy. To put things in perspective, Omo Ghetto: The Saga (2020) grossed over N636 million at the box office, but if it had been released in December 2023, it would have grossed at least N1.6 billion judging from the number of admissions it earned (449,901). The hike in prices has forced audiences to rethink their purchasing decisions and move farther from ticketing booths, with the exception of outliers like Akindele’s last three releases.

Anita Eboigbe, media specialist and co-founder of IN Nollywood, argues that despite these variables, A Tribe Called Judah is still a resounding box office success, as it ticked all the right boxes, appealing to a wide demographic and leveraging on an effective marketing campaign.

“She (Akindele) carried her film on her head”, says Eboigbe. “In executing her social media strategy for this film she knew the different target markets, and how best to sell to them. You could see an intentionality in her campaign. Also, this is one of the best stories that she has churned out in a long time, so it was a bonus: people usually go to see her films, so the fact that she crafted a better screenplay made it much easier to recommend this one. Again, when placed side-by-side with the other Nollywood films screening in December, picking hers was a no-brainer.”

A Tribe Called Judah had a lengthy cinematic run in Nigeria, and select venues in the United Kingdom. It also screened at 13 regions in nine African countries: Bessengue and Yaounde in Cameroon, Godope and Mide in Togo, Idrissa Quedraogo and Yennega in Burkina Faso; Poto Poto in Congo, Rebero in Rwanda, Teranga in Senegal; Tombolia in Guinea, Cotonou in Benin Republic and Mandijozangue in Gabon. It will be available on a streaming service later in the year.

Baker Mukasa is a musical theatre performer …

He is known for his role in the acclaimed musical Standing At The Sky’s Edge’ and will now star in the Royal Exchange Theatres Brief Encounter as Alec.

Set in a busy railway station, where everyone is simply passing through, Laura and Alec find each other. Falling passionately and wildly in love in a few stolen moments they live and breathe a lifetime of epic emotions, reawakening everything they buried deep inside. Together they find themselves in a bittersweet, hopelessly romantic, elegantly awkward love affair …

Please introduce yourself …

Hi, my name is Baker Mukasa, I am an actor and a singer, born and bred in South London but I am also of Ugandan heritage.

Describe your life right now in a word or one sentence …

Beautifully surprising.

What started you on this particular career path?

This is a career that chooses you, you don’t choose it. As a kid my first love was singing, I always had lots of performance energy and I grew up in a family where if you went to a party you were expected to dance. However, when I was a young kid I didn’t think of acting as a career path it was just something I enjoyed doing. But as I got older I went to a secondary school with amazing performance-based extra-curricular activities and amazingly supportive staff. The more I got involved the more things I did outside of school, like concerts and theatre clubs and the more time I spent doing that the more I realised that I’d be happy to do this as a career because I enjoyed it so much. So, after many clubs and lots of kindness here I am.

Tell us about Brief Encounter and working with director Sarah Frankcom …

It’s brilliant! Sarah is a very generous director who gives you a lot of space to explore, but also has a keen attention to detail. She has managed to bring together a group of ridiculously talented individuals who all have a massive heart and who all have the best interests of the story in mind. There is a feeling of safety when working in her room and that is reflected in the confidence of the work. I’m very grateful to be telling this story, with these people, at this time.

How did you feel when you got the part of Alec?

I was ecstatic when I got the part. I admittedly didn’t know the story very well at the start, however after watching the film and reading the play fell in love with it. The part also came at a time when I was in between jobs, so getting the call whilst I was on a break during a waiting shift really made the day go faster.

GETTING TO KNOW …

What’s your current plan B?

Refer to plan A

What’s made you Sad, Mad, Glad this week?

There are many things that have made me mad and sad this week, there is a lot of suffering in the world right now and it feels like all the people in charge have their political standing at the forefront of all their decisions instead of basic humanity- that makes me very sad and mad.

What made me glad this week, is a glorious bowl of ramen I ate at a restaurant that’s a stones throw away from the theatre!

What are you watching right now?

Modern Family

What are you reading right now?

The Citadel by A.J. Cronin

What are you listening to right now?

