EvEryonE`s talking about abidjan. thE city has

DISBOOK #5 | NOVEMBER 2014
Everyone’s talking about Abidjan.
The city has become the epicenter of the
French-speaking African audiovisual
industry – it’s where professionals come
to be seen. The country is only beginning
to reestablish itself following ten years
of conflict and political turbulence,
and yet an Ivorian creative scene is
emerging, made up of promising talents,
engaged technicians, visionary
broadcasters and ambitious producers
whose vision extends beyond the frontiers.
Ivorian fiction is the best ambassador for
the CÔTE D’IVOIRE, where creativity is in the
cultural DNA and overwhelming natural
surroundings and barren landscapes
beckon to cinematographers from around
the world. As movie theatres gradually
disappear from the landscape, the future
appears to point at television, and the
transition to digital will allow the entire
audiovisual industry to take flight on a
global scale.
Hollywood, Bollywood, Nollywood have
all had their moments; now it’s time to
welcome Babiwood.
Babiwood
“The Liberalization
Of The Audiovisual Sector
And The Move To Digital
Terrestrial Television
Will Bring Deep Changes”
—
An interview with Mrs. Affoussiata Bamba-Lamine,
Minister of Communication of the Republic of CÔTE D’IVOIRE
An interview by Baudelaire Mieu in Abidjan
—
DISBOOK: Madam Minister, can you paint a picture
of Ivorian TV for Disbook?
Affoussiata Bamba-Lamine: In December 2013,
Radiodiffusion Télévision Ivoirienne (RTI) celebrated 50 years
of existence. Here are some important dates. On August 7,
1963, Ivorian TV launched black and white programs, whose
reach was limited to Abidjan and its suburbs. In 1964, RTI’s
programs, broadcasted by terrestrial microwave
transmission, could reach the center of the country, covering
cities such as Yamoussoukro – the current political capital –
Bouaké, Daloa, Sinfra and Séguéla. Ten years later, color TV
appeared, reaching approximately half of the national
territory and broadcasting one program per day. A second
program would not be added until between 1980 and 1981.
In 1994, broadcasting started to operate with the satellite
Intelsat, through the program COMSAT. Thus, it became
possible to reach 96% of the territory. The real start of the
modernization of production equipment came when we
purchased digital cameras and virtual flatbed editors.
Mrs Affoussiata Bamba Lamine,
Ministry
2 of Communication, in her
office in Abidjan
On the cusp of the liberalization of the audiovisual sector
and the move to Digital Terrestrial Television (DTT) - two
processes that will bring deep changes - RTI, as a
governmental organization, is preparing for the stakes.
In anticipation of the liberalization, RTI must go through a
genuine revolution by taking two main actions: strengthening
its human and technological capabilities and investing
in production and distribution so that we can make attractive
content, more suited to the expectations of an increasingly
demanding audience. Thus, a new department, RTI
DISTRIBUTION, was created within Ivorian Television.
It should allow our national TV to establish itself as a
renowned actor on the African audiovisual scene. The
creation of this department also has the goal of supporting
Ivorian producers in the marketing and promotion of their
works internationally.
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CLUB CIGARE-ZINO
Rue des Jardins, close
to the Hayat supermarket
Deux Plateaux, Cocody
+225 07 60 96 77
•
DISBOOK #5 | NOVEMBER 2014
The rise of DTT will be beneficial for everyone, including RTI.
As a matter of fact, the establishment of DTT will enable new
operators to come onto the market, providing jobs to young
adults, improving the quality of TV coverage, improving the
sound and image quality and facilitating better access to
information for the population.
D: The liberalization of the audiovisual space and the move
to digital media are clearly the two biggest stakes.
A. B-L.: Indeed. In anticipation of the liberalization, some
steps are already being taken. A legal framework is being
drawn up through the revision of the law that regulates
audiovisual communication. The High Authority on
Audiovisual Communication (HACA), the regulatory body for
the audiovisual sector, is getting ready to face the
liberalization process and to welcome the historical operator,
RTI, as well as other operators, in the first multiplex.
This liberalization offers several advantages. The audience
will be able to access other programs. Audiovisual production
will develop and, at the same time, new jobs will be created
and an important source of income will be generated.
