Call for Entries: The 16th Annual Women of African Descent Film Festival
The 16th Annual Women of African Descent Film Festival presented by The Brooklyn Chapter of The Links, Inc. now opens its CALL FOR ENTRIES. If you would like to see an example of the lineup from WADFF 2016, click here.
Please contact email@example.com with questions regarding the festival.
MISSION & OBJECTIVE To showcase films which are centered around the theme of Linkages: Women, Their Families, Neighborhoods, and the Global Community, and to support the artistic development of Women filmmakers of African Descent by providing a supportive exhibition platform, offering stipends to participants, and seeking industry opportunities that will help to expose the filmmakers’ works and further their careers.
ABOUT THE FESTIVAL The Women of African Descent Film Festival (WADFF) is celebrating its 16th Anniversary in 2017. The media constantly bombards us with negative images of people of African descent. Our positive accomplishments, uplifting experiences, and gifts to humanity get little attention. The Brooklyn Chapter believes it is vitally important that our legacy be maintained, nurtured and preserved and it is our responsibility to shape the public’s perception of who we are as a people. Through the medium of film, filmmakers of African descent document and relay the stories of our past, present, and future. They have become the new historians –“preservers of our legacy.” The Brooklyn Chapter realizes that many societal misconceptions start with how we are portrayed in the media. To counteract the adverse portrayal of African Americans in the movies and media, the Brooklyn Chapter, in 2002, initiated Linkages: Women of African Descent Film Festival. By choosing and screening films that depict the positive linkages that women of African descent have to their families, neighborhoods and communities, the film festival is able to effectively influence people’s’ perceptions through the medium of film.
GENERAL RULES & SUBMISSION GUIDELINES All films must be produced, written or
directed by a female filmmaker of African descent, must have been completed on or after June 1, 2012, and must be 1 hour at most in length. Submission deadline is Friday, March 24th. Juror’s Choice Awards and stipends will be presented to the participating filmmakers.
Local, regional, national and international submissions are accepted.
Filmmakers are encouraged to submit a digital and/or online version of their films in a format such as AVI, FLV, WMV, MP4, MOV, QT, WMV, AVCHD, FLV, H.264, or DivX. If these file formats do not exist, please submit a link to your film on a site such as Vimeo, YouTube, Dailymotion, or MetaCafe. If applicable, include all passwords for video access.
DVD and VHS copies will not be accepted.
Please note: there is no submission fee. With your playable submission, please include a synopsis, crew list, press kit and any stills you would like to appear in the program and/or advertisements.
Send all films to: firstname.lastname@example.org
THE EVENT WADFF 2017 will take place Saturday, May 6, 2017 at LIU Brooklyn (corner of Flatbush and Dekalb Avenues), Media Arts Department, Spike Lee Reading Room, 10am-6pm.
THE LINKS Formed in 1952, The Brooklyn Chapter of The Links is dedicated to the support of educational, civic and cultural activities in Brooklyn. It is a chapter of The Links, Inc. an international, not-for-profit corporation, whose membership consists of 14,000 professional women of color in 282 chapters located in 41 states, the District of Columbia, and the Commonwealth of the Bahamas. The Brooklyn Chapter works under the guidelines of its national organization in providing services to its Brooklyn Community in five mission areas: The Arts, Services to Youth, National Trends and Services, International Trends, and Health and Wellness. A focus of the Chapter’s arts programming is to empower women and youth by lending support and encouragement to emerging artists – with a particular focus on filmmakers for the past 16 years. The foundation for all of the chapter’s programs and services is rooted in the African American tradition of giving and volunteerism. Members share a deep sense of communal responsibility, and for the past 66 years, have been committed to actively initiating and supporting educational, cultural, and civic programs that positively impact the lives of people of African descent residing in Brooklyn.
You can ‘Like’ and follow the festival Facebook page here: https://www.facebook.com/WomenofAfricanDescentFilmFestival/
For #WADFF2017 twitter updates, follow @BlackChickMedia.
Want to learn more about WADFF and the Brooklyn Chapter of the LINKS? Check out our Vimeo page here: https://vimeo.com/164791769
Please contact WADFF Co-Chair Yvonne Presha or Elyse Morris, On-site Coordinator at email@example.com.
To know me is to know just how much I love the So & So Arts Club and its founder Sarah Jane Berger. So & So is a professional development organization by actors for actors, and I cannot even begin to explain how my life has changed for the better because of this club.
Now, as I have absolutely no trouble in admitting I’m a snob (but in a good way!;) and wish So & So was still a very well kept secret; one that only the best sorts of people would be privy to (ahem). But I commend Miss Berger for creating a global artists club, and I’m still advocating to be American Representatives and/or head a chapter here (Please oh please!). If there’s one thing Sarah knows how to do (and let’s just be honest, the woman is a wonder as an Actor, Director, Producer), it’s put on a festival. From Women in Arts and Hopefull Rep, to Kick up the Arts and Women and War, So and So offers numerous opportunities for artists to connect, engage, learn and work.
This year, I was lucky to be in London during Women and War, which was held at the So & So space at 6 Fredrick’s Place. While I did not have time to see everything I wanted, I was able to see my extremely talented friend Zelina Rebeiro and the lovely Isaura Barbé-Brown (who even fooled this Midwestern gal with her American Accent!) in Veils.
Written by Tom Coash, the play focuses on American University in Egypt roommates Intisar and Samar. “Intisar, a veiled, African-American Muslim student, thinks she might finally fit in when she enrolls for a year abroad at the American Egyptian University in Cairo. However, the Arab Spring is about to explode across the Middle East, threatening to overwhelm the young American woman and her liberal Egyptian roommate, Samar. In the struggle to find their footing in this political storm, the young women instead find themselves on opposite sides of a bitter and dangerous cultural divide. Will the violent events leading up to the revolution salvage their friendship or shatter it?”
Veils is a great two hander focusing not only on religious differences (and similarities), but also the bonds between women, the Arab Spring (and what that meant for Muslim Youth), displacement and cultural hybridity. Zelina Rebeiro is superb as Samar, the party loving, freedom fighting non-hijab wearing Egyptian Muslim; and Isaura Barbé-Brown dazzles as Intisar, the American born conservative Muslim student who hopes to finally be understood and respected in Cairo. The exuberant Samar enlists her new African-American roommate in helping her create a blog debating the practice of wearing veils, but when the revolution interrupts, it threatens to ruin their friendship.
After Veils, it was on to see The Marvellous Adventures of Mary Seacole, a one woman show starring actress and songstress Cleo Sylvestre. The title is a play on Mrs. Seacole’s autobiography, Wonderful Adventures of Mrs. Seacole in Many Lands (1857), which is considered to be one of the first autobiographies by and about a mixed-race woman.
Who is Mary Seacole you ask? I was wondering the very same; and was amazed to discover she was a Jamaican/Scottish/African entrepreneur, world traveler, hotelier, healer and self taught nurse who successfully tended to battlefield soldiers during the Crimean War. It is widely believed that Florence Nightingale was the first woman to develop what we now know as modern nursing, but to hear Mary Seacole’s story puts all of that into question. The viewer even learns Mary applied to the War Office to assist (and even spoke to Florence Nightingale herself), but was refused (no great surprise there…).
The play takes you on a journey from her early days learning about herbal healing from her mother, to her travels through Jamaica, London, Panama, her marriage, the Great Fire of Kingston, the Cholera Epidemic, and the war. Throughout her life and career, Mary was held in the highest regard, and associated with such dignitaries as he Prince of Wales, the Duke of Edinburgh, the Duke of Cambridge, and many other senior military officers. Late in life, when she faced economic downturn, Mary was able to survive and live somewhat comfortably due to the fund and care of her illustrious patrons.
