BENINESE FILMAKER & VISIONARY THOMAS AKODJINOU

1967-1973:
Staged in the National Institute of the Cinematography of Moscow
Director's diploma of Films
University Rank; MASTER OF ARTS

FILM CREDITS
On 1973
THE SIG ARISEN FROM the MASTER KEY
THE SUNK ISLANDS
On 1978
TOMORROW HOPE
ALLADA YESTERDAY
HINVI
THE STRONGEST MAN

1980: ROAD OF THE FREEDOM

1983: THESE LANDS (Full-length film in video)

CROSSES (GOES THROUGH) ASSOCIATIVE

1974: Introduce the Movement of the film culture in Porto-Novo
1976: Base the Movies Studio club Shango ( CCAS)
1984: The Movy Studio club Shango, becomes the Beninese Centre of the Film for
Childhood and Youth ( CEBEFEJ)
1987: Young person organizes the 1-st Week International of film for child and

1990: Member of the jury of the 1-st International Festival of the Film for Child and Young people of MOSCOW.

1990: Agreement of twinning with the French community of Belgium

1991: Organization of the week of film of the French community of Belgium for childhood and youth.

1993: Benin Scandinavia (ABS) Bases Alliance, is interested especially in the cultural and social situations of integration of Scandinavian communities and Beninese.

1996: Create and steer the international festival of film for the childhood and the youth in Cotonou (FICECO).

Member of the international centre of the film for the childhood and the youth-CIFEJ-
Member of the European association for the education in broadcasting (audiovisual) media - AEEMA-BRUSSELS

2001: Treasurer General of the FEPACI (Pan-African Union of
Filmmakers)

LITERARY ACTIVITY
Nasi or the ardour of Prométhée (Short story(piece of news) - unpublished work)
In the name of my Father (novel for young person - unpublished work)
The three letters of the happiness (short story (piece of news) - unpublished work)
Do not pull (fire) me in the back (short story (piece of news) - unpublished work)

SCENARIO:
These Earth or love in flame
Consciousness
It (he) was once
Jealousy

POLITICAL ACTIVITY

President Founder of the African Party for the Culture of the Social democracy PAC-SD

Knight of the Merit of the National Order of Benin

Thomas A. AKODJINOU
*****************************
ALABAMA BENIN TRADE
AND ECONOMIC COOPERATION FORUM
Office Of The Chairman

May 23, 2007


Mr. Thomas Azinsou Akodjinou
Filmmaker M.A.
President Afrique of the Community Connections Committee
ALABAMA-BENIN
03 B.P. 2982
Cotonou, Benin
Akothom1@yahoo.fr

Dear Mr. Akodjinou:

This letter is your official notification of reappointment as the President of the Community Connections Committee-Benin. While your initial appointment was issued under the Chairmanship of Mr. John H. Smith who passed away in September, it is unanimously suggested that your appointment become reinforced through the issuance of this letter to update your status.

One of the goals of the Community Connections is to merge and promote African Culture through the medium of the arts with the Diaspora. This goal will be achieved through several disciplines; theatrical arts, film and cinema arts, literature, dance, music, visual arts textile design. The Committee will seek to connect communities in Africa with its Diasporic counterparts through dialogue, cultural events, and technical communication to foster continued reconciliation and understanding between Africa and her Diaspora.

Congratulations to you, and I certainly concur with the foresight of the late John H. Smith that you are highly deserving of this appointment because of your tireless, sacrificial and dedicated service in assisting the Alabama Benin Trade and Economic Forum, the AfricaTown Community Mobilization Project, Inc., as well as your input into the future creation of the International Center for Ethnic Art and Cultural Design. The latter being a project you started under the guidance of Mr. John Smith.

We will record the first official act of your appointment as President of Community Connections Committee-Benin to be your gift of the Marble Statues of Cudjo Lewis and John H. Smith to AfricaTown, USA. Alabama is proud to have had the official unveiling on May 20th 2007.