However, I remain cautious because, as the President of the
Republic reminded us, the liberalization of the audiovisual
space will require private operators to take responsibility for
not reproducing the mistakes that were made during the
“spring” of the written press in 1990.
It is also a good occasion to clarify a point by reminding
people that our current President of the Republic, HE
Alassane Ouattara, a former Prime minister (1989-1993), is
the one who initiated the first stage of the liberalization when
he enabled the creation of private radio stations.
D: Concerning the move to digital TV, do you think you will be
able to follow the schedule that has been laid out for 2015?
B-L.: The migration process from analog to digital TV is
non-reversible. If our country is somehow behind schedule,
we can fill in the gaps quickly, given the interest our
government has in this issue. The schedule, proposed by the
Migration National Committee, has planned the following
steps from now until the first quarter of 2015: the vote and
4
enactment of the law regulating audiovisual communication;
the adoption of the decree forbidding the import and
marketing of equipment terminals with an analog reception;
an awareness campaign on DTT and its advantages; the
creation of a broadcasting company and the establishment
of an economic model; support to the population in terms of
tax exemptions on equipment and reception terminals; the
evaluation of the broadcasting network and its creation in the
framework of a public-private partnership, according to the
propositions of the Migration Strategy to DTT Committee that
have been adopted by the government; the composition of
the first multiplex with the historical operator RTI and three
or four editing operators.
City Guide: Bernard
Azria’s Must-Sees
In Abidjan
LE TOIT D’ABIDJAN
Hotel Sofitel Ivoire, Cocody
+225 22 48 26 26
•
LA CASE EBENE
Rue Botro Russelle, Plateau
+225 20 21 21 20
•
LA CROISETTE
Rue Botreau Roussel, Plateau
+225 20 21 27 86
•
HOTEL PARTICULIER
Route du Lycée Technique
Rue B 52, Cocody
+225 22 44 16 16 – +225 22 44 67 37
infos@hotelparticulier-abj.com
www.hotelparticulier-abj.com
•
COUCOUET LODGE
In Assinie (one hour
drive from Abidjan)
Reservations +225 07 07 77 69
www.coucouet_lodge.com
The first simulcast broadcasting could take place before the
first quarter of 2016, by which time the Ivorian authorities will
consider it appropriate. There should be 15 channels in total.
D: What is your opinion on the vitality of Ivorian audiovisual
production?
A. B-L.: Compared to Nigeria, Côte d’Ivoire’s production is still
feeble. However, Ivorian production is diverse and the rise of
DTT could help to give it a boost. Efforts have been made by
the government to support and encourage those who choose
to become professional producers. Côte d’Ivoire can count on
the talents of its producers and actors, who are renowned
worldwide.
D: Côte d’Ivoire is the Country of Honor at DISCOP Africa
2014. What would you like to showcase about your country
on this occasion?
A. B-L.: Côte d’Ivoire is proud to be participating in DISCOP
Africa 2014 as a “host country”. It intends to demonstrate its
skills in the realm of audiovisual production. This event also
offers Côte d’Ivoire the opportunity to reassert its
commitment to developing this sector by producing highquality and attractive content. RTI DISTRIBUTION will
officially present its Ivorian productions catalog. The other
Ivorian entities that will be in our space here will be
presenting the economic, agricultural, cultural and touristic
potential of Côte d’Ivoire. I’m referring to CONSEIL CAFÉCACO, les PORTS AUTONOMES D’ABIDJAN (PAA), SAN-PEDRO
(PASP) and PETROCI.
DISCOP Africa 2014 is a showcase that allows us to reposition our country on the international level and to show
how we plan to advance by 2020.
Nicknamed the “Manhattan of the Tropics,” Abidjan, the largest city in the Ivory
Coast, boasts spectacular views and a bustling tourism industry. But as any world
traveler knows, the key to the city is always found in the pockets of the locals. Bernard
Azria, founder and CEO of Côte Ouest Audiovisual, spoke with Disbook about the
wonders of the “Pearl of the Lagoons,” and unveiled his personal sightseeing tips.
human relations I built there, with a
touch of tenderness and nostalgia for
the places where my children were born
and grew up. And, obviously, the
amazing Assinie … its unique smell and
its endless skyline.
