Wednesday, 15 November 2017


The new director-general of UNESCO, Audrey Azoulay, called for unity and humanism, as she takes over the troubled educational, scientific and cultural agency.

“The period in which we’re living faces numerous global challenges: massive degradation of the environment, obscurantism, terrorism, questions about the contribution of science, deliberate attacks on cultural diversity, the oppression of women, massive displacements of populations,” Azoulay said at her investiture ceremony on Nov. 13 in Paris.

Audrey Azoulay (Photo: UNESCO/Alix)
“Our inability to prevent these tragedies can be explained by a common blindness: the lack of knowledge, the denial of universal values, and the absence of a global and humanist response,” said Azoulay, a former culture minister of France.

She said that UNESCO is more “necessary” than ever and stressed that the organisation “can and must participate in a world order based on multilateralism and humanist values”.

At her swearing-in ceremony, an ambassador of one of UNESCO’s 195 member states told her: “May the Force be with you”. The “Star Wars” quotation evokes the difficulties that lie ahead for Azoulay, in the quest to strengthen UNESCO financially and heal internal rifts.

Without a magical lightsaber, she will have to rely on her experience, diplomatic skills and the backing of member states, many of whom expressed support and encouragement after her election, although they did not all vote for her.

“I would like to assure you of the support of the Africa Group as you carry out your work,” said Zimbabwe’s Ambassador Rudo Mabel Chitiga, on behalf of UNESCO’s 48 African member countries. “We are very happy to note that you have roots in Africa ... we therefore welcome you as a sister.”

Azoulay at a press conference.
Azoulay, 45 years old and of Moroccan descent, was a minister of culture and communication in the government of François Hollande and has worked in various related sectors.

She was first nominated by UNESCO’s 58-member Executive Board on Oct. 13, with 30 states voting in her favour, against 28 for Hamad bin Abdulaziz al-Kawari of Quatar. There had been nine candidates at the beginning of the race in March, including three women.

UNESCO’s General Conference – the second of the organisation’s two decision-making bodies – voted on Azoulay’s nomination Nov. 10, with 131 states in favour and 19 against (some of the organization’s 195 member states were not eligible to vote). Her investiture ceremony took place a day before the two-week Conference ended, on Nov. 14.

Throughout the process, some delegates said Azoulay had shown keen awareness of UNESCO’s precarious situation, especially as the United States and Israel have announced their withdrawal from the organization.

It’s expected that she will use her multicultural background and youthful “dynamism” to bring diverse parties together.

Audrey Azoulay and Irina Bokova (Photo: SWAN/McK.)
“I grew up in France with the chance of coming from elsewhere, like millions of French people,” Azoulay said at her investiture. “France and Morocco, Europe and Africa, North and South. Morocco has this special asset in today's world – an asset that is enshrined in its most important text, its constitutional text – to be based on multiple roots. The preamble of its Constitution clearly affirms the attachment to Berber, Jewish, Arab-Muslim, Andalusian and African civilizations.”

She pledged to uphold UNESCO’s mandate of working for peace through the advancement of culture, education for all, and science.

Azoulay takes office Nov. 15. She is the second woman to lead the organization, succeeding Irina Bokova of Bulgaria, who was director-general from 2009. 

For a more complete article, see INPS news agency. You can follow SWAN on Twitter: @mckenzie_ale

Tuesday, 7 November 2017


The French branch of rights group Amnesty International is hosting its 8th Human Rights Film Festival, with movies from countries including France, the Democratic Republic of the Congo and Zambia.

The six-day festival, which runs until Nov. 12 in Paris, includes features and documentaries, with the aim of raising awareness and increasing the public’s engagement in favour of human rights,” the organization said.

Each screening will be followed by discussions between the filmmakers and the audience.

“Through a rich selection of narratives, the films give a voice to victims and to those who fight daily to advance rights,” Amnesty International France said.

“Cinema can arouse emotions, spark indignation and give us a wish to discuss and to understand ways in which each of us can contribute to change,” said Camille Blanc, the group's president.   
The focus this year is on violence against women and children (Jusqu’à la garde / Maman Colonelle / I Am Not a Witch), the situation of refugees in France (Une saison en France), transexuality (Coby) and human exploitation (Makala).