Janelle Monae – The Age of Pleasure

The last thing you saw on stage?

Hamilton

What’s on your bucket list?

Many things – to spend a lengthy period of time learning salsa and Spanish in Cuba and to do a concert with an American gospel choir.

Where’s your happy place?

Anywhere that serves a really good flat white.

Celebrate someone else …

Matthew Malone our fantastic MD who is a genius but leads with such love.

Celebrate yourself … (make us proud of you)

I’m proud to be working at the Royal Exchange Theatre. I’m proud to have my first leading role. And I’m proud to have been able to stay joyful even though the world isn’t always.

Whose footsteps are you following in?

My favourite quote is ‘I come as 1 but I stand as 10,000’ so I guess I’m following in the footsteps of all the people who have paved the way for me to get to where I am / my mum!

What’s Next?

I’m doing Standing At The Sky’s Edge next year.

Where can we find you?

Insta @bakertm / X @bakertyson

Where can we see you next?

Baker Mukasa stars in Brief Encounter at the Royal Exchange Theatre, Manchester, runs from 2 Dec – 13 Jan 2024.

For more information visit the Royal Exchange

Phillip Butah, is an exceptional artist who, at the age of 16, became the youngest prizewinner in the Young Artists’ Britain competition.

His artistic journey has now led him to the unique role of serving as the official tour artist for King Charles during a significant visit to Kenya.

We spoke to Phillip’s artistic background, his distinctive portraiture approach, and how became official artist for The King …

Please introduce yourself …

My name is Phillip Butah, I’m a Fine Artist based in Colchester, Essex and I’m a second-generation Ghanaian born in London, England.

Describe your life right now in a word or one sentence …

My life right now, is full of relative peace and a lot of work to complete.

What set you the path to a career as an artist?

Winning the Prince’s Trust Young Artists Britain at age 14 and meeting the then Prince Charles, affirmed to me that I could take fine art seriously.

When you think about your first ever piece of artwork and the work, you’re producing today … How have you as an artist evolved?

I’m more fearless.

Art/fine art is often not considered a viable career for anyone who’s not rich/upper class, let alone black, let alone a black boy, let alone African (the stereotype that African parents especially aren’t that supportive when their children choose arts over science, maths or law … How have you navigated this space bearing those things in mind?

I never let it be my focus and just continued.

You’ve also drawn some iconic people from the culture – Ashley Walters, Linford Christie, Ed Sheeran … how did these collaborations come about?

Well Ed I met at 14 as his parents curated the Young Artists Britain competition so that experience initiated our long-standing professional relationship. The other celebrities came via word-of-mouth recommendations which have all been very flattering and comforting.

… and the Chris Brown connection?

Chris Brown is a huge art enthusiast; he had initially requested via his record label to commission me to create artwork for his then album (can’t remember the name of it though). Due to work commitments, it did not see fruition, but some years later, I posted on my Instagram page a portrait I had done of Janet Jackson. He reposted it onto his page which was again a kind gesture on his part.

More recently you’ve been commissioned to paint King Charles – why, how, and what do you do when the Royals come knocking?

It’s all been an extremely exciting time. I received a call during the summer from the palace, with the palace representative stating the King had asked if I’d be interested in travelling with him without any knowledge of the location but with the sole focus of capturing portraits of the King. As I have developed a longstanding relationship with the King (which I have kept largely private), I accepted. When the King calls you, and you drop everything you’re doing, and you go as this kind of opportunity does not happen every day.

Specifically, you followed the King on his recent trip to Kenya … What was Kenya like for you, through the eyes of an artist?

Kenya is a beautiful country and I intend to go back privately. I was able to capture the country, the people, King Charles, and Queen Consort Camilla intimately and offer a fresh perspective. To see the response from the Kenyan people to the King being there was magical, you could see and feel how much this visit meant to them. The entire trip was magical.

Tell us more about your methods of beginning and finishing your artwork – do you have a setup routine, a structured process? Do you go with feeling? Do you set deadlines? etc etc?

It’s hard to say because it’s different every time. I tend to work in oils, I try to keep to a strict time to complete things but never happens.