A memorable meal?
I had some great moments at the
restaurant Le Toit d’Abidjan. The tasty
cuisine and the stunning view make
this place magical.
Bernard Azria, last september, at L’Hôtel
Particulier in Cocody
What do you like most about Abidjan?
First of all, the atmosphere of this
vibrating city, its different
neighborhoods, each is bearing its own
singularity. The joy and the optimism
that the inhabitants never lost despite
the tough periods they went through.
The fraternity and authenticity of
What is your favorite view of the city?
The discovery of the Ivorian Manhattan
from the Houphouet-Boigny Bridge.
From the top of the Ébrié Lagoon, you
can see the wonderful bay and its
coconut trees.
What are your favorite restaurants?
Le Toit d’Abidjan, La Case Ebene, and
obviously the unavoidable Croisette.
I might be their most frequent customer
since they opened.
Which hotel would you recommend to
your friends?
L’hôtel Particulier with its unique
charm, its relaxing Zen garden and its
concealed doors.
What is the first thing you do when you
arrive?
I go out and have a drink with friends.
What is the best place for a business
meeting?
Le Club Cigare.
To spend a weekend or rest outside of
the city, what would you recommend?
Get invited by a friend who owns a hut
in Assinie. And if you’re not that lucky,
spend your weekend at Coucouet
Lodge.
5
DISBOOK #5 | NOVEMBER 2014
Babiwood
Building An International
Network While
Reconnecting Côte d’Ivoire
With Their TVs
General Manager Ahmadou Bakayoko’s
vision for RTI
RTI’s key individuals:
(L-R) Mariama Da Chagas, Directrice de RTI Publicité;
Didier Bléou, Directeur de Fréquence 2; About Haugot,
Directeur des Finances et de la Comptabilité; Cissé
Mohamed Lamine, Directeur des Fictions et des
Documentaires; Ahmadou Bakayoko, Directeur
Général; Touré Sanga, Directeur des Chaînes TV
6
An interview by Baudelaire Mieu in Abidjan
DISBOOK: Since you’ve been
nominated as the head of RTI, you have
spoken about your desire to innovate,
and you expressed your commitment
to reviving audiovisual media in Ivory
Coast. You even said you want to “set
another rhythm for the public
network”. Can you describe your vision
for tomorrow’s RTI?
Ahmadou Bakayoko: Before we speak
about the future, it is important to focus
on what RTI represents today. The
public group - created 50 years ago - is
present across all media: TV, radio,
Internet, and is composed of several TV
and radio channels, in order to satisfy
the diverse needs of the population.
Tomorrow’s RTI will build upon what
already exists and will anticipate the
year 2020 with quality entertainment
shows, similar to the ones broadcast on
big international networks. Tomorrow’s
RTI will be able to establish
partnerships with other channels.
Lastly, RTI will be a key player in the
development of Ivorian fiction shows.
D: As part of this development policy
and in order to give a boost the fields
of scriptwriting, production and
moviemaking, you launched the
competition “New Talents”. Have the
results lived up to your expectations?
Will it lead to new productions?
A.M: The first step, related to
screenwriting, was finalized during
DISCOP Africa 2013. I spoke with the
Organisation Internationale de la
Francophonie (OIF), which gave us its
financial support to launch the
competition. We decided to keep two
projects from a list of over a hundred.
One of them is being rewritten with a
script adviser and the second one is
already in development – the pilot will
be shot in early 2015. We also selected
a dozen candidates with high potential
and gave them writing classes. We
might go back to them next year.
D: How much should public channels
focus on fiction and entertainment?
A.M: RTI has a triple mission: to
educate, inform and entertain. Fiction
shows are not just entertaining. They
can also be educational. For example,
we developed projects around albinism,
during which we broadcast awareness
messages. Our entertainment must
respect our ethical code: we can say
“no” to content that does not match our
public service mission.
D: In what order would you rank the
major stakes of Ivorian TV:
modernizing technological tools/
training professionals/ improving the
quality of programs/ giving a boost to
national production/ enhancing the
Ivorian culture?