French-Iraqi filmmaker Abbas Fahdel is the keynote presenter or parrain, appearing at the launch on Nov. 7 for a discussion with the audience.

The poster for Maman Colonelle.
The opening film is the gripping Jusqu’à la garde (Custody), by French actor and director Xavier Legrand, who got an Oscar nomination for his 2013 short film Avant que de tout perdre (Just Before Losing Everything). 

Already acclaimed at screenings during the Toronto and Venice film festivals, Custody is the continuation of the story, begun in the earlier short movie, of an abused woman dealing with a manipulative ex-husband.

Other participating filmmakers include Dieudo Hamadi, from the  Democratic Republic of the Congo (DRC), whose documentary Maman Colonelle portrays a senior policewoman battling to stop abuse of women and children; Emmanuel Gras, with the documentary Makala, a film about back-breaking labour, also set in the DRC; France-based Chadian director Mahamat-Saleh Haroun, with the drama Une saison en France (A Season in France), which tells the story of undocumented migrants (“sans papiers”) in Paris; and Zambian fillmmaker Rungano Nyoni with her haunting debut feature I Am Not a Witch - about a 9-year-old girl accused of witchcraft and sent away to a "witch camp".

SWAN will have reviews of some of the films at a later date.

Tuesday, 31 October 2017


By Zofeen T. Ebrahim

October may not be the best month to launch events in Karachi, a city described as "maddening” by Amin Gulgee, the chief curator of the Karachi Art Biennale 2017 (KB17). But neither the sizzling heat nor the crazy Karachi traffic seems to have deterred artists or art lovers from doing the rounds at the 12 venues selected for this two-week event.

Touted as Pakistan’s "largest contemporary art event", the Biennale has artwork strewn across the city of 20 million and runs until Nov. 5. The prime location is the architecturally striking NJV High School, but other venues include an old bookstore, a cinema, the building of the Alliance Française, and the Karachi School of Art.

At the Biennale: Mussalmaan Musclemen by Z. A. Bhutto,
2016. Archival inkjet print on cotton fabric, hand-sewn
printed polyester and blue embroidery thread.
The theme of the biennale - "Witness" - aims to take visitors through the city’s history (with the opening up of old colonial buildings), to question the present, and to imagine what the future might be.

In the absence of a museum of modern art where the organisers could have set up the event under one roof, Amra Ali, a Karachi-based curator and art critic, is happy the biennial has opened "art that has been confined to galleries, to a larger audience".

"Public art interventions in 'non-art' spaces such as the ones selected by the organisers bring about a negotiation of art to its social and cultural histories," she said.

For their part, the organisers say they made a very "conscious effort" to let the public traverse the city and its historical precincts. 

Amin Gulgee, chief curator of KB17.
According to Ali, with people visiting one venue or the other, there is a greater "sense of discovery in revisiting, and in some cases visiting for the first time, spaces that have existed in our memory".

Additionally, such an event not only speaks of the "power of art to transform and bring people to view and be inspired," but it shows that art “belongs to us, as a city, collectively", she said.

The works by some 140 artists from more 30 countries include installations, videos, photographs, dance, performances and other art forms, most of it conceptual.

"It's been a labour of love, passion and a lot of hard work," said Niilofur Farrukh, the CEO of KB17, while Gulgee has reminded observers that the surreal journey he embarked upon more than a year ago was done on a shoestring budget.

For many visitors, however, some of the installations need decoding since most messages are not always obvious. "What I find amiss is a short guide with explanations of the art works," said Ingo Arend, an art critic and art editor from Germany. "If you want to reach out for a wider public, not that familiar with contemporary art, one should give them some advice."

A parallel south-south critical dialogue is equally taking place at the Biennale. "As a theme we want to explore how thinkers/artists/art from Latin America are bearing testimony to their times," said Farrukh.

Daalaan, 2017 by Salman Jawed,
Faiza Adamjee, Ali S Husain, Mustafa
Mehdi, Hina Fancy and Zaid Hameed.
"The project also aims to strengthen intellectual exchange directly between south-south independently and not via the north." she emphasized.