The Community Connections By-Laws will be drafted and sent to you for your review within 30 days of the date of this appointment. These By-Laws will be the guiding principles for this appointment.

Thank you for your undaunted pursuit of Reconciliation, Peace and Understanding between Alabama and Benin.

Best Regards,


George Williams
Chairman of the Alabama Benin Trade & Economic Cooperative the Community
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The International Center
for
Ethnic Art and Cultural Design
Republic of Benin

A Frame Work to Protect and Enhance the World’s Heritage In Art

John H. Smith-Chairman
Alabama Benin Trade and Economic Cooperation Forum
Thomas A. AKODJINOU-Chairman
Alabama Benin Forum
Community Connections Committee
Chevalier de l’Ordre
National du Mérite du BENIN
___
Diane Cameron-ChairWoman
Alabama Benin Forum
Community Connections Committee
USA Artist In Residence
Republic of Benin Gospel and Roots Festival
2005 Kora Award Nominee
November 2005


Preface
The International Center for Ethnic Art and Curtural Design is an institution organized to advocate the social utility of art in understanding the human character and the complications of life in the 21st century. We seek through its establishment better ways to understand the human impulse as both a creative and destructive force. Creation of the Center is an important contribution to better insights into organization of the human condition and 21st century civilization. At the start of the new millineum human society has advanced knowledge and applications which include intended benefits along with unintended destructions of life. The creative nature of the arts may be useful insights in the 21st century to assist politicians, scientist and engineers avoid unintended consequences as they impose on natural life more complex human artifacts of civil society.
The “Frame Work to Protect and Enhance the World’s Heritage in Art” is a sequence of decisions and actions designed to promote, practice and interprete the methods of literature, visual arts, performing arts, sculpture, and architectural design as insights into the creative impulse and its social utility. The establishment of the creative impulse as art forms by various cultural groups of the world provides knowledge of the underlying feelings and thinking of the culture producing the art forms, the role of creative thought in human society and its insights in social problem solving. It is the intent of the Center to enhance the utility of art and to preserve and protect the ethnic cultural qualities of the world community, which fosters social responsibility toward all members of the human family. The fundamental purpose of the center is to advance the work of artist who strive to build international awareness of the plight of alienated and opressed Ethnic Groups through the medium of art and who promote greater human cooperation, reconciliation and understanding through such practices.
The focused and specific purpose of the Center is to advance the cause of the Benin “Reconciliation Renaissance” and to provide the artistic voice and vehicle for human advancement. The 21st century require new methods of reconciliation and peaceful settlement of disputes and conflicts. The Center provides alternative discussions other than war to the challenges of the 21st century. The artist with a command of the interpretation of form, the environment, perception, space, movement, pattern, feeling, and motivation associated with specific ethnic groups are useful channels for greater human understanding and cooperation. The underlying assumptions of the center are related to the highly accurate, precise, and sensitive attributes of art to the human character. Human circumstances and the events of life recorded in books, plays, film, captured on canvass or by sculpture are records of the events of life and projections and forcast for the future. The capacity and competence of artist in these areas and their attributes must be protected, encouraged and promoted as useful social tools in comprehending the dynamics of multinational interaction and human conflict.
The artist serves society not by simply producing abstract aesthetics and artistic cultural values alone. The artist also provides the vision and cue for social change long before the politician, industrialist, or educator. It is for these reasons that the International Center for Ethnic Art and Cultural Design is formed to capture the social usefulness of these attributes. The Center is established to promote and encourage the uninhibited feelings and expressions of artist in these areas.
Artist have not recieved the international support and respect for the applied and useful nature of their work even though in many instances the creations of many gifted individuals were not produced for specific applications but as historical expressions, responses, and projections of a future time they often emerge as socially useful. These unintended applications may serve when organized properly to provide insight into many of the complex social economic issues of the world. The International Center for Ethnic Art and Cultural Design provides the institutional context in which the freedom of artistic expression is exploited as a meaningful social tool. The Center provides the background and setting in which artist utilize their talent and skill to create, analyze, interpret, and produce sounds, visuals, movement, forms, feelings, and environments. The work encouraged by the Center is produced to comprehend multicultural-multinational interactions in a complex world. In addition the Center serves as an art exchange for the world through international meetings, tele-conferences, seminars, workshops, publications, the exchange and exhibts of work, and the encouragement of critical reviews of works of art and social economic practices by artist.
The Frame Work to Protect and Enhance the World’s Heritage in Art is a blueprint or roadmap when followed leads to the organization of a strategic program which increases the understanding and social applications of artistic insight. The use of artistic insight in social development activities in a world of technological complexity is a breakthrough thinking idea. The Frame Work guides the organization of the requirements, the functions, cost development and installation strategy to achieve the intent of the project and the likelyhood of accomplishing a social breakthrough. If the world is to prevent the historic problems of expanded population, urban congestion, poverty and high crime rates associated with the 20th century the creative resources of artist are required.
The International Center for Ethnic Art and Cultural Design is the contribution of the arts to the hope of the 21st century. A world at peace, providing prosperity and producing human happiness for all.