A.M: Everything is urgent! But in my
opinion the first priority is the human
being. RTI is 50 years old and it benefits
from qualified human resources. The
real stake is to let our staff come into
contact with international methods and
practices. Then we will focus on
modernizing the tools. This basis
should allow us to improve our
programs and enhance the Ivorian
culture (which is at the heart of our
mission), and help us to give a boost to
national production.
D: Are you intending to replace the
Latin American telenovela?
A.M: Historically, RTI has been the first
African channel to produce satirical
fiction shows – and several “classic”
African fictions have been written or
shot by RTI’s staff members. We do our
best to promote the brand “Babiwood”
(the name comes from Babi, which
means Abidjan in Ivorian slang) and to
develop Ivorian productions - whether
they come from RTI or from an external
company. For a year, RTI has been
broadcasting Ivorian productions in
primetime, twice a week – and this is a
first.
One third of our scheduling is devoted
to international fiction shows, such as
telenovelas, and two thirds is devoted
to African productions – among which
25% come from Ivory Coast and the rest
from Cameroon, Nigeria or South Africa.
There’s a clear emphasis on African
fiction. It has become a priority axis of
development. That being said, Ivorians
also want to watch shows from
elsewhere, meaning that telenovelas
will continue to be a part of our
scheduling.
D: I read some statements you made
about “recovering the national TV
scheduling”. Can you give examples of
this recovery? What is your goal in the
medium term?
A.M: From 2012 to 2013, we saw a rise
of over 30% in the audience share (and
2014 figures will be published soon).
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DISBOOK #5 | NOVEMBER 2014
Babiwood
Ahmadou Bakayoko (center),
the General Manager of RTI,
announcing the winners of the
first edition of the New Talents
competition, whose goal was
to discover talented young
screen writers
MISTER NANKAM
How a French-Cameroonian
would-be farmer gave voice to
the youth of Ivory Coast
The improvement in the quality of our
programs and the development of
fiction has persuaded Ivorians to watch
“their” TV more and more – these
results are confirmed by qualitative
surveys. After long years of crisis, it
appeared that RTI did not always play a
unifying role. Our goal is to develop this
fertile ground for cohesion and
promotion of national culture. Ivorians
must reconnect with their TV.
D: Is distribution of programs part of
your project? What is your goal in
terms of export sales?
A.M: We just created RTI Distribution
since we have demands from other
African countries, but also from
international channels seeking African
content. Our first success has been the
sale of the show “Intervilles” to TV5. We
also have a high demand for our
satirical fiction shows. Thanks to
DISCOP Africa, we are going to further
develop this distribution activity
because there is a strong potential. It is
not unrealistic to believe that this
activity could represent, in three years
or so, 5 to 10% of our income.
8
D: Ivory Coast is the Country of Honor
at DISCOP Africa 2014. Why do you
think it is good timing for the country
to bring forward its national TV, its
producers and its personalities? What
results do you expect?
A.M: African content is becoming more
and more successful abroad, which
means it is the right timing to introduce
the men and women leading this
evolution. We are 100% sure we will sell
programs during DISCOP. We also want
to meet new producers, whether
Kenyan, South African, Angolan, Malian
or Senegalese. And we hope we will
speak with young producers since RTI
intends to become a key player in
African-speaking production.
D: What is you favorite saying or
personal “mantra”?
A.M: “The sky is the limit”, because I am
definitely an optimistic person. This
saying sums up this state of mind
perfectly.
D: What makes you wake up every
morning?
A.M: I am a passionate person and
when I wake up in the morning, I am
driven by the passion to finalize all of
my projects.
By Françoise Lazard
It was the early-’90s and Jean-Hubert
Nankam was a French-Cameroonian
studying in France. He’d have been a
pilot if he had done better in math, and
might still have become a farmer like
his grandfather, but after watching TV5
Africa for the first time, Nankam’s life
was forever altered. Today, he’s one of
the most emblematic TV producers in
Ivory Coast, collaborating with Canal+
for some time on the development of
French-speaking African cinema.
Jean-Hubert Nankam, photographed in in
Abidjan at H. Studios, in February 2014.
