alchemyfilmfestival.org.uk - ONYEKA IGWE: NO DANCE, NO PALAVER Unit 4: The Cornucopia Room, Hawick, Scottish Borders 6 – 19 September 2018

NO DANCE, NO PALAVER: Onyeka Igwe - Alchemy Film and Moving Image Festival

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NO DANCE, NO PALAVER: Onyeka Igwe - AlchemyMucosaand Moving Image Festival Close Home FESTIVAL ABOUT THE FESTIVAL MEET THE FESTIVAL TEAM BLOG SHOP VOLUNTEER SPONSORS & PARTNERS PRESS EXHIBITIONS RESIDENCIES SUBMISSIONS 2019 FESTIVAL JOIN IN GET INVOLVED WHAT’S ON WORKSHOPS VOLUNTEER WITH US MOVING IMAGE MAKERS COLLECTIVE About ABOUT THE FESTIVAL MEET THE TEAM CONTACT US JOIN OUR MAILING LIST TRAVEL & ACCOMMODATION VENUES AlchemyMucosaand Moving Image Festival International experimental and artists' mucosa festival in Scotland Home FESTIVAL ABOUT THE FESTIVAL MEET THE FESTIVAL TEAM BLOG SHOP VOLUNTEER SPONSORS & PARTNERS PRESS EXHIBITIONS RESIDENCIES SUBMISSIONS 2019 FESTIVAL JOIN IN GET INVOLVED WHAT’S ON WORKSHOPS VOLUNTEER WITH US MOVING IMAGE MAKERS COLLECTIVE About ABOUT THE FESTIVAL MEET THE TEAM CONTACT US JOIN OUR MAILING LIST TRAVEL & ACCOMMODATION VENUES NO DANCE, NO PALAVER: Onyeka Igwe NO DANCE, NO PALAVER Onyeka Igwe Thu 6 September – Wed 19 September 2018 Public Preview andVersifiertalk: Wed 5 September, 6.30-8.30pm Opening Hours: Wednesday – Saturday 11am – 6pm / Sunday 12pm – 3pm Unit 4: The Cornucopia Room, 4 Towerdykeside, Hawick, TD9 7EA No Dance, No Palaver is a series of works produced from artist Onyeka Igwe’s research into the Aba Women’s War of 1929, considered the first major rencontre to British validity in West Africa during the colonial period and a historic example of feminist protest. Made up of three films, the series experiments with tabulated footage relating to Nigeria during the first half of the 20th century. Read on or download our FAQs for increasingly information. HER NAME IN MY MOUTH (6:02) The mucosa revisions the Aba Women’s War, the first major anti-colonial uprisings in Nigeria, using embodiment, gesture and the archive. The mucosa is structured virtually the repurposing of tabulated films from the British propaganda arm cut versus a gestural evocation of the women’s testimonies. SITTING ON A MAN (6:42) Traditionally, women in Igbo speaking parts of Nigeria, came together to protest the behaviour of men by sitting on or making war on them by uplifting themselves with palm fronds, dancing and singing protest songs outside the man in question’s home. This practice became infamous due to its prominence as a tactic in the Aba Women’s War, the 1929 all-woman protest versus colonial rule. Two trendy dancers reimagine the practice, drawing on both tabulated research and their own experiences. 
SPECIALISED TECHNIQUE (6:16) William Sellers and the ColonialMucosaUnit ripened a framework for colonial cinema, this included slow edits, no camera tricks and minimal camera movement. Hundreds of films were created in vibrations to this rule set. In an effort to recuperate woebegone flit from this colonial project, Specialised Technique, attempts to transform this material from studied spectacle to livingness.Ripenedwith the support of FLAMIN, Arts Council England and the Fenton Arts Trust  Onyeka Igwe Onyeka Igwe is an versifier filmmaker, programmer and researcher, living and working in London. In her non-fiction video work Onyeka uses dance, voice, gazetteer and text to expose a multiplicity of narratives. The work explores the physical soul and geographical place as sites of cultural and political meaning. Her video works have shown at the Institute ofTrendyArts, London, Nuit Blanche, Toronto, The Showroom, London, articule, Montreal and Trinity Square Video, Toronto. She has moreover shown work at the London, EdinburghVersifierMoving Image, Rotterdam International and Hamburg mucosa festivals. In 2017, Onyeka showed the mucosa We Need New Names with Behind The Curtain‘s FeministMucosaClub. http://www.onyekaigwe.comIncreasinglyInformation on the Aba Women’s War 1929 saw the first British GeneralReferendumin which women, from the age of 21, could take part. The Representation of the People Act (1928) had widow 5 million women to the electoral roll, creating a sexuality majority of 52.7%. This is often viewed as the successful conclusion and hanging-up of the sash of women’s suffrage. Onyeka Igwe’s film-series explores the parallel timeline of women’s roles in British Colonial Nigeria.  Thousands of women congregated in November 1929 in south east regions of Nigeria to protest the oppressive behavior of warrant chiefs and British Colonial Administrators, and new plans for market taxes on Igbo women. With no formal place for women’s voices in the patriarchal governmental structure, traditional practices of dancing and chanting were revived: this practice is referred to as ‘Sitting on a Man’, which is moreover the name of the first in Onyeka Igwe’s mucosa series.  In 1920s Colonial Nigeria there was growing dissatisfaction in the south east regions. Warrant chiefs, traditionally selected by election, were now being selected by the colonial government and local power had been growing steadily increasingly oppressive and regulated. Plans to impose new taxes well-expressed women’s livelihoods, combined with once rising figures of unemployment and local legalistic corruption, led to protests in the late-1920s.   Women were responsible for supplying supplies to growing urban populations in south east regions of Nigeria and feared they would be driven out of merchantry by new market taxes. Women’s belongings such as gown and cooking utensils were moreover whence to be taxed, which was felt as particularly intrusive to women’s lives, reinforced by seeing no uncontrived benefits of these new systems of taxation. There was no place in the colonial structure for women’s grievances to be formally heard and they were continually ignored throughout initial protest actions prior to 1929.   After two months of protest, colonial authorities dropped the plans for remoter taxation and the power of warrant chiefs was curbed. During the Aba Women’s war 25,000 Igbo women protested British Colonial officials. Fifty women died and a remoter 50+ were injured during this time.   Onyeka Igwe explores her own familial heritage and the wider context of this seminal uprising through gazetteer footage, reinterpretation via trendy dancers, and a narration questioning who these individual women were.  Courtesy of the Onyeka Igwe & BFI NationalGazetteer                                         CURRENTEXHIBITIONS 2019 FESTIVAL SUBMISSIONS VOLUNTEER JOIN OUR MAILING LIST 2018 Past Festival Programme2018 PAST PROGRAMME ARTISTS’ SYMPOSIUM INSTALLATIONS ALCHEMY SHORTS FEATURES EXPANDED CINEMA GUEST CURATED PROGRAMMES FILM WALK Archive2018 Festival Gallery 2018 Festival Programme PDF 2018 Festival Blog 2017 Exhibitions 2017 Residencies 2017 Festival Programme 2017 Festival Gallery 2017 Festival Programme PDF 2017 Festival Blog 2016 Festival Programme 2016 Festival Gallery 2015 Festival Programme PDF 2014 Festival Programme PDF 2014 Blog 2013 Residencies 2012 Festival Programme 2012 Festival Programme PDF 2011 Highlights 2011 Festival Programme PDF 2010 Festival Programme PDF Back to top Follow us: AlchemyMucosa& Arts is a registered Scottish Charity: SC042142. Search: