top of page
to About

EDITORIAL

How does society view refugees, and how does the established media show/ represent them. What pictures are we dealing with, and which images are reproduced, do we reproduce ourselves. Which voices are heard and how do they sound? What is the emotional connection?

With our Project Intermedia we used a combination of investigative art and performative journalism to explore and search for answers to these questions. To transform the role of those normally seen as the objects of portrayal of art and journalism, to being its creative subjects. What emerged can be seen in this third edition of our E Magazine Aldnia Doara.

 

Avoiding the blame is a docufiction film using a fusion of theater and film to investigate the unequal exchange betewen the colonizing west and its colonized victims, in order to get to a deeper understanding of the blame that the west has in the inequality that leads to crisis and the creation of refugees today.

Flügel für den Schmetterling or Wings for the Butterfly is a personal film essay describing the dibilitating effects of and the recovery from Female Genital Mutilation, not from the culturalist perspective of western media but through the experience from those who suffer and struggle to live a full life.

 

Flüch-tige Gefühle or Fleeing/ fleeting Emotions is a social experiment film that asked people in a park to paint the inner emotions of refugees, and thier revealing commetary about what they drew.

Many thanks to all those who contributed in one way or another to the creation of these films.

Ahmed Shah, for the           Film X Collective

 

CONTENTS

INHALT
AVOIDIG THE BLAME

AVOIDING THE BLAME

This video has been deleted.

Avoiding the Blame is a Theatre in Film project.

It is the story of the European invasion of Africa from the 1870s till now, in neo colonialism times. Africa faced European imperialist aggression, diplomatic pressures, military invasions, and eventual conquest and colonization.

Avoiding the Blame is an artistic project: little is shown in a 12 minutes masterpiece depicting the story in the 18th century. The audience is expected to watch this piece beyond the picture: the final aim of this film is to introduce the topic of the origin of 'migration and Refugee-ism'.

Film collective:

Blaise Baneh

Milen Zhelev

Kreshnik Ramadani

Ahmed Shah

Catering: Samee Ullah

Please, leave us your comment, write us your review:

Cast:

Ibrahim Tely Balde

Roshin Bilal

Ntailan Lolkoki

Kreshnik Ramadani
 

Camera:

Blaise Baneh

Zohour Qandoul


 

DIRECTORS NOTES

In this experimental project where the rehearsals and back stage activities are part of the film itself the filmmakers had quite different perspectives during the preproduction phase of the film and eventually as the project was realized the way we perceived it began to change, especially how to cut the film and what story to have as final movie.

We are not sure what will be the feedback from the audience after watching this piece, will the audience feel the impact and understanding why there are so many refugees migrating to countries of the west? , if countries of the west today are building borders around them, do they understand the consequences of unfair trade and invasion they imposed on colonized continents and countries?

The filmmakers are in search of answers beyond the question why are there refugees constantly migrating but rather evoking the real question which we think should be ‘what are the causes of migration and refugee-ism ´.

Go back to the Film X Collective projects
Flügel für den Schmetterling

Wings for the butterfly

This video has been deleted.

"Other people go to the university to study psychology, my pain was the school I went through...

My name is Ntailan Lolkoki, I'm from Kenya, more importantly, I’m from the Maasai tribe".

 

Film collective:

Ntailan Lolkoki

Blaise Baneh (director)

Milen Zhelev

Hannes Schulze (camera)

Ahmed Shah

Tarkan Turan

Catering: Samee Ullah

Please, leave us your comment, write us your review:

DIRECTOR NOTES

I was born in Gilgil, at the time my father was in a police force that sought for stolen cattle. Since the tribes people believed that all the cattle was given to them by God, they freely stole cattle from each other. Before my father joined the force, he was a warrior and stole the cattle himself, the information about that in length, can be found in my book, Fluegel für den Schmetterling der Tag an den mein Leben neue began, Wings for the butterfly the day my life began.

 

My original story, I had noted in English. I then worked with a friend, a great lady, it was a close collaboration, she transformed the book into German. It’s good that I know German, so that I could correct, and see to it that she translated the right picture

I wanted to paint, but she also had to see the picture in herself.

 

In the book, its about my journey through fgm (female genital mutilation), which happened at the age of twelve, going to thirteen, at the time my parents had split up, and my father had stopped being in the force where he was retrieving stolen cattle, he had come to out village to be a Burgernmeister, a mayor. I consider myself to be a Burgermeister in Berlin, and my father is responsible for that...

 

It was not how I wanted it to be, because I wanted to have it in a traditional set up. We had it done in a clinic where I walked to with my sister and got cut, but that saved my life.

 

The clitoris has an outward and an inner part, they cut the outward part, and little of the inner, but there is still something left. This caused so much damage that all the nerves around it died, and it took many years to restore them. In my journey of transformation, I first had to restore the psychological damage that had been done to me, before the physical damage was restored in the reconstruction that I finally went through in Walfriede hospital.