Highs, lows, solutions …

I really don’t focus on highs or lows. I just create and continue in my craft.

GETTING TO KNOW YOU

If not this, then what?

I honestly haven’t a clue, this is the one thing I can do.

What’s made you Sad, Mad, Glad this week?

Nothing’s made me sad or mad. I was glad when I got to complete some errands I put off.

What are you watching right now?

On my phone, watching funny videos.

What are you reading right now?

The Millionaire Fastlane: Crack the Code to Wealth and Live Rich for a Lifetime! by M.J. DeMarco.

What are you listening to right now?

I was listening to Doja Cat the other day.

The last thing you saw on stage?

I think it was a free tribute concert in the local park.

What’s on your bucket list?

To try different foods in many different countries.

Where’s your happy place?

My home.

Celebrate someone else …

Rakitecht (an artist) he’s my new hero – rakitecht.com

Celebrate yourself …

I find that a bit weird lol be proud of whomever you want.

Whose footsteps are you following in?

No one.

What’s Next?

A new exhibition I’m working on.

Where can we find you?

@Phillipbutahart | phillipbutah.com

Award-winning actor Micheal Ward has fronted a new national cinema campaign.

Devised by arts charity BAFTA and UK cinema advertising market leader Digital Cinema Media (DCM) the campaign intends to inspire the creative talent of tomorrow to pursue a career in the screen industries.

It includes a 90-second trailer for the big screen created by DCM’s creative arm, DCM Studios and independent production company, Common People Films (CMN PPL), with stories inspired by some of the young people BAFTA has supported to realise their creative potential. It rolls out in cinemas across the UK from today until 17 January 2024, and is found on YouTube @BAFTA.

‘Follow Your Spark’ is the second collaboration between BAFTA and DCM following last year’s ‘Behind Every Bafta’ cinema campaign.

This year’s campaign was conceived by director Jeaniq Amihyia around the concept of following your creative spark, or in Micheal Ward’s words, “the exact moment you unlock your true passion” as well as the ways in which BAFTA can help develop your career. Ward won the EE BAFTA Film Awards’ EE Rising Star Award in 2020, and his impressive credits include Steve McQueen’s Small Axe series, Top Boy, and Sam Mendes’ Empire of Light. Amihyia, director and photographer, is founder of The Starting Seven – a community-based production studio in London prioritises working with young creatives regardless of race, gender or sexual orientation.

Micheal Ward said: It’s not always easy to recognise the opportunities and the different job roles there are in the film and TV space, especially for people of my background. Some of my friends studied to become electricians at college, and you can use that to go on to work in Film Lighting, which you might not know about. So, it’s important to show people that there are opportunities out there. And BAFTA’s work is also important because it tries to level the playing field, for the amazing people from ethnic minorities that are very good at their jobs but don’t get the opportunities because the pathways aren’t there for us.

Several alumni of BAFTA’s Prince William Bursary, scholarship and talent programmes contributed to its making, including Camera Assistant Ada Urbaniak and Production Assistant Reece Grant (both 2022 bursary recipients), Lighting Assistant Marta Vitola (BFI Film x BAFTA Academy Alumni programme participant), and Hair & Makeup Assistant Tale Imevbore (BAFTA Scholarship 2023 recipient).

The video highlights the range of free resources and programmes on offer from BAFTA year-round, through three stories inspired by real-life examples:

Director Jeaniq Amihyia said: “I wanted to create a film that sheds light on those who often don’t receive the help and support they should, while also showing that sometimes even the smallest spark is enough to motivate someone to chase their dreams – to make sure we convey that no matter where you are based, your sex, and what your skin colour is, everyone deserves a shot to let their spark manifest.

“By focusing on these three testimonials, I aimed to create something relatable for viewers while allowing them to immerse themselves in each individual’s world with some dramatic setups. This film also touches on some industry issues I’ve highlighted. I chose to include a barber breaking into the film and TV industry, as this is often overlooked. I believe there are not enough examples of this in the industry, so my hope is that highlighting this will inspire and show that there is a place for them in the industry.”