Cuban art curator Dannys Montes de Oca (who was reminded of Havana's road "chaos” by the tsunami of traffic on Karachi’s main thoroughfare) says that the voices from the South are usually missing at these so-called "international" art shows. This is because these shows are costly, so most artists from developing countries cannot afford to showcase themselves.

She thus favours "alternative" biennales. She said she was happy the art on display was not "passive" and seemed to engage the audience.

Arend, who was among the three jury members for the KB17 art prize, has, like de Oca, attended biennales in the North and had specially come to Karachi to see "something else". He expressed satisfaction that the event promotes a counter-narrative to the so-called modernist obsession with the white cube.

"They [KB17] should try and stay on the experimental ground and avoid the sterile white cubeism," he said, noting that had it not been for the venues, the event could very well have fallen into the Venice Biennale-like model.

For him, it was uplifting to see how the artists had reclaimed "amazing public locations" that had been relegated to the inner recesses of people's memories and had revived them, through the Biennale, to provide a platform "for collective discourse".

Untitled, 2017, by Ayaz Jhokio,
Mixed media installation.
Karachi curator Ali (who has attended Germany’s huge art fair Documenta), fails however to see why people should even think that KB17 needs to be compared with the European or "Euro-centric" model.

"There are thousands of biennials all over the world now; every major city has been holding them. In terms of structure, I think that looking closer to this region, to places such as Bangladesh and Sri Lanka, would bring more parallels and shared concerns,” she said.

“We have to develop our own models, even if the model is an anti-biennial model, and that will come naturally, as we evolve. That will all happen, as we have taken the first step, which is most difficult. We have opened ourselves to the world," she added.   
Art events across the globe have increasingly become a source of local pride, tourism and cultural capital, generating revenue for cities. Paolo De Grandis, an Italian contemporary art curator who works with the Venice Biennale, said that while art carries several messages including a very strong "political message" it provides "a massive business opportunity" too that needs to be tapped.

The grandpa of all these events is of course the Venice Biennale, founded in 1895. Fondly known as the "Olympics" of art, it is also the most prestigious.

This first Karachi Biennale may have taken only baby steps, but it is a big deal for the Pakistan artist community, who may see their work at the next Venice Biennale, in 2019.

Zofeen T. Ebrahim is a freelance journalist based in Karachi.

Thursday, 26 October 2017


You can be one of the most famous writers in the world and still face problems at certain airports if you don’t have a “Western” passport.

That’s what best-selling Nigerian author Chimamanda Ngozi Adichie discovered on a recent visit to Paris.

“When I arrived at the airport with my Nigerian passport, I had the most humiliating, and annoying, questioning,” she told participants at the 2017 CityLab conference held in the French capital Oct. 22-24.

The event, described by organizers as “a celebration of cities and city life”, brought together mayors from around the world, as well as “urban experts, business leaders, artists and activists”, to discuss sustainability, inclusion and other issues.

Writers Ta-Nehesi Coates and Chimamanda Ngozi Adichie
speak with The Atlantic's Jeffrey Goldberg (Photo: SWAN
The main objective was to “explore solutions for the most pressing issues facing city leaders and city dwellers alike”, said the organisers and co-hosts – The Atlantic media group, The Aspen Institute and Bloomberg Philanthropies.

Adichie, the author of Half of a Yellow Sun and We Should All Be Feminists, participated in a discussion with fellow writer Ta-Nehesi Coates titled “Identity and Belonging: The Souls of a City”, responding to questions from Jeffrey Goldberg, editor-in-chief of The Atlantic.

“I think we have to be careful not to romanticise cities,” Adichie said, when asked about her favourite town. “They can be alienating as well. People walk past each other.”

She was particularly blunt about Paris, saying that “Black people feel excluded” in certain areas of the city, and she described ways that her acquaintances try to fit in, some by speaking English instead of French because Anglophone foreigners seem to be “more respected”.

Adichie stressed that a city needs “affordable housing and inclusion” to be sustainable – things for which Paris aren’t highly rated  and these were themes that also concerned other artists at the conference.

