5 Questions for a Filmmaker–Teddy Goitom

Teddy Goitom is a Swedish-Ethiopian/Eritrean content producer and the founder of Stocktown (1998), “a cultural movement celebrating creativity and freedom of souls”, which includes a curated video magazine founded in 2011 as well as the Afripedia-series, which AIAC has covered here. Though his base is in Stockholm, this curious and hard-working creative is constantly shifting between times and places, producing documentaries and creative content online and elsewhere, together with an ever-growing network of creatives. Stocktown has created two TV-series, Stocktown – A Global Underground Journey and Stocktown Africa, and a feature length documentary will be produced in 2015.

What is your first film memory?

I was around seven years old when I found a VHS-tape with The good the bad and the ugly by Sergio Leone. That summer I had the film on repeat and watched it several times a day. I was totally obsessed by it – the music, every scene – and I’d memorize every line and imitate every characters Though my mom used to force me to play outside, I’d always found a way to come back in and watch the film again, and discover something new in it every time.

Why did you decide to become a filmmaker?

I never decided to become a filmmaker and never went to film school. I’m actually still in the process of finding out if that’s what I am. I see myself more as a storyteller.

Ever since I started the Stocktown movement in 1998, I have been interested in building new platforms and finding new ways to broadcast untold and inspiring stories. Whether I produce music events, art exhibitions, documentaries or using new technology to stream stories to a broader audience doesn’t really matter. What matters is story.

Which film do you wish you had made and why?

Enter The Dragon with Bruce Lee, Jim Kelly and John Saxon.

As a young kid, to see a black martial arts hero fighting on the same side as Bruce Lee was groundbreaking. Though we never really got to know Williams, who was played by Jim Kelly and who gets killed way too early, he was the reason I became interested in and started to explore the blaxplotation scene. In my remake, Williams’s story would get much more attention and obviously be much more interesting.

Name one of the films on your top-5 list and the reason why it is there.

Beat Street (1984) opened my eyes to the hiphop scene, which I immediately identified with and which inspired me. It was completely different to films like Saturday Night Fever, like a mix between a musical and a realistic portrayal – almost documentary like – of an underground culture scene that was fresh, dynamic  and transcending geographical and other borders. As I connected to it, I realised the enormous power of film.

Ask yourself any question you think I should have asked and answer it.

“What motivated you to make your last documentary series Afripedia?”

First and foremost: curiosity first and foremost, but also the realisation that there are so many contexts, perspectives and dimensions out there that no one has ever heard about. We put the spotlight on them and make sure that they become known to the world. Our audience consists of people across the world, who are interested in finding out about and connect to creativity regardless of where and how it appears.

Further Reading

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The sound of revolt

On his third album, Afro-Portuguese artist Scúru Fitchádu fuses ancestral wisdom with urban revolt, turning memory and militancy into a soundtrack for resistance.

O som da revolta

No seu terceiro álbum, o artista afro-português Scúru Fitchádu funde a sabedoria ancestral com a revolta urbana, transformando memória e militância em uma trilha sonora para a resistência.

Biya forever

As Cameroon nears its presidential elections, a disintegrated opposition paves the way for the world’s oldest leader to claim a fresh mandate.

From Cornell to conscience

Hounded out of the United States for his pro-Palestine activism, Momodou Taal insists that the struggle is global, drawing strength from Malcolm X, faith, and solidarity across borders.

After the uprising

Following two years of mass protest, Kenya stands at a crossroads. A new generation of organizers is confronting an old question: how do you turn revolt into lasting change? Sungu Oyoo joins the AIAC podcast to discuss the vision of Kenya’s radical left.

Redrawing liberation

From Gaza to Africa, colonial cartography has turned land into property and people into populations to be managed. True liberation means dismantling this order, not redrawing its lines.

Who deserves the city?

Colonial urbanism cast African neighborhoods as chaotic, unplanned, and undesirable. In postcolonial Dar es Salaam, that legacy still shapes who builds, who belongs, and what the middle class fears the city becoming.