Photo Romain Court
In 1993, he met Maktar Silla, the
director of TV5 at the time, and asked
him to produce for the channel. “Go
learn the business of being a producer
and come see me”, he told Nankam.
A year and some distance learning later,
TV5 placed an order for film production,
so he created Martika Production.
He had been passionate about the Ivory
Coast, fascinated by their changing
political landscape and by their mosaic
9
DISBOOK #5 | NOVEMBER 2014
Babiwood
Sylvain Kouadio, photographed in
Abidjan last September. He wrote the
script for “Teenager” with such realism
that the series has had a real impact on
adolescents in French-speaking Africa.
Photo Pierre-François Kacou
A set photo from the series “Teenager.” The actors who
interpret the roles are non-professional adolescents. They
continue their studies as they work. “We want stars,” says
J.H. Nankam, “but stars with diplomas.”
of cultures that were unique to the
continent: Nankam proposed to produce
a documentary presenting this distinct
Ivorian dynamic. “I got the OK from TV5,”
he says, “and I left for the Ivory Coast in
April of 1994 and have never left!”
producer,” he says. “I’m not a writer. I’m
not an editor or a cameraman. My
mission is to propose ideas to my
teams. I get a project rolling and give
everyone the possibility to play his
part.”
“To my great surprise,” says Nankam,
“the then-director of RTI (Ivorian Radio
Broadcasting) appreciated that a
Cameroonian would come to the Ivory
Coast to do a documentary. He gave me
a co-production deal. I had the audacity
to then propose that I produce three
hours of direct feed on the occasion of
the grand forum closing, “Investing in
the Ivory Coast.” Just after that,
Nankam produced an economicpolitical program for RTI for the next
seven years without interruption “and
without any political pressure or
influence,” he makes clear.
He’s certainly an initiator, but he’s also
tenacious, as his recent productions
will most notably testify such as “Class
A” and “Teenager,” projects in which he
invested body and soul for several
years. “I’ll invest up to four years to
make a project that I believe in happen,
which is the case for my next
productions. The most important thing
is to really follow through until the
program is on the air. My one virtue is
taking the initiative … and then finding
the resources to make it happen.”
Our conversation comes around to the
famous series “Teenager,” a production
that comes on the heels of the
immensely successful “Class A” and the
impact it had on adolescents. “As we
“You will never see my name in the
credits as anything other than
10
went around touring the country
promoting “Class A,” we realized that
our show was mainly being watched by
teenagers. “Class A” was a series for a
slightly older crowd, but was huge
among the 13-18 year old demographic.
It was then I felt that we needed to
propose a series for the public that was
really for them.”
The concept for “Teenager” is clear:
produce a series that adolescents can
identify with and recognize and share
the dreams of the characters. The
concept seems to have hit the nail on
the head since it has attained cult
status not only in Ivory Coast but also in
Cameroon, Gabon, Benin as well as
Burkina Faso and Senegal. Nine African
countries bought the first season,
including TV5 and Telesud; 11 countries
bought the second season including
TV5, Telesud and Canal+ (the new
channel A+ bought the first two
seasons).
“It’s a complicated series to produce
because we are working with young
non-professionals. We’re looking at a
global startup that exceeds the
traditional role of producer. Not only are
you shooting with teenagers, but also
you have to convince and get approval
from the parents, commit to ensuring
that they don’t miss their studies and
put very specific rules in place. The
children become part of a team for two
years and are contractually obligated to
make progress in their studies and
adopt what we call a ‘teen attitude.’
They have to become an example to
society and in their everyday life.
Not just a producer, Nankam is now the
head of a very large family that counts
tens of thousands of adolescents that
interact and respond to questions
posted on the series Facebook page
(www.myteenager.info).
Season three will not be called
“Teenager.” It will be called “Gap”
because the kids who started watching
the show at 13-15 are now young adults
coming into their own. “It’s a disruptive
moment in a young person’s life,”
explains Nankam. “They think they
know everything but they don’t know
anything about school or life, so season
three will get into this clash brought on
by the ‘gap’ between dreams and
reality.”
Because “Teenager” has such a big
impact on kids, Nankam was able to
secure his production budget due to
strategic partnerships with big brands
like Orange and Coca Cola in Ivory
Coast, Gabon, Cameroon and Airtel in
Burkina Faso.