BAFTA CEO Jane Millichip said: “Inspiring and nurturing the next generation of creatives and practitioners in film, games and TV is fundamental to our purpose as an arts charity. Studies tell us that young people today increasingly feel a job in the screen industries is out of reach. Our new trailer for cinemas nationally offers a glimpse of how you can unlock your talent, and the ways in which BAFTA can support you in a creative career.”

“This trailer, fronted by BAFTA EE Rising Star award-winner Micheal Ward, is inspired by the real stories of participants on our scholarship, bursary and talent programmes. DCM have once again been brilliant collaborators, and we are grateful to director Jeaniq Amihyia for his creative vision and commitment to the project.”

Jeremy Kolesar, Creative Director – DCM Studios, added: “We are thrilled to be working with BAFTA once again to use the power of the big screen to tell these powerful stories that highlight the brilliant work they do through their mentoring and bursary programs to inspire future talent into the Film, TV and Gaming industry.

“We’ve really stepped it up a gear and this year’s project is bigger in both ambition and scale. The ad has been made specifically for cinema, from concept all the way through to delivering in 4K and Dolby Atmos surround sound to take full advantage of cinema’s unique environment, which was all executed to perfection thanks to the creative leadership skills of DCM Studios’ Creative Production Lead Bridie Scriven. The best place to see this is on the big screen.”

Tony Roberts, Co-founder and EP of Common People, said: “When we were first approached about pulling this together, we were incredibly excited about being trusted with representing the brand of such a UK institution and quickly set to work in identifying which of our talent would be good to pitch an idea. We didn’t just want a single director to write as it needed a few angles to find something which really hit the mark.

“Our three chosen directors developed brilliant ideas individually and the pitch element was a real fun part of the process. It reinforced how diverse and brilliantly creative our directors are. But there was something about Jeaniq’s idea ‘Follow Your Spark’ concept that resonated with everybody.

“With a project of this size, it was Jeaniq’s idea which won us all over, but it’s important to mention the producing skills of Jake River Parker who worked tirelessly to pull this entire thing together and deliver in record time. Our production partners in TenThree, 750mph, Time Based Arts and especially Dazzle VFX in Prague all went well beyond what was expected to make this film a possibility.”

When approached by DCM Studios to make the film, CMN PPL invited three of its rostered directors to pitch internally and presented their ideas to DCM and BAFTA in a blind pitch – not revealing who wrote each script so the choice was purely based on the creative output.

Rolan Bell is an Olivier Award nominated actor …

His previous credits include Memphis in the West End and Ragtime at Regent’s Park Open Air Theatre, he has also appeared on television and film including Pretty Red Dress.

In his latest role he play Robert, joining the longest running comedy in the West End The Play That Goes Wrong.

We catch up with Rolan who discusses the precision required to create the chaos that unfolds during the show?

Please introduce yourself …

My name is Rolan Bell, I’m an actor born and raised in west London to parents of Jamaican heritage. 

Describe your life right now in a word or one sentence …

In a word – busy.

Tell us about The Play That Goes Wrong …

It’s a slapstick comedy about a group of amateur actors who put on a murder mystery play titled The Murder at Haversham Manor. Unfortunately for these drama enthusiasts any and everything that could possibly go wrong does. So throughout the show, it becomes a battle of unwavering determination vs the worst luck you could ever imagine, and what’s so funny is the harder the cast and crew try, the worse everything around them gets. 

You play Robert … Who is Robert and how does he fit into this world?

Well, Robert is an interesting guy. In the play within the play, Robert plays Thomas Collymore, who is the wealthy best friend of our murder victim Charles Haversham. He’s big, he’s loud, he’s a robust man who’s always on the front foot and that’s perfect for the Robert character because he sees himself as the actor of all actors. He’s unapologetic, proud and would love to see himself as the saviour of a show filled with amateur actors but let’s just say his ego gets tested to the max.

There’s something about joining an award-winning play that’s been running for 9 years, and has had different people playing the roles. How do you fall in line with its reputation whilst bringing your special sauce to, in your case, Robert?