In an earlier discussion, Ruth Mackenzie, artistic director of the city’s Théâtre du Châtelet, said that to achieve more social inclusion, artists can make a difference in neighbourhoods by engaging with local communities.

“You listen and use their skills,” Mackenzie said. “You can use public spaces where people can see work for free.”

Choreographer Elizabeth Streb. (Photo: SWAN)
She and her colleague Elizabeth Streb, founder and director of dance company Streb Extreme Action, took part in a panel on “setting a more inclusive stage”, which is seen as necessary in most major cities.

“When we talk about the theatre-going public, the issues of class and race are hardly addressed,” Streb said in an interview with SWAN, on the sidelines of the conference. “I think it’s a disgrace and ignorance when you hear some of the things said in the ivory tower about outreach and including people.”

Joe Murphy and Joe Robertson, co-founders of The Good Chance Theatre which works with refugees, called for cities to do more to support activist cultural initiatives. On a panel with Majid Adin, an Iranian animator, filmmaker and refugee, the two said the arts could help to decrease social tensions and divisions.

“This is a difficult moment in our collective history, with things that are dividing and segregating us,” Murphy said. “We believe that culture should be at the centre of our cities.”

With all the talk from participants, it was left to Adin’s animated film to demonstrate the impact that artists can have. Loud applause followed the partial screening of his video for Elton John’s well-known song “Rocket Man” – interpreted as the journey of a refugee.

With support from Murphy and Robertson, Adin had entered “The Cut”, a competition that invited independent filmmakers “to create the first official music videos for three of Elton John’s most famous songs”.

Adin based “Rocket Man” on his own migration to England, via the Calais refugee camp in northern France, and was named one of the contest's three winners. The video premiered last May at the Cannes Film Festival and is a poignant appeal for the inclusion of people who are so easily marginalised in cities.

You can follow SWAN on Twitter: @mckenzie_ale

Sunday, 22 October 2017


Just two years ago, Elida Almeida burst onto the world scene with her debut album Ora doci Ora margos (Sweet Times Bitter Times), claiming her place as the new voice of Cabo Verde.

That album had a serious message for listeners, alongside the melodies and beats of Santiago - the island where Almeida spent part of her childhood - and it gained the singer a large international following. (See:

Since then, Almeida has been touring and heightening her profile. She has performed in Europe, Africa and North America, where members of the Cabo Verdean Diaspora and other fans have welcomed her in clubs and at music festivals.

Now comes Kebrada, her second album, released Oct. 20.

Named for the village where she grew up, Kebrada asserts Almeida’s African identity. She seasons her Cabo Verdean beats - batuque, funaná, coladera and tabanka - with Latino rhythms, for that traditional musical journey: Africa to the Americas and back.

Almeida has written most of the lyrics and music, with arrangements by guitarist Hernani Almeida, and the album is catchy from the first song “Djam Odja”. As with the best music from Cabo Verde, the themes of joy and sadness intermingle, and the “danceable” tracks don’t undermine the album’s social criticism.

On “Forti Dor”, Almeida tells the story of young man who dies after falling in with a bad crowd, and this ballad is at the heart of the compilation, captivating listeners with the warm, rich voice.

Kebrada is a worthy follow-up to Ora Doci and shows an increased maturity and confidence. With Almeida being only 24 years old, listeners can look forward to a future of great songs from this talented Cabo Verdean artist.

Label: Lusafrica. Produced by José da Silva. Photo by N'Krumah Lawson Daku. 

Follow SWAN on Twitter: @mckenzie_ale

Thursday, 5 October 2017


The fast-rising Senegalese photographer Omar Victor Diop is one of the featured artists in the “Festival Francophonie Mêtissée”, which runs until Oct. 19 in Paris.

One of the photos by Omar Victor Diop on show
at the Centre Wallonie-Bruxelles in Paris.
The annual event is hosted by the Centre Wallonie-Bruxelles (CWB), a Belgian cultural organization in the French capital that presents cutting-edge dance, cinema, literature, music and photography, mainly by Francophone artists.

Diop’s work comprises 10 photographs that are part of his early “Studio of Vanities” series.