For 2015, Nankam has announced work
on two new concepts: “Little Kisses”
(“P’tit Bisou”), targeted at women ages
22-35 and “Olive Green” (“Vert Olive”).
“You’ll like the concepts,” he assures
without revealing much other than to
say that “Olive Green” is a series of 12
films of 52 minutes each telling a
complete story.
Occidental and Englishspeaking market with
re-edited and dubbed
products. “The
authorities have to
understand there is no
better way to ‘sell’ a
country than a film, which is a product
that circulates around the world and
that it is interesting and important to
invest in.”
We finish our conversation with what he
thinks about the state of the
audiovisual industry in Ivory Coast. “The
evolution in this sector is real,” says
Nankam. “There are plenty of young
people that started to produce at the
same time I did, and today, there is an
enthusiastic amount of diversity. This is
what we want to show with our Ivorian
delegation that will be attending
DISCOP Africa. We are also interested in
testing Ivorian content in an
international context. The Ivory Coast is
without a doubt the country in Frenchspeaking Africa with the most potential.
It’s the country that interests me the
most. It’s here where I want to continue
to work.”
Since 2014, he’s been a fiction
consultant for the A+ channel for
Canal+. “This experience will make me
a better producer in the years to come,”
he says. His real challenge now will be
to find a way to successfully enter the
11
DISBOOK #5 | NOVEMBER 2014
Toure began her career in 2008 in small
roles in “Unripened Fruit”, “Today,
Tomorrow and Forever” and “The Ideal
Guy” before hitting the mainstream in
her role as Kathy in the hit series
“Signature”,
and later as
Emeraude in
“Brouteurs.
com.” Today, she’s considered one of
the most promising talents in Ivory
Coast. As a viewer, she says she
watches English-speaking programs,
“a leftover habit from living in Ghana
for three years.
Babiwood
Mike Danon is a protean artist: a
musician, actor, writer and director.
Having already been part of the theater
scene before his work on teen series
“Class A” and “Teenager,” he’s passionate
about every aspect of the artistic chain.
“If I’d become a doctor, I’d be in General
Medicine,” he jokes, “so, in my field, we
say I’m an artist.”
KADHY TOURE
“Ten years from now, I hope to be a
successful actress-producer,” says
Toure. “One of my dreams is revolutionize
fiction in French-speaking Africa and
to be known worldwide.” While she waits
on projects in development behind
the scenes, Toure is a multilingual
interpreter and translator.
“It was while watching American TV
series for teens that I decided I wanted
to be an actor,” he tells us. “I was
motivated by the natural ease with which
the actors interpreted their roles.” When
he saw his first casting announcement,
he ran toward the opportunity. Out of all
the adolescents that auditioned,
N’Guessan was chosen to play Joël in
“Teenager.” He says, “If, in 10 years, my
dream of becoming a great actor has not
come true, I can imagine myself as the
head of a petrol company. I already have
my technical degree specializing in
mines and hydrocarbons.”
in abidjan
Photos: Pierre-François Kacou
“Ivorian fiction can’t develop unless it
reaches out to others”, he says. “The
methodology and the people will get
better. If you put the motor of a bug
inside of a Ferrari, your car will only look
like a Ferrari.” He’s awaiting financing on
a series called “Little Kisses” (“P’ti
Bisou”), scheduled to begin in 2015 at
Martika Production (for which he is both
the co-writer and assistant director), is
in post-production on a two short films
– “I’ll Stay” for Digital Cinema Group and
the animated “Soundiata, Waking the
Lion” for Afrika Toon – and is working on
another short film that just shot in the
area in September.
Jocelyne Nagueu was 13 when she went
to the audition for “Teenager” and was
chosen for the role of Iris. “Film has
become a great passion that I want to
pursue. I dream that people discover
me through my
roles and
appreciate my
talent,” she says.
“In 10 years, I can see myself as the CFO of
a company as well as an internationally
well-known actress and of course, as a
mother.” When she’s not shooting
“Teenager”, she attends school.
JOCELYNE NAGUEU
ANGE N’GUESSAN
12
MIKE DANON
To pay for his productions, he produced
music albums and held concerts.