 

It was then that they were able to pull the clitoris from within, so that it’s a little more complete now, and because I had already done the psychological treatment of speaking about it, facing it, facing the pain and allowing the healing of the reconstruction was able to take place.

 

Something that I fought for all those years that came very expensive, finally when I had it, and was choosing with sexuality, the men just wanted to come and grab me, not knowing what I suffered.

 

A woman is sexual for herself, you enjoy it if it gives you an erection fine. Don't come and touch me, don't cross my boundaries. Just because I’m feeling sexy, it doesn’t mean that you can touch me. Don't take advantage of a woman because she is feeling sexy, a woman is sexy for herself. I find it strange that women here have to cover up themselves, or making themselves ugly, because they are scared of being a butterfly. It’s like a butterfly without colour. That makes me sad.

 

Why are they being jealous towards me when I’m being a colourful butterfly, in the ubahn I tell the women, hast du keine muschie, meine war in africa verstummelt, und jetzt habe ich es wieder. Don't you have a vagina, mine wa mutilated in Africa, and I eventually have it back. I’m not going to allow you to kill my muschie, (vagina). You are a woman, you should give me solidarity.

 

For me who is still recovering my sexuality, I’m still careful of it. I regard myself as a Child, and I’m not ready to bear fruits, I’m like a new branch shooting out of a tree, enjoying the new awareness...

 

Free sexuality is natural...tender...clean......it’s not about using each other...its about connection....knowing that we are all human being beings, equal, owning a bombastic sexuality, there is nothing to fear, its godly...

 

The butterfly signifies transformation, evolution, this is what my book represents, its about the pain that i was finally able to transform into power...

 

The text in the book fluegel fuer den Schmetterling from German to English.

 

As humans, it is our right to be whole, complete.... My rage is justified...

 

and it empowered the women to speak out ...

 

It enables the voiceless to speak. Out of the courage the desert flower foundation self-help group was birthed....

 

If I had not gone through fgm, I thought to myself that evening at home, had I have not laboured, for many years trying to overcome fgm...I would not have been able to be in the position to help others...

 

On that day, it was though; I had received extra wings....

 

Out of my pain... something was birthed!

 

Praise GOD!

Ntailan Lolkoki

Go back to the Film X Collective projects

Fleeing/fleeting emotions

fleeing
This video has been deleted.

"The process of the realization of this idea was very abstract. I know that I wanted to do something with art and self-expression". Tarkan

 

Film collective:

Tarkan Turan (director)

Rhea Schmitt

Please, leave us your comment, write us your review:



 

Camera:

 

Willem Vorbau
Kamyab Nazari

Audio: Samy Tahar Zioui

DIRECTOR NOTES

The process of the realization of this idea was very abstract. I know that I wanted to do something with art and self-expression.

The first ideas that came to my mind were sticking items (Money, Thoughts, Flowers) to the image to allow the participant to create a certain stereotype about refugees (positive or negative). After being told that the idea is too complicated and has no clear message to offer, Ahmed and me talked about how we could simplify the idea by just using emotions instead of items and try to convince people to paint the emotional body of a refugee with some colours. This idea was much better realizable because of the simplicity. As a location for this film we first planned right in front of the Rathaus Neukölln but we did not get the permission on time. Rhea had the idea to shoot in the Hasenheide Park in Neukölln because the weather was good, they were also mixed people and the place is not filled with stressed and rushed people like Rathaus Neukölln. In general I think the whole process of finding this final idea was very spontaneous and easy. The real concern was about if the people actually would understand the whole task behind this and I’m very interested to hear opinions about the film and the general idea behind it when it is finished.

 

Tarkan

​​

Go back to the Film X Collective projects
CREW

    CREW   

Blaise Baneh
Ntailan Lolkoki
Milen Zhelev
TARKAN TURAN
AhMED Shah
Kreshnik Ramadani
Roshin Bilal
Zohour Qandoul
Hannes Schulze
Ibrahim Tely Balde
samy tahar zioui
Kamyab nazari
Rhea Schmitt
Samee Ullah
Katharina La Henges
WEB DESIGN
Adauto de Souza Santos 
PHOTOGRAPHER
Theresa Bonfert
ASSISTANT
credits

CREDITS

Aldnia Doara ist ein Koproduktionsprojekt des Bündnisses für Kultur:

Joliba e.V., Nijinski Arts Internacional e.V. und Free Kashmir e.V.

mit Theater X und Film X Collective

gefördert aus Mitteln des Programms "Kultur macht stark"

in Zusammenarbeit mit Türkische Gemeinde in Deutschland e.V./Mein Land – Zeit für Zukunft.

das magazine n. 3/2018

Grazie! Il messaggio è stato inviato.

Grazie! Il messaggio è stato inviato.

Grazie! Il messaggio è stato inviato.

bottom of page