As you said, this is an award-winning show that’s been running for nine years now. This show is clearly a treasure that’s proven its worth. So respect is due. This show is a unique piece of theatre that requires a particular understanding of its concept to make it work. So I figured it best to strip myself of whatever I’ve done professionally and come into this like a student whilst utilising whatever quirks I may have that would fit the show and make my take on Robert unique or fresh. It’s not my aim to make him different, it’s my aim to make him believable. If the audience is immersed and the comedic beats are landing, I’m a happy man. 

Your stage career is more extensive than your screen, is that by design?

I’ve always wanted to do both but my love for acting was discovered on stage. A majority of my drama education was on stage so going into the industry and gaining professional experience on stage first was a slightly more comfortable way to develop as an actor. My experience and knowledge of screen work was limited. I can remember the first time I was on set and thinking the crew were shouting Rolan, Rolan, Rolan. I thought I’d made a mistake or was in the wrong place, when actually they were shouting ‘rolling‘, letting everyone know the cameras were rolling. So in short, it was a blessing to build up the screen work at a slower pace. However, stage or screen, it’s all about doing projects I enjoy and playing characters I believe are suitable and I can hopefully do justice. 

You have a role in Pretty Red Dress the debut feature from Dionne Edwards. Tell us about your experience …

Pretty Red Dress is a project I’m so proud to be a part of. When my agent sent me the script, the words flew straight off the page and my imagination was right there. When I met Dionne for the role, I felt completely at ease with her vibe so with that, plus this glorious script she’d written, I wanted to be on board. I got the call, we’re set to go and then COVID hits. I’m thinking, wow, this thing’s going to be cancelled or postponed to a time that’ll mean they need to recast etc. luck had it that the timing still worked out. Working with Dionne Edwards, Natey Jones and Alexandra Burke was a dream. We laughed loads. Natey and I were semi-method and had a lot of brotherly competition in our off-screen day-to-day interactions and with all the challenges that came about, getting the movie done, I couldn’t be happier with the finished product. 

Back to The Play That Goes Wrong, can you tell us any highs, lows, solutions …

Describing any moment so far as a low would be too harsh a statement but I did wonder how my body might hold up for the duration, with so much high-energy physical work. A good diet and exercising in my spare time, has done me well so far. 

GETTING TO KNOW YOU…

What’s your current plan B?

If all goes wrong my plan B is to dust myself off and continue with plan A.

What’s made you Sad, Mad, and Glad this week?

Train cancellations have made me mad and my one-year-old son taking about 8 steps into my arms has made me glad. 

What are you watching right now?

Top Boy Season 3 and loving it.

What are you reading right now?

The Heart of The Qur’an by Asim Khan

What are you listening to right now?

My music is always random and could be anything depending. Afrobeats, Hip Hop, Jazz, Classical anything. 

The last thing you saw on stage?
Hamilton.

What’s on your bucket list? 

Deep sea diving, paintball, skiing/snowboarding.

Where’s your happy place?

Home. 

Celebrate someone else …

My wife. She’s four months pregnant and soldiering through some of the toughest days of sickness. I don’t envy her but I definitely rate her. 

Celebrate yourself …

What I do now is to leave behind a legacy my children’s children can be proud of. I never grew up with a male role model so I’m doing what I can to make that change for the generations to come. 

Whose footsteps are you following in?

Not sure about that but I’ve been watching Idris Elba’s body of work grow with keen interest in the type of projects and the hope to work with him someday. 

What’s Next?

It’s tricky with a young family. So many key moments I wouldn’t want to miss and at this time I’m in a position to be selective on what I do, if it’s worth the sacrifices of family time etc. So it’s something I’m weighing up and I’m in discussions with my agent about what direction to head in next. 

Where can we find you?

I’m on Instagram Rolan Bell

Where can we come and see you in The Play That Goes Wrong?

The Duchess Theatre Tuesdays-Sundays. Find out more here.

Renowned Director Blitz Bazawule, of The Burial of Kojo, Beyoncé’s Black Is King and the upcoming Warner Bros. film The Color Purple, celebrated three young, emerging Black British filmmakers who will debut their short films on discovery+ today as part of Black Britain Unspoken.