Danon’s principle roles next to other
well-known actors like Serge Abessolo,
Emma Lohoues and Marie-Louise Asseu
in “The Ideal Guy” (“Le Mec idéal”,
directed by Owell Brown, Bronze Stallion
at Fespaco 2013) have positioned him as
one of the major players in Babiwood.
Street talks
13
DISBOOK #5 | NOVEMBER 2014
Babiwood
Photo: Romain Court
A celebrity in Ivory Coast, Alain Guikou
writes, directs and produces his own
highly popular television series
(“Signature” and “Brouteurs.com”), which
run on RTI as well as other international
channels. He also directed “And if God
Didn’t Exist”, (“Et si Dieu n’existait pas”) a
rare feature film in West Africa produced
by Africans and released in theaters
outside the festival circuit. “Movies are
a childhood dream,” he
tells Disbook. “In 1978,
I saw ‘Big Boss’ with
Bruce Lee, and as we
came out of the theater,
I announced that I would be a a “maker”
of movies. I was eight!” He learned
directing on-the-job by working on
publicity spots, reading movie reviews
and watching movies. It’s a true passion:
“I watch three movies and two TV series
a day. When I’m watching a show or a
film, I observe everything: the lights,
ALAIN MARCEL
GUIKOU
GUY KALOU
14
CLAUDIUS
HAWMMOND
the décor, the costumes …” According
to Guikou, Ivorian cinema has the talent
and technique but it lacks funding.
“Today, theatrical releases are rare,” he
says, “but it’s still possible to make a
profit with a TV series. With the arrival of
digital technology, Ivorian fiction is going
to evolve.” Guikou is obsessive about
detail and quality. “To be able to make it
on the international market, you have to
really work hard”, he says. “I push myself
to make it better each time.” He is
currently negotiating with interested
broadcasters for the second season of
“Brouteurs.com,” after which he’s on to
a new adventure: a 52-episode animated
series called “Gbi The Panther.”
Guy Kalou has been all over the screen in
a number of genres, from “Lost Illusion”
and “Interior Exil” to “Dr. Boris,”
“Signature” and “The Virus.” Considered
one of Ivory Coast’s best and most visible
actors in Ivory Coast, Kalou also works
with a cosmetic company (he has a
Master’s in both Applied Criminology and
Marketing) and his wife, Victoire Kouassi
Kalou, wrote a film he produced in 2012,
“And if God Didn’t Exist” (“Et si Dieu
n’existait pas”), which brought together
the icons of Ivorian cinema (Akisi Delta,
Thérèse Taba and Norbert Etranny) and
paired them with a new generation of
actors (Marie Christine Beugré, Laury
Koffi and Kalou himself). “In my opinion,
this new generation needs to bring
people in to the movies,” says Kalou.
It was his passion for cinema and music
(mostly jazz) that led Claudius
Hawmmond on an adventure with H.
Studios. After a fulfilling military career,
he pursued his passion and went off
to meet with young Ivorian talent.
The studios opened in 2013 and in only
a few months have become a hot place
in Abidjan. They say they have best
quality materials to rent, make
recordings or do post-production.
“In the Ivory Coast, the young people
don’t have a way to express themselves,”
says Claudius, “and it’s frustrating to
watch all of this creative potential used
for profit by everything coming from the
outside.” H. Studios has a comprehensive
voiceover database featuring over 100
voice actors in French, English, Spanish
and Portuguese. Their catalog is indexed
by age, tone and performance.
ABEL KOUAME
Under the stage name Kan Soufflé,
36-year-old Kouame is an ambassador
for the emerging Ivorian animation scene.
Afrika Toon is a 2D/3D animation studio
that he co-founded in 2005 based on the
successful illustrated magazine “Gbich!”
It produced the first animated film in the
history of Ivory Coast: “Pokou Princess
Ashanti” (2013) which tells the story of an
African princess during the 17th Century.
Mixing the same ingredients of humor,
magic and dreams, Afrika Toon has just
finished their second feature, “Soundiata
Keïta, Waking the Lion,” released
theatrically in Abidjan in October, and
being presented to TV channels during
DISCOP Africa 2014. “Soundiata Keïta”
tells the story of a legendary sub-Saharan
African hero, the founder of the Manding
Empire, which would later become Mali.