John H. Smith-Chairman Thomas A. Akodjinou-Chevalier Diane Cameron
Alabama Benin Forum de l’Ordre National du Mérite du USA Artist in
Cotonou BENIN Residence to
November 2005 Benin
Contents
Preface
I. Introduction
1.1 Purpose of the Report
1.2 Ethnic Art and Cultural Design Problems Requiring the Center
1.3 Method and Procedures to Judge the Feasibility of the
Center
1.4 Organization of The Report
II. Requirements For The International Center for Ethnic Art and
Cultural Design
2.1 Criteria Guiding the Centers’ Programs
2.2 The Centers’ Orientation
2.2.1 Context
2.2.2 Viewpoint
2.2.3 Purpose
2.2.4 Products/Services
2.2.5 Things Acted on By the Center
2.2.6 Controls to Constrain & Enhance the Center
2.2.7 Mechanisms Required
2.2.8 The function Executed by the Center
III. Functions of the International Center for Ethnic Art and
Curtural Design

Node Index of the International Center for Ethnic Art and Cultural Design
A-O Context Diagram
AO Decomposition Diagram
A1 Education and Training in the Social Utility of Art
A1.1 Ethnic Art and Cultural Design
A1.2 Ethnic Science
A1.3
A1.4
A1.5
A1.6
A2 Film and Television
A2.1 Education and Training
A2.2 Archives and History
A.2.3 Production
A2.4 Special Events
A3 Creative
Writing and Research
A3.1 Diaspora Anthologies
A3.2 Critical Social Reviews
A3.3
A3.4
A3.5
A3.6
A4 Public Out Reach
A4.1
A4.2
A4.3
A4.4
A4.5
A5 Publications & Communications
A5.1
A5.2
A5.3
A5.4
A5.5
A5.
A.5.7
A6 Center Endowment Fund
A6.1 $50,000,000 (Fifty Million US Dollar
Endowment)
IV. Management and Governance of the Center
4.1 The Need and Demand for The Services
4.2 Challenges and Opportunities
4.3 Overview of the Structure for Confronting Universal Design
Issues
4.4 The Center’s Pilot-Demonstration
4.5 Management and Governance of the Center
4.5.1 The Board of Artist
5.5.2 Administrative Control
5.5.3 Functions Programs and Divisional Management
5.5.4 Cost Controls and Cost Accounting Systems
4.5.5 Information and Data Management Systems
4.5.6 Dynamics Automation and Real-Time Control of the
Enterprise
V. Cost Accounting Financials and Economic Feasibility of the
International Center For Ethnic Art and Cultural Design
5.1 Revenue Expenses and Changes in Net Assets
5.1.1 Revenue:
5.1.1.1 Contributions Gifts and Grants
A) Direct Public Support
B) Indirect public Support
C) Government Contributions
D) Totals
1. Cash
2. Non-Cash
5.1.1.2 Program Service Revenue
5.1.1.3 Membership Dues and Assessment
5.1.1.4 Interest on savings and Temporary Cash Investments
5.1.1.5 Dividends and Interest from Securities
5.1.1.6 Gross Rents
5.1.1.7 Other Investment Income
5.1.1.8 Gross Amounts from sales of Assets
5.1.1.9 Special Events and Activities
5.1.1.10 Gross sales of Inventory
5.1.1.11 Other Revenue
5.1.1.12 Total Revenue

