Concert for Change isn’t just about music — it’s about impact. This short documentary tells the inspiring stories of transformation at: 1. Patrick Speech and Language Centre — empowering children with autism and speech challenges to find their voice. 2. Let Cerebral Palsy Kids Learn Foundation — providing inclusive education and therapy for children with cerebral palsy. 3. The Leprosy Mission Nigeria — restoring dignity and opportunity to those affected by leprosy. These stories are made possible through Concert for Change. Learn more or give at https://concertforchange.com #ConcertForChange #WaleAdenuga #GreenWorship #MusicWithPurpose #TogetherForChange #HopeInAction

When a young lady full of life and vigor is forced to slow down due to cancer, Channeling her passion and skill for costume design , she is forced to hold on to hope for survival, and the love from her family, in her fight to beat the dreaded disease.

Transforming the Transformed: Motion Capture as a means for Safeguarding Intangible Cultural Heritage. It has become challenging to preserve indigenous intangible cultural heritage in Nigeria, particularly dance and music practices. The importance of these practices is evident from UNESCO's statement that the maintenance of cultural diversity guarantees the continuity and sustainability of living cultural heritage in contemporary contexts. However, similarly to other intangible cultural creations, dance traditions are constantly being modified over time through the process of collective recreation, or changes in the way of life. For this reason, it is imperative to take advantage of recent advanced technologies for the preservation and transmission of dance knowledge, practice, and heritage in Nigeria. Motion capture technology appears to be the order of the day and a major method being employed towards digitizing traditional dance knowledge in the domains of anthropology, ethnochoreology, and computer graphics. For the first time, scholars of these domains have collaborated on an experiment that situates the interaction of dance and technology in the African context of masked dance, using the Eyo of Lagos as a case study. Two different technologies have been used to acquire the dancer’s movement, investigating the capabilities and limitations of these systems underneath what is described as ‘extreme clothing’ by computer scientists. In this ten-minute film, we present the pipeline for dance motion digitization, including 3D garment reconstruction of the Eyo costume through photogrammetry, and visualization. The scanned garment is used as a reference to re-create the Eyo costume in 3D, and it is driven by a virtual avatar that depicts the movements of a dancer captured through a motion capture system; costume deformations are physically simulated to add realism. A three-minute Eyo dance performance is finally generated in a 3D animation short film where multiple Eyo avatars are placed in front of the Tafawa Balewa Square gate, a monumental structure that situates the performance within its traditional setting.

When a young lady full of life and vigor is forced to slow down due to cancer, channeling her passion and skill for costume design , she is forced to hold on to hope for survival, and the love from her family, in her fight to beat the dreaded disease.

A performance art piece that uses movement, sound, and costume to bring the oral folk tradition of Ibeji into the 21st century. What we have done is pull out items and elements from a folk eulogy that pertains to the reverence of twins among the Yoruba people in Nigeria and explored how we can generate sound with tangible elements (like beans and wood), and body movements inspired by the words of the eulogy (Columbus monkeys, royalty, jumping and hopping, etc), hence, making the intangible/spiritual become tangible/physical. I asked myself why I am trying to share the Ibeji knowledge and eulogy when I feel like it has been over-flogged in the art scene, particularly in photography. Since 2019 there has been a spiral wave of the “Ibeji’ concept among Nigerian Photographers, some approached it from the traditional folkloristic angle of myth, while others from a more metaphorical perspective. So why is it interesting? Well, I wanted to explore the intersection between technology, folklore, dance, and sound production/generation visualized through film. Sound Composition. This sound composition contains the general ambiance sound of our hometown in Ijero, Ekiti state, Nigeria. It contains a voice narration of the Ibeji eulogy done by our father, the sound of yams being pounded in a wooden mortar with a wooden pestle, and finally, it contains the sound of a shaker made by Temi from beans poured into a tube of finished foil paper roll and some more beans put into a golden plastic egg at the top of the foil roll. Costume. Designed by Temi, the major focus of the costume is on the rib-like belt made from woven yarn and gold chains, embellished with the same white beans and the seeds of a sweet and sour indigenous Nigerian fruit called ‘agbalumo’ (African star fruit). The symbolism behind the rib-like belt is to make physical the concept of the duality of souls, to bring out the ‘inner twin’ or ‘identical inner’ of an individual, the structure that holds the physical together. The choice of beans is apparent in the text of the eulogy since beans are the food that is cooked for twins (see video subtitles). The flower crown affirms the local and natural habitat of a monkey, which is the forest, not just the locale but its status as the king child, which itself is an irony in the jungle's order. Movements. To complete the realization of the intangible being made tangible, I channeled the posture and characteristics of monkeys in creating my movements; hunched back, crouching on my legs, jumping from log to log, swinging from a branch, flailing of arms, etc. Juxtaposed with the gait of royalty, it was interesting to explore what that would look like. Because of the myth behind the local food; yam, which is also the indigenous food of our hometown, some movements were done depicting the actions of pounding yam using a mortar and pestle. CREDITS Director- Seun Richards, Concept- Temi Ami-Williams Producer- Temi Ami-Williams Cinematography- Prathima Desu Camera Assistant - Amal Sunda Editor- Sruti Ranjani Still Photography- Joshua Akinwunmi Performer- Temi Ami-Williams Costume Designer- Temi Ami-Williams Costume Assistant- Sameeha Raaghavi Sound Composition - Tolu Ami-Williams Twins Eulogy- Femi Ami

Welcome to Lagos in an alternative universe where all that distracts and diverts our attention as a people is stripped, and only our culture remains, our identity. Look at it and embrace it now.

