Ola Balogun: Where Are the Nigerian Cinema Pioneer’s Films?

(Photo of Ola Balogun courtesy of African Film Festival, Inc)

Our historical digs into African cinema’s past (and links to the present) puts us on the trail of Ola Balogun, tracing the footsteps of a pioneer who, along with fellow trailblazers including Francis Oladele and Hubert Ogunde, painted the canvas of Nigerian cinema.

A brief catchup…

– From Nigeria to France to Brazil, Balogun films captured a rich tapestry of cultural heritage. Yet, as is the case for many of his trailblazing contemporaries across the continent, his works seem to have faded into the shadows, and remain relatively inaccessible, even though Balogun is still very much alive.

– Balogun’s career started with the Nigerian Film Unit under the Ministry of Information. He also worked as a press attaché at the Nigerian Embassy in Paris.

– Between 1962 and 1966, he studied at the University of Dakar, Senegal, the University of Caen, France, and the French Institut des Hautes Etudes Cinematographiques.

– His debut feature film was “Alpha” in 1972, which was a semi-autobiographical low-budget film. Filmed while Balogun was in France, the film captures various encounters between English-speaking Black artists living in Paris.

– One of the significant challenges he faced was the absence of a technical and financial infrastructure (still a major hurdle 50 years later).

– So he formed his own independent film production company, Afrocult Foundation, and produced various films in different languages and genres. He also took on the responsibility of organizing the screenings of his films around the world.

– They range from political films addressing freedom struggles against colonial power to entertainment films inspired by the Yoruba Travelling Theatre.

– Some of his notable works include “Ajani Ogun” (1976), “Black Goddess” (“A Deusa Negra,” 1978), “Aiye” (1980), “Cry Freedom” (1981), and “Orun Mooru” (1982).

So, where are the films? We asked; here’s what we learned.

– Thanks to the initiative of the Filmkollektiv Frankfurt (Germany), which presented Balogun’s films in that city in 2015, a large part of his cinematic oeuvre became accessible again for the first time.

– However, the retrospective didn’t travel far, if only because there wasn’t (and still isn’t) much awareness and appreciation for Balogun’s work.

– It later showcased at the Arsenal in Berlin approximately a year and a half later.

– And while the Cinémathèque française had intentions to organize a similar event in France, they encountered challenges related to Balogun and the rights to his films. The details are complex and are for future discussion (we’re attempting to contact the filmmaker directly).

– The surviving film prints of Balogun’s work were previously with his former wife, Francoise Balogun. Due to concerns about their storage conditions, she was persuaded to deposit them at the Cinémathèque française, where they apparently remain.

– The films housed there include “Ajani Ogun,” “A Deusa Negra,” “Cry Freedom!” and “Owu L’Agba,” as well as several of his short films, including “In the Beginning.”

– Additionally, “Alpha,” Balogun’s debut feature film, is available in a 16mm print, albeit with some color degradation, we are told.

– In 2016, Filmkollektiv Frankfurt also published a comprehensive book on Balogun and his work, titled “Magic of Nigeria – On the Cinema of Ola Balogun.” It wasn’t published widely, and you’d have to contact them directly should you want to purchase a copy today. We certainly did.

– Ola Balogun directed approximately 21 films (shorts and features) over a 25-year period. His legacy in the Nigerian film industry is that of a pioneer who introduced new narratives and filmmaking techniques that were previously unexplored.

– His films set a standard for future generations of filmmakers in Nigeria. By addressing broad audiences and incorporating elements from popular theatrical forms like the Yoruba Travelling Theatre, Balogun showcased the potential of Nigerian cinema to resonate with both local and international audiences.

– Furthermore, his dedication to producing films despite the challenges he faced serves as an inspiration for contemporary Nigerian (and all African) filmmakers to persevere and continue telling their stories.

– Those keen on showcasing or streaming his films are encouraged to reach out to Cinémathèque française to explore the rich tapestry of stories Balogun has woven into the fabric of Nigerian cinema.

– As noted, he’s alive and still very much active. He formed a musical band called Iroko, and he occasionally offers his views on Nigerian cinema and politics, as he does in the video clip below during a 2016 episode of “Seriously Speaking,” hosted by Nigerian journalist Adesuwa Onyenokwe.

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