5.1.2 Expenses:
5.1.2.1 Program Services
5.1.2.2 Management and General
5.1.2.3 Fundraising
5.1.2.4 Payments to Affiliates
5.1.2.5 Total Expenses
5.1.3 Changes in Net Assets
5.1.3.1 Excess or (Deficit)
5.1.3.2 Net Assets or Fund Balance- Beginning of Year
5.1.3.3 Other Changes in Net Assets or Fund Balances
5.1.3.4 Net Assets or Fund Balances-End of Year
5.2 Statement of Functional Expenses
5.2.1 Grants Allocation
5.2.2 Benefits Paid to or for Members
5.2.3 Compensation of Officers Directors
5.2.4 Other salaries and wages
5.2.5 Pension Plan Contribution
5.2.6 Other Employee Benefits
5.2.7 Payroll taxes
5.2.8 Professional Fundraising Fees
5.2.9 Accounting Fees
5.2.10 Legal fees
5.2.11 Supplies
5.2.12 Telephone
5.2.13 Postage and Shipping
5.2.14 Occupancy
5.2.15 Equipment Rental and Maintenance
5.2.16 Printing and Publication
5.2.17 Travel
5.2.18 Conferences Conventions and Meetings
5.2.19 Interest
5.2.20 Depreciation Depletion
5.2.21 Other Expenses
5.2.22 Total Functional Expenses
5.3 Statement of Program Service Accomplishments
5.3.1 Purpose
5.3.2 Activity Executed
5.3.3 Measures
5.3.4 Expenses
5.3.5 Total Center Program Service Expenses
5.4 Balance Sheet
5.4.1 Assets
5.4.1.1 Cash- Non-Interest
5.4.1.2 Savings & Temporary Cash Investments
5.4.1.3 Accounts Receivable
5.4.1.4 Pledged Receivable
5.4.1.5 Grants Receivable
5.4.1.6 Receivables from officers Directors and Key Employees
5.4.1.7 Other notes and Loans Receivable
5.4.1.8 Inventories for sale or Use
5.4.1.9 Prepaid expenses and Deferred charges
5.4.1.10 Investments-Securities
5.4.1.11 Investment-Land Buildings and Equipment: Basis
5.4.1.12 Other Assets
5.4.1.13 Total Assets
5.4.2 Liabilities
5.4.2.1 Accounts Payable and Accrued Expenses
5.4.2.2 Grants Payable
5.4.2.3 Deferred Revenue
5.4.2.4 Loans from Officers Directors and Key Employees
5.4.2.5 Tax-exempt Bond Liabilities
5.4.2.6 Other Liabilities
5.4.2.7 Total Liabilities
5.4.3 Net Assets or Fund Balances
5.4.3.1 Unrestricted
5.4.3.2 Temporarily Restricted
5.4.3.3 Permanently Restricted
5.4.3.4 Total Net Assets or Fund Balances
5.4.3.5 Total Liabilities and Net Assets/Fund Balances
5.5 Relationship of Activities to Accomplishment of the Purpose
VI. Design for Implementation
6.1 Design of the Test Bed Concepts to Transform the idea Into Operations
6.2 Design of the Evaluation and Improvement System
6.3 Significant Individuals and organizations Critical to Implementation of the program

