NYADIFF ’18: Sons of Benkos

The Colombian village of Palenque de San Basilio was the first colony of freed slaves ever established in the Americas. It predated Liberia by over one hundred years. Not surprisingly, the Spanish were less than thrilled with its founder, Benkos Biohó, who was both a former slave and a former African prince. Biohó met a tragic end, but Palenque would become one of the leading hubs for African music in Latin America. Silva Lucas surveys the current Palenque music scene and examines its cultural implication in Sons of Benkos, which screens during the 2018 New York African Diaspora International Film Festival.

Although the Spanish betrayed and executed Biohó, the village remained highly aware of its African heritage. However, the African influence on local music really became significant in the 1960s and 1970s, when African styles like Highlife, Afrobeat, and Makossa came to international prominence. Soon, a “sound system” sub-culture sprung up, blasting the latest African imports across the neighborhood. Palenque bands started incorporating African styles, but they gave them a local twist. Interestingly, there is also an older Cuban son tradition in Palenque, but it is largely associated with funeral ceremonies.

There is no question the medium-sized, fifty-two-minute Sons of Benkos is a worthy and informative film, but it will leave many fans of Latin and African music wanting more (arguably a good sign). We could have easily followed Lucas on a deep dive into the Palenque scene, but he basically skims the surface. Of course, he is also analyzing Palenque’s historical and social significance as a community of former slaves, which is also important. Still, there should be plenty of music and material to support a full-feature length documentary treatment—and anyone who sees Benkos would surely be willing to come back for more.

Regardless, Lucas’s film sounds great as it is. Visually, it is a little raw, but there is no question he was there on the streets and in the sound system parties. Easily recommended for Latin, African, and “World” music listeners, Sons of Benkos screens tomorrow (11/24), preceding Cimarronaje en Panama, as part of this year’s NYADIFF.

NYADIFF ’18: Last Drinks at Frida’s (short)

Frida’s is not the most welcoming jazz club in the world, but it will serve Indigenous patrons. There are not a lot of nightclubs in post-war Sydney that will, so it would be a shame if this shell-shocked soldier found himself banned from the premises. He really hasn’t done anything wrong, but he knew Frida way back when, making things awkward in Bjorn Stewart’s short film Last Drinks at Frida’s, which screens as part of the 2018 New York African Diaspora International Film Festival.

He served honorably, but the unnamed WWII soldier has a severe case of PTSD compounded by the racism and disinterest of Australian society he returned to. Frida’s was one place he could go to drown his sorrows—and the music is good. Nobody knows his name there, but he knows Tilly de Frida, the proprietress and main vocal attraction. They were both students together at one of the notorious schools for young Indigenous Australians. She really did not know him then either. He has always been shy and has become even more withdrawn. Yet, something about the man in uniform draws Frida’s eye.

Although Last Drinks is more about social criticism than musical numbers, it makes perfect sense to set it in a jazz club. It also sounds swingingly era-appropriate, thanks to the music of Charlie Chan, who also leads the on-screen combo backing up Frida. It is a nice group, featuring Chan on piano, Andrew “Jock” Robertson on reeds, Ashley Tuner on bass, Andrew Dickeson drums, and Ursula Yovich providing Frida’s smoky vocals.

Mathew Cooper and Dalara Williams develop some rather poignant chemistry together as the soldier and the songbird. Cinematographer Roger Lancer also gives it the sort of moody, noir look that perfectly suits a film set in a jazz club. It looks good and sounds great. Despite the hardboiled trappings, it ultimately makes its points with a relatively light touch, which is a credit to Stewart and screenwriter Kodie Bedford. Very highly recommended for fans of jazz dramas and Australian cinema, Last Drinks at Frida’s screens tomorrow (11/23) and Saturday, December 1^st, as part of the Aboriginal Australia shorts block at this year’s NYADIFF.