They portray the “fresh faces of the continent's urban culture”, he says, adding that the objective was to showcase the African urban universe and its blossoming art production and exchanges.

Depicting singers, dancers, designers and others in the creative sector, the photos also reveal a new generation of young African talent, and present an “optimistic view of urban Africa, with a modern and pop aesthetic”, according to the CWB.

Photographer Omar Victor Diop. (Photo: SWAN)
At a talk to launch the exhibition, Diop said part of his motivation as an artist is to change how the African continent is represented.

“In most photographs of Africa, you never see a child with his mother, for instance – he’s always alone and barefooted,” he told the audience. “This lack of positive images, and lack even of truthful portrayal, gave me the desire to create my own images.”

Diop left a career in finance to devote himself to photography and has become particularly known for his 2014 “Project Diaspora” series – the staged portraits of himself in a range of ornate historical poses, which are based on actual paintings.

He produced these “metaphorical portraits” working “exclusively alone”, often writing out a kind of script before staging the photos, he said. The idea is not only to question the historical and contemporary representation of identity but to deconstruct stereotypes, he explained.

Diop's work being screened.
The “Diaspora” series has been shown internationally to wide acclaim, making Diop one of the most sought-after photographers of his generation. He has participated in shows in several African cities, as well as in Italy, Belgium and other European countries.

His work will also be on display during the Paris Photo photography fair, taking place Nov. 9 to 12.

For more information:

Follow SWAN on Twitter @mckenzie_ale

Wednesday, 13 September 2017


Nine renowned writers – including Edwidge Danticat, Amitav Ghosh, Mohsin Hamid and Jamaica Kincaid – are the finalists for the 2018 Neustadt International Prize for Literature, announced by the magazine World Literature Today.

Indian writer Amitav Ghosh, a finalist.
The nominees represent the Caribbean, India, Pakistan, France, the United States and other areas and are recognized for their global contributions to literature.

The prize, a $50,000 biennial award sponsored by the University of Oklahoma and its international literature and culture magazine, may boost efforts to achieve more diversity in publishing, at a time when there are concerns the industry excludes some voices.

“We are ecstatic to have such a diverse and powerful group of writers representing the Neustadt Prize this year,” said Roberto Con Davis-Undiano, executive director of World Literature Today.

“This truly international slate of finalists – with diverse voices from the United States and as far away as Pakistan and Russia – reminds us that important literature knows no borders,” he added.

According to the magazine, the Neustadt Prize charter stipulates that the award “be given in recognition of outstanding achievement in poetry, fiction, or drama and that it be conferred solely on the basis of literary merit”.

A recent cover of World Literature Today.
Any living author writing in any language is eligible, “provided only that at least a representative portion of his or her work is available in English, the language used during the jury deliberations”, the sponsors say.

The prestigious prize (sometimes referred to as “the American Nobel”) may serve to crown a writer’s lifetime achievement or to direct attention to an important body of work that is still developing.

The award is not open to application; authors are nominated by a jury of “outstanding writers”. The jury will announce the 2018 winner on Nov. 9 during the 2017 Neustadt Festival of International Literature & Culture, hosted by World Literature Today and the University of Oklahoma.

The festival will also honour American writer Marilyn Nelson, who will receive a separate 2017 NSK Neustadt Prize for Children’s Literature, and it will feature jury members reading their own work. The university will hold a ceremony next year for the winner of the 2018 Neustadt Prize

In an email interview, Davis-Undiano answered questions about the prize and its significance to international literature and publishing.

Q: The nine finalists selected for the 2018 Neustadt Prize reflect the rich diversity of world-class literature. Is this one of the aims of the prize – to highlight such diversity – and, if so, why?
Davis- Undiano: Yes, the Neustadt Prize planners have always wanted to promote world literature and global understanding of diverse cultures around the world. The founders of the prize long ago realized that most places in the world are provincial – whether it is the south of France or the south of Oklahoma – and need access to a broader view of what other cultures and literatures are like. When those goals are even partially reached, the world becomes a better and richer place.