Part of Warner Bros. Discovery Access, the talent development programme for under-represented creatives, Black Britain Unspoken aims to give opportunity and voice to Black British filmmakers who are breaking into the industry, as data continues to show that Black people remain particularly underrepresented across director, writer and producer roles in the UK.

Back for a second series in 2023, this year’s three short films, Alterior by Terrie Aghaizu, Beats From Heaven by Eden Igwe and Food, Music & Vibes by Monique Needham, each provide authentic, original perspectives of what it means to be Black and British.

The films were privately viewed by Blitz Bazawule, and in a meeting last week in London with the three up-coming filmmakers Bazawule said, ‘I was blown away by the authenticity and originality of each of the Black Britain Unspoken 2023 films. I could instantly relate to the family relationships depicted in Food, Music & Vibes; Alterior beautifully dispelled the concept that Blackness can sometimes be a narrow box; and Beats From Heaven – I was instantly hooked, as a musician I have also been heavily influenced by church music. Eden, Monique, and Terrie are the next generation of storytellers. I look forward to seeing what they do next on the back of this hugely exciting Black Britain Unspoken programme.’

Friday night Alterior, Beats From Heaven and Food, Music & Vibes were premiered to industry and press at the Ritzy in Brixton, celebrating the films and the filmmakers ahead of public release today. The event, delivered in partnership with Bounce Cinema and hosted by The British Blacklist Founder Akua Gyamfi, showcased the diverse storytelling and inspiring creative vision of these unique talents.

Speaking on the films and Black Britain Unspoken Akua Gyamfi said ‘Warner Bros Discovery’s Black Britain Unspoken programme offers Black British filmmakers the tools, mentorship, and opportunities they need to shine in an industry that’s historically lacked diversity. In a world hungry for fresh perspectives, programmes like Black Britain Unspoken are the bridge between underrepresented voices and the mainstream. Meeting with Blitz Bazawule, the director of ‘The Color Purple,’ with the Black Britain Unspoken filmmakers this week, was a rare and precious opportunity. The advice he shared was profound which will undoubtedly have longstanding impact on the filmmakers as they embark on their careers. As for the films—Terrie Aghaizu’s ‘Alterior’; Eden Igwe’s ‘Beats From Heaven’; and Monique Needham’s ‘Food, Music & Vibes’ each explored themes of culture, identity, tradition and legacy offering fresh and insightful perspectives that are much-needed in today’s creative landscape, I’m so excited to see more from them and this is why Black Britain Unspoken is important; amplifying diverse voices and making the industry richer and more inclusive.’

Launched in 2022, Black Britain Unspoken identified and supported three incredible filmmakers to produce and launch: The Nod – Tell Me You Got Me by Richard Ampeh, Too Autistic for Black by Talisha ‘Tee Cee‘ Johnson and The Power of Plantain by Sheila Kayuma, all offering highly personal, unique and inspiring stories. Since taking part in Black Britain Unspoken the films have been screened at the International Shorts Festivals; The Nod – Tell Me You Got Me has been nominated for the Paris Short Film Festival, and both Tee Cee and Richard Ampeh were nominated for Debut Director – Unscripted at the Edinburgh TV Festival New Voices Awards.

Black Britain Unspoken gives filmmakers a pitch-to-production experience, and an opportunity to bring their creative vision to life. With the support of Media Trust, aspiring filmmakers who take part in the programme are also offered professional development and tailored workshops focused on media training and career progression, alongside the production management and mentorship from Bounce Cinema and Warner Bros. Discovery U.K. & Ireland.

Asif Sadiq MBE, Chief Diversity, Equity and Inclusion Officer Warner Bros. Discovery said ‘Black Britain Unspoken has been developed to give Black British creatives the tools, experience and mentorship to confidently enter the media industry. We are extremely proud of the filmmakers from series one who have gone on to achieve great things and continue to create films. This year we have again identified three hugely inspiring, unique Black British talents in Terrie, Eden and Monique and we are so excited to release their short-films and support them in their creative journey. It is only through targeted support that we can begin to showcase the diverse stories that deserve and need to be told.’