Summary
Glossary
Appendix

Introduction
The concept for and International Center for Ethnic Art and Cultural Design first emerged during the June 1986 United Towns Day celebration in Dakar Senegal. The context for the proposal was the displays and works of music, dance, poetry, films and literature by European and American artist opposing apartheid practices and policies of South Africa. The senior author of this report along with Harlem Renaissance writer James Baldwin presented the proposal to the United Towns organization in keeping with the intent of the meeting to set up joint projects for peace and development. The idea was revived in 2004 through USA Artist in Residence to the Republic of Benin Gospel and Roots Festival Diane Cameron. As part of her leadership in the Benin Reconciliation Renaissance Diane Cameron established a guild for artist, organized It’s All An Act Two Benin and Chaired the Community Connections Committee of the Alabama Benin Trade and Economic Cooperation Forum. It was within this context that the idea for a permanent World structure for artist emerged. Mr. Thomas Akodjinou joined the Community Connections Committeee of the Forum and proposed a merger of the Benin Center for Film along with the International Festival of Film and Television. The agreement between Diane Cameron and Thomas Akodjinou to merge the concepts and with technical support from the Alabama Benin Forum resulted in the Frame work to establish the International Center for Ethnic Art and Cultural Design.
The Center is established within the context of the Benin Reconciliation Renaissance. The “Reconciliation Renaissance” originating in the Republic of Benin is a new form of human expression of regard by civilization for God’s creation, the natural world and all of life. It is the articulation of a new spirit of action and cooperation respecting the endowed natural right to self-expression in work and the receipt of its benefits, the fruits of labor. It is the awareness, recognition, and acceptance of each living sole as an equal heir to the creation entitled to the natural wealth provided in abundance for life’s security and happiness. In its highest form the Reconciliation Renaissance is the expression of sorrow and shame for any wrongful acts of the past and joy at the possibilities of developments, which correct past misdeeds. This act of shame by those responsible for past acts of robbing individuals and groups of their labor in order to be complete must be accepted by those who were and are victims. The act of apology must be given freely without coercion and must be accepted without conditions. This then is a complete reconciliation between perpetrator and victim and the first step to a world with a “Zero Tolerance for Poverty”
The International Center for Ethnic Art and Cultural Design is a movement by artist to bring awareness to the issue of hunger and poverty not as an issue of scarcity but one of contempt for the human right to access land so that all persons may labor freely for their daily bread. It is a movement of morals and spiritual persuasion to freely and without government intervention induce those with more than enough to share their wealth with those without enough. The movement promotes “Zero Tolerance for Poverty” as a policy to be adopted by the world. The Center recognizes the special role of artist in society to provide insight, provoke thought, and induce new energies for action. The artist through song, dance, writing, theatre, sculpture and painting arrives at deeper insights long before the politician, engineer or business entrepreneur. It is for these reasons that a small group of artist from the United States and a small group from Africa formed the Center. The current concept is for a tour to originate in the Republic of Benin at the 2006 Gospel and Roots Festival stopping at several points in Africa before leaving for Europe and Asia to develop support for the Center. The Tour will continue its campaign in the United States making stops in Washington, DC Detroit, Denver, Los Angeles, Atlanta and Houston with a final stop at AfricaTown, USA, the place where the last Africans were brought to the United States for the purpose of slavery in 1859 from the City of Ouidah in the Republic of Benin.
The 2005 Benin Gospel and Roots Festival founded the proposed concept for the Center and Reconciliation Tour. USA Artist in Residence to the Festival, Diane Cameron, as part of her duties organized Its All An Act 2-Benin, Completed the Reconciliation CD, organized Benin Artist for participation in the 2006 AfricaTown Reconciliation and Development Conference scheduled for Prichard, Alabama USA, and developed in concert with the Benin Agency for Reconciliation and Development the Reconciliation Tour. The USA Artist in Resident also begin the schedule for the production of, The Cry for Freedom, a musical play depicting the events from 1614, the period in which African people were legally declared to serve perpetually as slaves in the U.S., to 2000 the year of the Reconciliation Decree issued by President Mathieu Kerekou of Benin. The play will be performed by a multinational cast at the 2006 Alabama Benin Trade and Economic Cooperation Forum scheduled for Alabama.