"What are you staring at, have you seen a masquerade?" This is the question you would be asked when caught staring in Lagos, Nigeria. Moving to Hungary and becoming part of the minority meant we received stares a lot, and trust me, Hungarian people stare to the point of discomfort but I think you sort of get used to it after about a month then it stops bothering you. In this new environment, no matter what I did or didn't do, I got stared at, the same goes for my friends with whom I made this film. We were constantly made to know and feel that we were the 'other' and reflecting on this we discovered that there is a way one is perceived by others and there is also a way one perceives oneself in response to this. "Am I a masquerade? What are you staring at?' 'Should I be less of myself in an attempt to fit in?'...' Err nope!" This film is the first cut of a more extensive ethnographic film that was carried out as an experiment in Szeged, Hungary by four foreign dance anthropologists who studied at the University of Szeged for nine months. The overall goal is to bring to life the subconscious "othering" that exists in an environment that hosts people from various parts of the world. It is with full intention that I do not use the word 'diverse' or 'diversity' (I will explain later). We also sought to explore how movements are born out of 'states of being' in response to context, through movement improvisation. Each dancer was blindfolded and dressed in a costume that they had not seen prior to the experience. It was interesting to see how much, how little, or just what the dancers did in response to the clothing put on them, keeping in mind it was an improvised performance (since it happened on a stage) with no music. It is funny how I am described as "exotic" and stared at 'strangely' for my hair, fashion style, figure, accent, and skin color but when I come to you dressed as a full-on masquerade, you stare in awe and appreciative amazement and even move to request a photo saying "you look beautiful". I will stop here, you will get the full picture in time, but for now, I hope that this sparks something in you. Temi and Team. #ethnographic #experiment #film #documentary #fashionfilm #costume #masquerade #egungun #eegun #africaninspired

A DYNAMIC EXPRESSION OF GROWTH, COURAGE, AND CULTURE THROUGH COSTUME DESIGN, MUSIC & MOVEMENT. It has been a whole year coming but we finally made it, and although all of us collaborating partners (Temi Ami-Williams, Usman Oluwaseun, and Peter Olagoke) are now better than we were when we made this film in December of 2020, we still feel the need to share the beauty of this project with the world and we hope you love and appreciate the efforts that went into it. Most importantly we hope that it speaks to your hearts, ears, and consciousness as you continue in your own journey to wholeness. This project is a call to encourage and salute everyone who has had to live or is still living through their toughest, darkest phases of life. Those who made the most out of their predicaments and turned the story around for good. This is a summary of what the year 2020 felt like, but also bringing hope into the years to come. With the use of costumes, music, and movements through narration in film and a photo exhibition, we go on a journey of self-growth, relationships, natural and cultural appreciation. Journey to wholeness is a collection of conceptual costume designs made by Temi Ami-Williams over a period of nine months at her home in Laos Nigeria during the Covid-19 lockdown of 2020 and photographed by Peter Olagoke. It is a dynamic representation of culture; Giant Slayer (Roman), Mother Nature (Nigerian), Two Heads (South African), Queen Esther (Nigerian), and The Eagle Has Landed (Egypt). It displays different cultural elements particularly to the Yoruba people of the southwestern and north-central parts of Nigeria in West Africa. The eclectic nature of this collection perfectly illustrates the diffusion of cultures and how certain cultures are influenced by or intertwined with others. All the music pieces used in this film were originally composed and recorded for this project. CAST / CREW Temi Ami-Williams Tonade Abigail Aisha Toki Abimbola Fakiya “KayFak” Michael Obinna “Wolf” Adetokunbo Olamilekan Music “The Eagle has Landed” Written and performed by Bridget Nkem Instrumentation by Perfect Fourth String Quartet. Anthony Isaiah Adetunji Segun Jesuyemi John Etim David String Instrumentals by Perfect Fourth String Quartet. Anthony Isaiah Adetunji Segun Jesuyemi John Etim David Music producer Wisdom “APV” Odeje (Kynetiq Studios) Music Production Studio Kynetiq Studios Victor Emorinken “Vemor” Behind the Scenes Simeon Umez (Kynetiq Studios) African Instrumental Ensemble Ara Productions Composed by Adegbenle Opeoluwa Drummers Princewill ubit Olatunji Asunmo Elijah ogunsanya Make up Artist Fikunmi Quadri Costume Design Untaemed Nigeria; Temi Ami-Williams Story and Concept Temi Ami-Williams Narration Written and Voiced by Temi Ami-Williams Movements Choreographed by Usman Oluwaseun PRODUCERS AND EXECUTIVE PRODUCERS Temi Ami-Williams Usman Oluwaseun DIRECTORS Temi Ami-Williams Usman Oluwaseun PHOTOGRAPHY Peter Olagoke of Rainbow Studios DOP Usman Oluwaseun CAMERA ASSISTANT Adetokunbo Olamilekan Oluwadipe Daniel EDITORS Ademola Adebayo Usman Oluwaseun DRONE Henry Location The National Theatre Iganmu, Lagos Nigeria.