To find out more about Black Britain Unspoken, visit: www.warner-access.com

Appointed by the UK Foreign Secretary …

Renowned media mogul, entrepreneur and CEO of EbonyLife Group, Mo Abudu, has been appointed Creatives Champion for the upcoming UK-African Investment Summit scheduled to take place in April 2024 in the United Kingdom.

The announcement was made by the UK’s Secretary of State for Foreign, Commonwealth and Development Affairs, The Rt. Hon James Cleverly, during the Creative Industries event at the Residence of the British Deputy High Commission in Lagos on the 1st of August 2023.

The UK’s Secretary of State for Foreign, Commonwealth and Development Affairs, Rt Hon James Cleverly, is currently visiting Nigeria as part of his 3 country Africa tour that includes Ghana and Zambia.

As part of the UK-African Investment Summit, a first-of-its-kind UK-Nigeria creatives side event will be held in London, to promote and project the creatives sector in Nigeria and other African countries and UK-African collaboration in this field.

Expressing her profound gratitude upon receiving this recognition from the UK Government, Mo Abudu said:

“I am humbled and deeply honoured, as I accept the prestigious position as Creatives Champion for the UK-African Investment Summit 2024. This recognition fills my heart with immense joy and gratitude, knowing that our collective dedication to the creative industries has been acknowledged by the UK Government.“

“There is much work to be done to move the creatives sector forward and there is no better time to start than now. I look forward to meeting with the various stakeholders in our sector across the continent, forging connections, and building bridges that will foster collaboration, innovation, and transformative progress in the creatives domain.“

The African creative economy holds immense potential for driving economic growth, fostering cultural diversity, and empowering local communities across the continent. With its rich heritage, artistic traditions, and diverse talent pool, Africa is poised to become a global powerhouse in creative industries such as music, film, fashion, literature, visual arts, and design. The burgeoning tech and digital sectors also offer exciting opportunities for innovation and creative expression. With the right support, infrastructure, and policies, the African creative economy can emerge as a catalyst for socio-economic development, contributing to both cultural enrichment and economic prosperity throughout the region.

The upcoming UK-African Investment Summit will be hosted by the UK Prime Minister, The Rt. Hon Rishi Sunak, in London on 23 to 24 April 2024 and will bring together Heads of State and Government from 25 African countries alongside British and African business leaders.

The Summit will serve as a bridge connecting nations, cultures, and aspirations and aims to strengthen UK-African partnerships, create jobs and foster growth, support talent in sectors such as finance and technology, and promote women entrepreneurs.

Film London’s commissioning programme for early career Black-identifying* artist animators

Artists to receive £3,000 to create a new 2-3 minute animation, including bespoke mentoring, development support and advice.
 
Four artist animators have been selected for the latest round of Film London’s FLAMIN Animations, supported by Arts Council England. Now in its third year, the commissioning programme supports early career Black-identifying* artist animators living in the UK to produce a new work.
 
The selected FLAMIN Animators 2023-24 are:

• Yasmine Djedje-Fisher-Azoume
•  Folake Fadojutimi
•  Gisela Mulindwa
•  Duncan Senkumba

FLAMIN Animations is run by Film London Artists’ Moving Image Network (FLAMIN), which supports artist animators as they develop a career working with the moving image. The programme responds to the underrepresentation of Black artists within the art, film, and animation industries, and is part of Film London’s commitment to diversity, equality and inclusion.

Freelance animator Yasmine Djedje-Fisher-Azoume said:

“Inspired by research on my work ‘Untitled’ my project will explore themes of femininity in Ivorian tribal fertility carvings and sculptures. Reinterpreted through both modern and traditional methods, I would like to use a range of approaches, including charcoal, screen printing and linocut. The work will incorporate references to traditional bronze statues by drawing and scratching into copper sheets.

Artist and animator Folake Fadojutimi said:

“Entitled Feed me and I will be the better you, this animation will explore AI and the fear of its potential, the fear of not knowing and yet wanting to know more of what AI is capable of. Despite all, the progression of development into AI continues.”