Robert Con Davis-Undiano,
executive director of World Literature Today.
Q: With the general lack of diversity in publishing being a concern in countries such as the United Kingdom, can the Neustadt Prize have an impact on publishers’ choices? If so, in what way?
D-U: Yes, it can. The Neustadt Prize is one of the gatekeepers of world lit. Recognition received from this prize routinely affects other prizes, even the Nobel. The Nobel committee has even gone on record explaining that the Neustadt Prize influences the choices that they make.

Q: Related to this, how significant is a magazine such as World Literature Today in helping to achieve change?
D-U: WLT, too, is one of the gatekeepers of world literature. The magazine often recognizes and discusses trends before anyone else can comment on them. In this way, WLT is frequently in the role of introducing great literature, often from under-appreciated regions, to the rest of the world.

Q: What are some of the most important considerations for Neustadt jurors in making their choice?
D-U: The jurors are bound by the Neustadt charter to isolate literary impact and quality as much as possible from other factors. In practice, they often choose young writers on their way up in terms of importance and recognition. The jurors can serve only once.

Q: What are the requirements to be a Neustadt juror?
D-U: The Neustadt jurors are generally writers of the same calibre as the nominees. It is just understood that a writers helping to choose the next Neustadt laureate should be someone at the same level in terms of achievements and brilliance.

One of Danticat's notable books.
Q: The award is described as “one of the very few international prizes for which poets, novelists, screenwriters, and playwrights are equally eligible”. Do you think there should be more multi-genre awards like this, and, if so, why?
D-U: We like the Neustadt Prize having this unique status. The sponsors of an award often have their own interests to serve in terms of what is being judged to give the prize.  The Neustadt Prize, like the Nobel, is simply trying to identify writers who are having an impact and will likely have more.

Q: Two Caribbean-born writers (Edwidge Danticat and Jamaica Kincaid) are among the finalists. Following a number of international awards for writers from the region, how do you see “Caribbean literature” on the global literary scene?

D-U: I think that the world is gradually opening to the culture and literature of the Americas, from the Caribbean to the southern cone. There is still a tendency toward “amnesia” about the history and the cultures of the Americas, and I want to see as much cultural recovery happening to highlight the Caribbean and the full expanse of the Americas.

(The nine finalists are: Emmanuel Carrère (France), Edwidge Danticat (Haiti/US), Amitav Ghosh (India), Aracelis Girmay (US), Mohsin Hamid (Pakistan), Jamaica Kincaid (Antigua/US), Yusef Komunyakaa (US), Patricia Smith (US), and Ludmila Ulitskaya (Russia).

Monday, 4 September 2017


By Dimitri Keramitas

Cairo Confidential (also titled The Nile Hilton Incident) is an Arabic-language, Egypt-set movie, but made with Northern European funding. This may provide an explanation for the production values Swedish director Tarik Saleh was able to give his work. Even at its most grotty, this film noir has the elegance and assurance of a top-budget movie.

A poster of the film in France.
The film also melds crime and punishment with politics, and so we might wonder how close to the bone the director permitted himself to go. Probably further than when you don’t have adequate funding, as Saleh journeys to the heart of rottenness: in relationships and political affairs. The crime story is set in the last violent, corruption-filled days of the Hosni Mubarak era, although much of the film was shot on location in Morocco, not Egypt.

Officer Noredin Mostafa (wonderfully played by Fares Fares) is a mid-level plainclothes cop. In classic noir tradition, he’s a widower living a spare lifestyle which does not exclude alcohol, cigarettes and the occasional joint of kif.

He’s assigned to look into a murder, the kind of sordid crime he should be used to. Perhaps because he lost his wife, he gives the case of a murdered woman more than his usual attention. It takes him through a complicated investigation with many lethal twists - and the viewer on a dizzying tour of the underside of Cairo. The director’s dark vision and the quality with which it’s expressed recall the novelist James Elroy (and film adaptations of his work) at his best.

The director, of Egyptian descent but born in Stockholm, has a feel for contemporary Egypt and its people. Saleh also has a background in the visual arts, including animation. Paradoxically, this sensibility enables him to make details resonate not just as aesthetic motifs but as reality that is both social and emotional. Whether his outsider status, and that of the production in general, distorts that reality is a question that’s difficult to answer, but should be considered.

