Shirikiana aina biography

In she co-produced the drama film Sankofawhich was nominated for the Golden Bear at the 43rd Berlin International Film Festival. Aina's work is mostly rooted within the world of documentary film. Inshe filmed Through the Door of No Returnwhich document's her journey to Ghana to retrace the footsteps of her ancestors. Aina directed Footprints of Pan Africanism in a documentary that explores the impact of the independence of Ghana on political movements around the world.

In an interview at International Film Festival Rotterdam, Aina states "Racism and white superiority would rather cut off its own nose Shirikiana Aina facts for kids Kids Encyclopedia Facts. The Ministry of Culture was the co-producer. They made sure that most of our local expenses were taken care of, and that was a big part of the budget.

That was very helpful. When we proposed following up with the second film he was excited because he was a child of Nkrumah; he was of that generation and knew very well the impact that Nkrumah had on the African Diaspora. The themes from Sankofa, which were very much about resistance and self-determination also comes through Through the Door of No Return.

My parents were living in the southern cauldron of extreme oppression and migrated north and found another cauldron of oppression. All these instances find us carving out ways to survive and creating culture and renewing ourselves over and over again and becoming amazing contributors to world history, world culture and examples of resistance.

That extension back to Africa, seeking another manifestation of our plight on the planet, it was just amazing to me, that kind of came full circle, which is not even complete because going back to Africa does not mean liberation. It just means another level of struggle, but that continuum is very interesting for both of those films. In terms of Footprintsit looks at what happens when we went back on our own, when we approach the continent now not only as somebody who wants to make sense of that horrible departure scenario—slavery, the disbursement of us—but now going back with something to offer in terms of change.

The idea that the whole African Diaspora, inspired by people like Kwame Nkrumah, can be free. Meanwhile, we are also like the Sankofa bird building something. That is what happened during those Kwame Nkrumah years. What were some of the biggest challenges you faced in putting together this film? Hearing you say that the first thing that came to mind jokingly—but also very real—is the mere job of trying to figure out how to make this thing work.

Aina: Yes, and there were a few things I did in between. We also own a shirikiana aina biography, which keeps us busy. And, as you point out, we did raise six children. I guess you can measure those years by films and kids as landmarks. How did you fund this new film project? Aina: We were very lucky that Sankofa had the kind of response that it did.

We were able to take Sankofa to theaters in different cities around the country for two years. It was a very laborious process, but it allowed us to have a face to face relationship with the audiences. We also educated more people about what that film making process was about and the funding process and encouraged more people to go into producing, to distribution, to owning the film-making industry, the film-making process.

Shirikiana aina biography

Some of the funds that came out of the Sankofa distribution went into Through the Door of No Return and to Footprints of Panafricanism. It was enough money to get us started. The majority of the time that it took to complete Footprints was spent on fundraising. In other projects. Wikidata item. American film director, cinematographer, producer and writer.

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