Ngozi onwurah biography of michael

  • Onwurah was born to a white mother and a black father in 1960s Nigeria.
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  • An autobiographical, pseudo-documentary with re-enactments about director Ngozi Onwurah and her mother, Madge.
  • Coffee Colored Children: A film by Ngozi Onwurah

    Women Make Movies
    England, 1988
    23 minutes
    Color/BW, VHS/16mm/DVD
    Order No. W99160

    • National Black Programming Consortium, Prized Pieces
    • San Francisco Film Festival, Golden Gate Award

    This lyrical, unsettling film conveys the experience of children of mixed racial heritage. Suffering the aggression of racial harassment, a young girl and her brother attempt to wash their skin white with scouring powder. Starkly emotional and visually compelling, this semi-autobiographical testimony to the profound internalized effects of racism and the struggle for self-definition and pride is a powerful catalyst for discussion.

    The work opens with a video essay showing adults and children of many ethnicities interacting harmoniously to an upbeat and soulful song with a chorus about “coffee-colored people.” Through narration by her and her brother and dramatization, Onwurah relays incidents from her own childhood. She recounts the brutal and racist vandalization of her apartment. In reenactments, she is seen making up her face with white makeup and scrubbing her body in the bathtub with chemical abrasives. At the close of the piece, she and her brother stand in front of a fire, burning symbolic mementos of their

  • ngozi onwurah biography of michael
  • Interview with Ngozi Onwurah

    African Women in Cinema
    African Literature Association Conference
    April 1997
    East Lansing, Michigan

    Originally published in Sisters of the Screen: Women of Africa on Film Video and Television. Africa World Press, Trenton, NJ,  2000.

    In another conversation, we talked about your identity as an African woman filmmaker based in London.  You stated that you wanted to describe some of the ways that you find that portrayal problematic, especially when it is imposed externally.

    As a black woman filmmaker, I get invited to a lot of different things and sometimes they want me to wear different hats.  Sometimes I am a woman filmmaker and that’s the priority at that particular event.  Where it gets particularly muddy is when it has to do with being an African filmmaker.  Because the way that black America has appropriated the word African American, the context in which people refer to Africa gets very muddy.

    As a filmmaker who works out of London, the problems that I have making films are completely different to a woman who, say, lives in Nigeria, who lives and works in Zambia, or Zaire, or Tanzania.  The problems that she has as a filmmaker are completely different to the problems that I have as a filmmaker, or the people who we make

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