Sudanese model Mari Malek plays a hotel worker
in Cairo Confidential.
Cairo Confidential (winner of the Sundance Film Festival’s World Cinema Grand Jury Prize) is a film noir in the most literal sense, almost exclusively shot in dark hues via street lighting, indoor lights, or natural twilight. The effect is as handsome as it is forbidding - you want to join the habitués in a café and puff on a nargileh.

The vision of Egyptian society is one of poverty but also the teeming energy of a people kept from emerging from that poverty by a darkness that is more than physical - and by the bonds that stifle. The bonds are political, but also social, even familial. Just as the darkness has its romantic side, so the stress on family gives the story a strangely intimate flavour.

As long as the case stays within the seedy depths of Cairo - petty criminals, fences, shady barmen, entertainers moonlighting as prostitutes - Noredin can rely on his “family” of fellow policemen. In a milieu where official salaries are low, and rules need to be bent, complicity is taken for granted.

But then one of the nightclub entertainers turns out to have a higher profile than expected, and a person of interest turns out to be a rich industrialist. Noredin needs the protection of his superior, a high-level inspector who happens to be his uncle Kammal (Yasser Ali Maher). The uncle assures him that he has his back, and so Noredin digs deeper.

A scene from the film.
The story will take us to the upper levels of Egyptian society, but also to the hidden world of African migrants, including hotel worker Salwa, played by Mari Malek, a former refugee from Sudan who is now a top model, DJ and actress in the United States. It also takes us into Noredin’s darkly romantic heart, when he gets involved with the nightclub singer, Gina (Hania Amar). All the actors in Cairo Confidential are convincing, their authenticity etched in the acid bath of corruption. But Fares Fares stands out for his rendition of one supremely complex cop - dogged, melancholic, tough, smart, fair but also corrupt.

The deeper the obsessed Noredin gets into his case, the closer it gets to the Power. Ironically, the time-line creeps closer and closer to the Tahrir Square Revolution, the Power’s end. Noredin himself, whatever his intentions, can hardly claim to be divorced from the Power’s perfidy and its consequences: it’s all in the family. But, as we in the audience know, it’s not really the end of the Power. Although our hero gets battered as much as Sam Spade or Phillip Marlow, and threatened with much worse, he will probably live to see another bribe. Who says there are no more Happy Endings?

Production: Atmo Production/Chimney/Copenhagen Film Fund. Distribution: Memento Films (France), Strand Releasing (USA)

Dimitri Keramitas is an award-winning writer and legal expert based in Paris.

Friday, 25 August 2017


“Art is a way to express oneself, it’s not about race or colour, but this exhibition is about giving a voice to a community so as not to forget,” says Elaine Harris, a British art consultant, speaking of a popular show at London’s Tate Modern.

The exhibition, Soul of a Nation: Art in the Age of Black Power, takes 1963 as its starting point – “the height of the Civil Rights movement and its dreams of integration” – and brings together 150 artworks by more than 60 artists.

Benny Andrews: Did the Bear Sit Under a Tree, 1969.
Emmanuel Collection (c) Estate of  Benny Andrews
/DACS, London/VAGA, NY
Many of the works were created during the emergence of “more militant calls for Black Power". This was a "rallying cry for African American pride, autonomy and solidarity, drawing inspiration from newly independent African nations”, says the Tate, one of the largest museums for international modern and contemporary art.

It adds that artists responded to these times “by provoking, confronting, and confounding expectations”, and that their momentum makes for an “electrifying” visual journey.

“It’s certainly an eye opener to see the work of many talented artists, from all walks of life,” said Harris, who visits numerous exhibitions as part of her work representing renowned artists.

“The show highlights the injustices of the time and makes you look at America from a different point of view,” she told SWAN. “You can see what the artists were experiencing: oppression, shorter lives, less wealth, and very little liberty.”

Curated by Zoe Whitley, Soul of a Nation includes paintings, photography, murals, collage, clothing designs and sculptures. 