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DISBOOK #5 | NOVEMBER 2014
Babiwood
The Student Scribe:
A Fresh Ivorian Voice Emerges
–
A 23-year-old Ivorian wins a competition with a screenplay she wrote
without her parents knowing
“I want to deepen my
knowledge, fill in the
gaps in the field of
cinema, and if I get a
chance, develop other
projects. I also need
to finish my studies,
which I take very
seriously.”
Ambre (synopsis)
“In a flourishing Ivory Coast
in the year 2020, John
Kavally is a young Ivorian
infected by the chemical
weapon Ambre, a virus created
under apartheid and coveted
by the Ivorian intelligence.
Led to believe that he is
protecting national security
against a terror attack, John
becomes the ultimate weapon
within the hands of the
Strategic Intelligence
Regulation and Vigilance
Service. When he understands
he has been manipulated, he
decides to get revenge
against his masters, but this
revenge does not bring him
any satisfaction.”
The TV script “Ambre” won second place in a competition held by the
RTI (Ivorian Public Television) in March 2014, a contest whose goal
was to discover talented young screenwriters. Its writer, Binta Dembélé,
a marketing student in Abidjan, is the revelation of the competition.
Here, she tells Disbook about the story and its journey to recognition.
16
“I heard about the competition
thanks to a happy combination of
factors. I entered myself on a whim.
Once I made my decision, I focused
on the story I wanted to tell, not
thinking of the reward at stake or the
opinion the jury could have.
After the announcement of the
results, I was lucky to be mentored by
three people: Marguerite Abouet, the
author of Aya de Yopougon, and
Guédéba Martin and Bertin Akafou –
both are famous Ivorian
screenwriters and directors. Their
advice was priceless.
I imagined John Kavally – the main
character in my screenplay – during
the post-electoral crisis in April 2011.
Designing a fictional universe was a
way for me to distance myself from
the prevailing tensions. In the
following years, I kept on writing
during my down time, but I would
never have thought to turn this
into a screenplay until I heard about
the competition.
it undeniably triggers debate and
reflection.
John’s story is simultaneously a
retrospective of Africa’s history in the
20th century and a bet on the future.
The young man’s past is intimately
linked to key periods such as
apartheid and, obviously, the decade
of crisis that shook Ivory Coast,
starting with the 1999 coup, but also
encompassing the post-colonial era
and the rise of Islamist terror groups
in the southern Sahara, a predominant
issue in the hero’s universe. At the
same time, the series aims to show a
futuristic Africa, with African states
committed to economic development
and to geopolitical relations worthy of
the greatest world powers.
In a country where the movie industry
needs to renew itself, I believe that
the RTI’s competition is an excellent
way to discover untapped talent. The
first one ever attracted more than 150
participants; some of them even came
from the sub-region. This shows that
there is, in Ivory Coast and in Frenchspeaking Africa, a creative hothouse
that needs only to be tapped.
The notion that Africa is the future,
in a time when many international
movies depict a dark and apocalyptic
future, is, to me, one of the
screenplay’s strengths, because
Where do I see myself 10 years from
now? This is a tough question and I’m
not sure I have a very precise answer.
My father would like me to become a
magistrate. An entire decade will
certainly be necessary to make him
change his mind! I like to think that I
will keep on writing, whether for my
own pleasure or in a professional
context. But the future is full of
options.” – Binta Dembélé, Abidjan,
July 2014
17
DISBOOK #5 | NOVEMBER 2014
Babiwood
THE ANIMATION OF
DREAMS: AFRIKA TOON
USHERS IN IVORIAN 3-D
Last year’s Afrika Toon’s “Pokou, Princess Ashanti”, became the
first Ivorian 3-D animated film. This year, the same team is
launching “Soundiata Keïta, Waking the Lion”. The tale, based on
the history of the legendary founder of the Malian empire, is a
blend of magic, epic adventure and humor, seeming plucked
straight from the dreams of African kids. “It’s important for
Ivorian children, and African children, to see the characters they
know,” says Afrika Toon’s Abel Kouame.
www.afrikatoon.com
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