ACPCULTURES+ PARTNER OF ARTERIAL NETWORK

Image d'un spectacle du projet Pamoka. (c)AgathePoupeney

ACPCultures+ PARTNER WITH Arterial Network

Arterial Network’s 5th conference edition about Africa’s creative economy (ACEC 2015) will be held in Yaoundé (Cameroon) on October 9-10.Two projects funded by the Programme will be presented as “good practices”.  

The conference will gather hundreds of experts and professionals in the field of cultural and creative industries across the continent.

ACEC, sponsored this year by Cameroon’s Ministry of Arts and Culture with the support of local and international partners, will enable the various delegates from around the world (practitioners, policy makers, donors, academics ...) to examine, share and exchange on creative industries development issues in Africa.

Various subjects will be addressed, such as intellectual property; cultural heritage challenges; new technologies and African creative industries; African models for creative industries; regional initiatives in African creative industries; empowerment/inclusion of young people in debates/creative industries; African media and creative industries; networks and platforms; the status of the artist; artists rights across the continent; African creative industry’s market; the funding opportunities for the creative industries sector…

This year, ACPCultures+ Programme is partner of the event and has invited 2 project beneficiaries to present their good practice in the fields of management and cultural industries structuring. The 2 selected projects are:

Pamoja (presented by Virginie Dupray - Studios Kabako). A successful project that focuses on capacity building for artists, technicians and directors in African performing arts companies. Nine creations have been seen the light in the past 2 years, facilitated by creation residencies and coproduction contributions.

Digital United ACP (presented by Marie Lora-Mungai - Buni Media). The project has allowed 2 leading African VOD platforms (Buni.tv and Africafilms.tv) to establish collaborative structures and to develop a common fair contract which has resulted in a greatly simplified digital distribution process for beneficiaries. The two partners federated a community of 350 producers and built a catalogue of more than 1,500 videos originating from 48 countries, which were watched by 700,000 viewers from across Africa and the diaspora.

Virginie Dupray told ACPCultures+ why Pamoja constitutes a best practice: "By producing in less than three years twenty performances between Kisangani, Dakar and Maputo, putting these creations and artists in connection with various networks and by implementing appropriate dissemination strategies, Pamoja, I think, made a first response to the problem of the circulation of African talents, by showing that it is possible to construct and tell our stories on the continent and to share with our communities, without sacrificing the artistic, ethical and political ambitions. The ACPCultures+ Programme has given us the means to do what we do best: working at home with our talents and our audiences. I think we need to find new models: as there are no performance spaces in Africa, we have to go back to the essence of theatre, the actor's relationship with his audience, bring dance and theatre in the streets, in non-theatrical venues..."

Marie Lora-Mungai, explained the main challanges her project is trying to address: "The African creative industries still lack a clear understanding of their true market and audiences, which means that the content that gets produced is unfortunately too often disconnected from what audiences actually want to consume. There's also not enough focus on brand-building, marketing and distribution. In Hollywood, the marketing budget of a film is often as high if not higher than its production budget. That's what it takes to ensure that worthy content gets seen and appreciated, and that's a side of the industry that is still too often ignored or underestimated in Africa."

Check the conference programme here.

 

 

 

 

October 7, 2015
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