Some of the artists “engage with legendary figures from the period, with paintings in homage to political leaders Martin Luther King, Malcolm X and Angela Davis, musician John Coltrane and sporting hero Jack Johnson,” the Tate says. Muhammad Ali appears in a famous painting by Andy Warhol.

This exhibition is an unusual chance to see remarkable art from an era that changed how some artists approached their work, according to the Tate. It also comes at a pertinent time, given recent divisive occurrences in the United States, and is sparking discussion about racism. American singer Solange Knowles, for instance, is collaborating with the Tate by showing videos of her work that reflect her view of Black womanhood, the museum announced in August.

Soul of a Nation runs until 22 Oct. 2017, at the Tate Modern, Bankside, London, England.

Follow SWAN on Twitter: @mckenzie_ale.

Thursday, 10 August 2017


The Jamaica Jamaica! exhibition: in Paris but departing soon. (SWAN)
As travellers stream through the Gare du Nord train station in Paris, they can’t help but notice several huge placards featuring musicians in an array of poses and distinctive clothing.

Those who stop to examine the images more closely learn that the posters are ads for the blockbuster Jamaica Jamaica! exhibition, now in its final days at the Philharmonie de Paris, a cultural institution within Paris’ immense Cité de la Musique complex in the northeast of the French capital.

A worker stands before a placard at the train station.
The exhibition is France’s first large-scale presentation on the history and impact of Jamaican music, and it has attracted thousands of visitors since it began in April at the Philharmonie, which focuses on music in all its forms.

As the show winds down and gets ready to move on, it is still pulling in viewers, thanks to ads such as those at the station (including on the monitors showing departures and arrivals) and  to special events such as workshops and meetings.

In fact, on Aug. 8, the exhibition was the venue for a reception hosted by the Embassy of Jamaica, to mark the island’s 55th anniversary of independence from Britain.

“The exhibition not only showcases Jamaica's rich musical heritage from mento to ska to reggae and dancehall, it is also about Jamaica's political history, our journey from colonialism to independence as well as the post-independence period ,” said Ambassador Vilma McNish, who welcomed a group of France-based Jamaicans to the Philharmonie, some of whom were seeing the exhibition for the second or even the third time.

Nyabinghi percussion - some of the instruments on display.
“Each visit teaches you something new, as you take note of some exhibits you hadn’t seen before,” McNish added.

For many visitors, one of the most notable aspects of Jamaica Jamaica! is the care that the organizers have taken to go beyond reggae and to give an overall view of the history of Jamaican music, tracing it back to its African roots.

This is achieved while also highlighting the unquestionable contributions of Bob Marley, Peter Tosh, Bunny Wailer, Jimmy Cliff, the I-Threes and other renowned artists and producers.

“We wanted to show the culture as well as the music and to show that Jamaican music is an important part of the history of the Black Atlantic,” said exhibition project manager Marion Challier, in an interview prior to the opening.

“There are so many stereotypes about the music and so many stigmas attached and we wanted to go beyond that.”
Challier and curator Sébastien Carayol have also focused on the role that art and literature play in portraying the music, with works by master painters such as Kapo and Barrington Watson on display, alongside portraits of musicians by Danny Coxson (see:
Photos of Bob Marley at Jamaica Jamaica!
In the centre’s bookstore, a wide range of books by Jamaican and other writers (in English and French) are also on sale, many of them dealing with various aspects of reggae and Jamaican culture in general.

But the show naturally contains elements that haven’t pleased everyone. Some visitors have questioned the prominence given to dancehall towards the end of the display, wondering if the less-admirable facets of the music should be the image that spectators take with them as they leave the exhibition.

The wording on some of the panels accompanying the exhibits has also caused puzzlement. Island Records founder Chris Blackwell, for instance, is described as seeing The Wailers’ “strong export potential” in the following terms: the “lead singer was, ideally, mixed-race and able to tone down his Jamaican accent when necessary”.

Despite such factors, the exhibition’s unprecedented scope and its impressive assemblage of instruments, records, artwork and film footage have done much to highlight the richness of Jamaican music and its global appeal.

The show ends Aug. 13, and the organizers say they hope parts of it will travel to other major cities ... perhaps even via the Gare du Nord. The dream, too, is that it will one day reach Jamaica.