The “Reconciliation Renaissance” has come to symbolize a global effort to achieve freedom and Democracy in the 21st century led by the people of Benin and supported by scientific, religious, Political and artistic leaders from the United States and Europe. The International Center for Ethnic Art and Cultural Design is established to bring attention to the reconciliation method as a strategy other than war and to promote reliance on the artistic spiritual realm to advance the human condition. The center is not simply a facility to dramatize the plight of the poor and condemnation of the wealthy. Instead the center organizes artist into action guilds to work through their mediums to persuade greater fairness and justice through reconciliation, moral considerations, for equal access to the natural wealth provided by God to all and equitable distribution of that wealth.
The International Center for Ethnic Art and Cultural Design represent an international movement to bring awareness to the process of reconciliation as a method and technique to resolve disputes, conflict and chaos arising out of human issues of resource demands, power, uncertainty, fear, hunger and poverty. Established legal and political institutions and war have failed to resolve long term cultural, ethnic and national disputes and conflicts. The 21st century demands new methods for settling controversy which call on the higher moral energies and natural powers of human kind to cooperate, and to avoid the inducement to inflict injury. The Center provides the voice and vision for societies, governments, agencies of governments and individuals to confront the natural will of human beings to be free of conflict. In many respects conventional institutions charged with the responsibilities to settle disputes and conflict create constraints on human will which foster social chaos. The International Center for Ethnic Art and Cultural Design offers a new promise to manage human disputes and conflict within a reconciled framework. Artistic insights offer strategies other than war and social, cultural and ethnic destructions. The artistic method as advanced by the Center appeals to the natural and moral tendencies of human beings to forgive, assist each other and to live in peace.
The artifacts of human structured life and culture operate outside the range of the laws of nature and of God. Violations of the natural rules of life constrain human freedoms and induce conduct beneath the most basic lower forms of animal behavior. Such socially designed induced conduct can be understood as violations of natural law and artistic insights offered to assist disputing parties arrive at permanent resolutions to their conflicts. The assumptions made by Center are that human disputes and conflicts can be resolved by elimination of the culturally designed induced constraints on the moral and natural will of human behavior. Systematic attention to the natural human factors which complement the human desire to do good and which compensate for the culturally designed induced spirit to injure can be made more thoughtful by the views of artist.
Through teaching, creative writing, film, song, dance, theatre, sculpture and painting deeper insights into the meaning of life are offered to stimulate the religious leader, lawyer, politicians, scientist and engineer to seek a better use of life. In order to further the advancement of the “Reconciliation Renaissance” the Center promotes artistic exchange between artist of the world. It is an additional purpose to elevate the useful role of artist in advancing society, and youth development and to provide promising artist with the opportunity to perform and to advance their mediums. The Center will convene a planning and design conference during the 2006 Gospel and Roots Festival to formally establish the Center and the Board of Artist. The Center’s Board of Artist will convene the organizing committee to establish the requirements for the Centerl and after its formal development host an International Conference on “Art and Reconciliation as a Conflict Resolution and Dispute Settlement Process”. The fundamental intent is to advance the reconciliation process in theory and practice and as an artistic, religious, scientific and professional pursuit. It is anticipated that the model once developed will serve as a prototype for UNESCO. The aim of the Center is to find the seed living inside the spirit of the human family and to challenge world societies to look within themselves to find their true beauty and power inherited from God.
With leadership of Artist and the International Center for Ethnic Art and Cultural Design a new chapter in human history will unfold as reconciliation becomes the continuous pattern guiding the survival and direction of life.
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4th International Festival of Cinema and Television for Childhood and Youth at Cotonou from