Experimental animator and visual artist Gisela Mulindwa said:

“Using real conversation taken from interviews with local people, this experimental animated documentary will explore how everyday spaces affect our subconscious. Growing up and living in South London, I have seen upsetting and fast changes. The people who built these communities have been pushed out and ignored. Working experimentally, I would like to use animation as a way to create a constantly changing space, while we go on a journey through these different stories”.

Animator Duncan Senkumba said:

“This short film dives into what it means to be part of a diaspora. It will explore the conflicting feelings of peace and disconnect when you visit your homeland; not knowing your own language; and the experience of being caught between two cultures.”

Previous FLAMIN Animators have gone on to showcase their work on the Piccadilly Lights as part of the CIRCA x Dazed Class of 2022, in Frankfurt at the B3 Biennial of the Moving Image, at the London International Animation Festival and at London’s Picturehouse Central and Rich Mix as part of the New Black Film Collective’s TNB XPO.

To find out more about FLAMIN Animations, visit

SERIES IS WRITTEN AND EXECUTIVE PRODUCED BY SIR LENNY HENRY AND COMING TO SCREENS THIS AUTUMN

The first look stills from Sir Lenny Henry’s Three Little Birds led by rising stars Rochelle Neil (The Nevers, Guilt), Yazmin Belo (What Just Happened) and Saffron Coomber (Tracey Beaker Returns, Eastenders), have been released ahead of the series coming to ITV and ITVX this Autumn and BritBox International in the US, Canada, Australia, South Africa and Nordic markets in 2024. The series is produced by Tiger Aspect in association with Douglas Road.

Spirited, moving, funny and utterly heartfelt Three Little Birds is a triumphant celebration of immigration, community and the strength of Black womanhood inspired by the life-affirming stories of Sir Lenny Henry’s mother and all those who have travelled to make Britain their home.

Set in 1957, post-Windrush, and amidst the booming decade set alight by promise, the rhythm of rock and roll, swing, Hollywood starlets and fabulous fashion Three Little Birds will introduce Dudley and the rest of the world to gregarious sisters Leah (Neil) and Chantrelle (Coomber) and their virtuous, bible-loving acquaintance, Hosanna (Belo), as they board a cruise ship from Jamaica bound for a new life in Blighty.

Lured to the UK in search of new beginnings by their older brother Aston (Javone Prince-Dodger), who asks Leah and Chantrelle if they’ll bring him a potential wife from back home, they convince Hosanna to give up her job as a trainee nurse and embark upon the journey to ‘the mother country. An effervescent mix of strong personalities they all have very different reasons for leaving their family and friends behind in Clarendon, Jamaica, though they soon discover it’s not all it’s cracked up to be, not least the dramatic change in weather. While we learn shocking truths about the lives they left behind the voyage of discovery is not smooth sailing for our trio, but they are determined to succeed and overcome the many obstacles of integration and build a new life in Britain.

The series also stars Bobby Gordon(Hollyoaks) as the sisters’ new factory-worker colleague Shelton, Arthur Darvill (The Sandman, Broadchurch) and Beth Hayes (Mr Selfridge, Black Mirror) as Chantrelle’s employers Mr and Mrs Wantage, who expect far more from her than just cooking shepherd’s pie and minding their three children as their new live-in Nanny.

Three Little Birds was filmed in The Midlands and has been commissioned for ITV by Head of Drama, Polly Hill, working alongside Nana Hughes who is overseeing production for ITV. The drama will premiere on ITV1 and be available for streaming on ITVX. Tiger Aspect Productions produces the six-part drama, written by Sir Lenny Henry and guest episode writers Carol Russell and Avril Russell, in association with his production company Douglas Road Productions. Both companies are part of the Banijay UK group. The series is co-produced by BritBox International, with Diederick Santer as Executive Producer. Banijay Rights handle international distribution.

Charles McDougall, Yero Timi Biuand Darcia Martin will direct two episodes each and Sir Lenny Henry, Lucy Bedford, Kate Crowe, Russell T Davies, Charles McDougall and Angela Ferreira serve as Executive Producers with Stella Nwimo producing.