In 1991 she was posthumously awarded the Jamaican Order of Merit, and in 2004 was voted the greatest Black Briton. More recently, a statue of her describing her as a Pioneer Nurse was erected at St Thomas’ Hospital in London on 30 June 2016. The only known portrait of Mary Seacole resides in the National Portrait Gallery in London, England.
The final play on my agenda was Shrapnel, “A Collection of poetry, monologues and a play excerpt from the writers Chris Fogg, DHW Mildon and Rose Solari, ranging from a mother grieving the death of her son in the final minutes of WW1 to a mortician at Camp Bastian preparing for a date. Voices of women across class, generations and history [are heard].” The featured shows and interwoven poems were Posting to Iraq by Chris Fogg, Coda, Go Firm, Shades and Prize Giving by DHW Mildon, and two Poems by Rose Solari. I mostly had to see this show because, as long as I’ve known Sarah, I’ve never seen her act. But now, I’m so happy I have! (secretly thinking of a show to in which to have her star…)
All in all, Women and War was an amazing festival, and I wish I had time to see more shows. But, knowing Sarah and the So and So Arts Club, another festival isn’t far behind.
We’re back! And we hope you’re as excited as we are. Yes, we realize we’ve been away for what seems like forever, but we swear it’s for a good reason! Despite our absence, thank you for remaining loyal and checking in with our team. Nothing makes us happier than knowing we are part of an amazing, loyal and engaging community.
Our absence has not been in vain; we’ve been traveling, networking and making art magic with creatives all over the world. Theatres, movie sets, board meetings. New York, Paris, New Orleans–we’ve been busy little chicks.
Speaking of travel and (international) relationships, we’ve just returned from London, England, and had more than a fabulous time. From seeing the marvelous play Fabric written by the delightful Abi Zakarian (and we’re not just saying that because she’s our friend), to spending a majority of the trip at Women and War presented by the So and So Arts Club, Black Chick Media was all about empowerment, education and advocating for the arts.
Fabric, directed by Tom O’Brien and starring Nancy Sullivan, is a one woman play about Leah, “…who lost her friends, family, career, and dignity. Forced to move for a third time following a harrowing court case, she relives painful events in her past as she sorts through all the stuff that has accumulated in her spare room: clothes she doesn’t wear, books she doesn’t read, things she doesn’t need anymore. Leah desperately tries to unpick just where it all went wrong and who or what is really to blame.
FABRIC deals with the aftermath of a rape that isn’t believed and confronts the traditional roles still expected of women; questioning how much has changed since the sexual revolution of the 1960s.”It’s fierce, raw, powerful…a tour de force and just what is needed. Is it a feminist manifesto? Sure (is that even a bad thing?). But only in so much as it’s a story that highlights the patriarchal laws that oppress, regulate and condemn women’s bodies and rights… the standards set up by some omnipresent societal leaders who say how we should behave, who we should love, how we should look.
We’ve all been Leah at one time or another. If it’s the cute plucky Leah who falls in love with a stranger in a bespoked suit, or if it’s the Leah depressed and trapped inside herself after a traumatic experience. This is a story that resonates and is more than familiar even if you’ve never personally experienced what Leah has; we all know someone. We’ve seen the news, read the papers, heard the conversations. It’s a story that’s all too familiar and painful. What we love most about Fabric is that the entire story is told from Leah’s perspective. All characters, all action, all fear anger happiness and rage–seldom do we hear from women by women about women. We love that the play is unpretentious; it meets you where you are, accepts who you are, and trusts you enough to take you on the journey. If you learn nothing, if you leave this play unchanged, you should consider questioning your morals and basically your entire existence.
Thank you Abi for writing such a brilliant character and story that transcends all cultures, space and time. Leah is all women everywhere, and we can’t wait to see this piece stateside!
If you happen to be one of the lucky people heading to the Edinburgh Fringe Festival I highly recommend you see this unforgettable show (and also Mary Seacole but more about that tomorrow!).
We can’t wait to make magic with this fabulous creative.Love