November 6th - 21st 2009

QuartierVêdoko/ Cotonou, immeuble blanc derrière maison Alabi Gbègan
Tel : (229) 21 03 20 72 Cotonou Bénin. E-mail ficeco@bow.intnet.bj
http://www.ficeco.org/

FICECO

The International Festival of Cinema and Television for Childhood and Youth at Cotonou – FICECO- , proposes every other year a unique and exceptional meeting in Africa at south Sahara. This meeting is organised for film-makers, television professionals, artists, teachers Benin young people.

FICECO covers Africa where there is the largest number of children and young. It proposes a space for the best film productions on the international market meant for young people, a space for meetings and thoughts, a festival space.

Background Story

FICECO originated from the commitment of a man: Thomas AKODJINOU. After his growth in Benin of 50s, he spent six years to Moscow studying production at National Institute of Cinematography. Then, he shows 8 short films and one full length video film.
Apart of this work as Director, he developed a very rich activity dedicated to cinema. Among others, he created the cinematography culture movement and the Cine Club shango workshop which later becomes the Benin Center of films for Childhood and Youth (Centre Béninois du Film pour l’Enfance et la Jeunesse- CEBEFEJ-).

As the Director of CEBEFEJ, he has taken part in many International Forum and meetings dedicated to film for children and the youth. He has organised cinematography weeks for young people at Cotonou. And it is from this experience that he developed the idea of creating the International Festival of Cinema and television for Childhood and Youth (FICECO)
Before the first edition, preparatory works made in 1999 helped this festival to determine his parking space and lay the foundation of its development.

Objectives

Show to the young public, the best of audiovisual production for children and youth in the world especially in Africa. This will be a contribution to their imagination blooming.
Give to audiovisual professionals a chance of intercultural meeting, of emulation and feast around films for Children and Youth.
Incite African producers, film makers and writers to write scenario and to produce audiovisual films for children and the youth; this will help renewing friendship with young public later.
Serve as a link in the building of the pan African film production network and sustain the competition between African professionals on international markets.

Nota Bene

Film or Tele film in this document means production meant for the young.

2009 Programme

Full-length film competition

In the category 7 fiction films and tele films of 72 minutes each will compete. These films are launched on the market since January 1st, 2001. Full – length films are sought word wide but priority is given to African productions.

Short film competition

It presents 10 fiction films and tele films of 60 minutes maximum, launched on the market since January but priority is given to African production.

Panorama

It will show about 10 films or tele films not competing (short and full-length films) launched on the market since January 1st, 2001.

African films retrospectives

This section will present five (05) fiction films and tele films, short and full-length films produced during the history of African Cinema.

Focus from outside

It presents about ten (10) documentaries and docu-dramas on African children and young people, produced outside Africa.

Symposium

This symposium will focus on (likely to be changed) “Fiction films and prevention films for young people in Africa: Contradiction and complementarity of two markets “. This symposium will be held for audiovisual professionals, the jury and NGO’s (Non Government Organisations) representatives, audiovisuals and prevention sectors managers present at the festival. Other people present at this symposium as listeners could get some places if any.
We will try to establish a collaboration with FEPACI and PADIAVA for the success of the symposium. This will be set up when coaching the films or during the showing séance of retrospective and focus from outside films.

Festive events

The launching

The festival will open at november 23, 2002 by a display for children and young people, namely a hoop race followed by a Mack –party in music. Then will come a brief delighting moment and after, the showing (on photo film) of a film registered for full – length films competition.

“Open –air” showing

Each night , a film will be shown for those who are not able to take part to the showing in the daytime.

Dancing party

It will take place after the two day symposium and will bring together everybody especially the participants to the festival. This party will begin by the narration of an African folktale (30 minutes). It will be performed by a griot (narrator) or by children at the terrace of Restaurant Benin.

Closing ceremony

The festival will close with a ceremony of reward and the showing of the best short and full-length film.

Showing schedules and meting places

Showings

Showing financial reasons, every showing dewing 2002 (except thee launching night film) will be made from Betacam SP Cassettes . To compensate the qualitative lost in comparison with photo film, we will give our best to make the showing blameless as regard image as well as sound. The lookers number will be limited to 150 people per séance in order to guarantee best conditions for watching.
The showing will take place in two rooms meant for the purpose and situated one next to the other.
“Open air” showings will be held in an area easily accessible to the public.

Schedule

The schedule will set 2 full-length film competition each day. The remaining films will complete around this central sample. Normally each film is shown twice. Films will be shown in French, with subtitle in French or with a simultaneous translation in French. Globally, about forty films will be shown during this 2nd FICECO edition. The global duration of the showings is evaluated to 35 hours.
The showings are public and free but the access is controlled so as to help children and young people or any other person interested to have access to the films. In collaboration with pupils parents association and the Ministry of National Education, pupils and students will be invited to participate to the films meant for their age.
The public will have the opportunity to meet the Directors (or producers) present at the festival.
Meetings places

The festival headquarter will be set up at Centre de Promotion d l’Artisanat as the basis of the activities: symposium, press conference professional meetings. As far as we can, we will lodge our guests present at FICECO 2002 in an area likely to be walk over by foot. And we will rejoice on this colourful and foundful event.
*****************************************************

SPECIAL NGO INTERNATIONAL OF MR. AKODJINOU

Universal Council of African Historical Diaspora

***********************

UCAHD
***********************

Email : akodjinouthomas@yahoo.fr
TEL L00229 21 03 20 72/ 93 72 67 55

Chers frères et sœurs de la Diaspora Historique Africaine,

Nous avons le plaisir de vous annoncer que vous avez été identifié pour faire chemin avec nous pour la réalisation d’un rêve que partage certainement avec nous nombre de nos frères et sœurs noirs de part le monde.

Il s’agit de cette structure à dimension planétaire au sein de laquelle se retrouve toutes les diasporas historiques africaines et assimilées sans distinction de religion ni d’appartenance politique. Cette structure qui regroupera tous les continents se donnera pour mission de promouvoir les idéaux de la Réconciliation, de Renaissance et du Développement.

Elle travaillera sur les voies de nos devanciers et servira valablement de porte parole de la diaspora historique africaine dans toutes les instances. Nous l’avons dénommée : Universal Council of African Historical Diaspora (UCAHD), Conseil Universel de la Diaspora Historique Africaine. (CUDHA)

L’UCAHD provoquera des réflexions et incitera des énergies nouvelles pour des actions en faveur du Monde Noir et de l’Humanité.
Comment y parvenir ?
A l’étape où nous sommes, nous nous organisons pour un effet d’entraînement.

Ainsi pour:

L’Asie: Asian Council of African Historical Diaspora: L. Ravi DASS; email:indonuni@yahoo.com
L’Afrique: African Council of African Historical Diaspora: Azinsou Thomas AKODJINOU
L’Europe: European Council of African Historical Diaspora: Sandra AKODJINOU
L’Océan Indien Indian Ocean Council of African Historical Diaspora: Linda M.AKODJINOU email: lingoesta@yahoo.fr
L’Amérique: American Council of African Historical Diaspora:
Constantin GNAHOUI-DAVID: email: contentin@jamii-africa.org http://www.jamii-africa.org/
Diane Elam CAMERON: email: usaartistobenin@aol.com

GHANA représenté par Monsieur Nicholas EVENYI : email: ekuka_nicholas445@yahoo.com
AFRIQUE du SUD: M. Albert EGBE email : albert_egbe@yahoo.com
DISA : email : disa_seb@yahoo.com tel : 0723092441/ 0825347735
Nous appelons diasporas historiques et assimilées, les frères et sœurs ayant des liens historiques avec l’Afrique. Plus précisément des descendants des esclaves et victimes de du Commerce Triangulaire et de la Traite Négrière.

Nous vous saurions gré de réagir assez rapidement pour confirmer le choix qui se porte sur votre personne.
Dans l’attente, nous vous prions de recevoir l’expression de nos salutations fraternelles.

Le Président du COMITE de DIRECTION
Azinsou Thomas AKODJIJNOU
Réalisateur de films M.A
Chevalier de l’Ordre National
du Mérite du BENIN
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