Madubuko Robinson Diakité’s journey is one of resilience, creativity, and an unwavering commitment to bringing hidden stories to light. Through his lens, he empowers Black voices, including Black Swedish narratives, providing a potent platform that sparks transformation on screen and in society. Diakité’s films, some featured at Cinemafrica, remain highly relevant today, highlighting society’s persistent flaws. He believes film should be a catalyst for change and a voice for the unheard.
Born in Harlem in 1940, Diakité faced segregation in education, making it hard for Black individuals to access quality schooling. Driven by an insatiable thirst for knowledge, he earned a law degree from La Salle Extension University in 1967. The ‘60s in the United States was marked by social upheaval and injustices. Simultaneously, the film industry perpetuated harmful stereotypes about Black people, reinforcing racial biases. Activists and artists advocated for authentic portrayals and a space for Black creatives to tell their stories. Diakité, influenced by the French New Wave, saw film as a means of political and social change. Studying documentary filmmaking at the New York Institute of Photography, he harnessed visual storytelling to capture African-Americans’ struggles.
– Maybe I can change the unjust misrepresentation of African-Americans, Diakité thought.
In 1973, he directed “For Personal Reasons” confronting oppression and racial tensions in American society. Drawing inspiration from Malcolm X, the film’s protagonist challenged a racially biased police force, sparking conversations about racial inequality beyond the screen.
– During that era, apart from a few African filmmakers from Nigeria and Mali creating films centered around Africans and African themes, very few were discussing African diasporic films. The handful that existed mainly produced African-American movies, often referred to as Blaxploitation, aimed at pleasing Black audiences, Diakité explains.
Diakité’s cinematic journey led him to Lund and Stockholm University’s Department of Film Studies. In Stockholm, he immersed himself in film history and theory, honing his craft.
Returning to Lund University, Diakité and his international friends discussed life and challenges in their new home. This inspired “The Invisible People” depicting discrimination faced by international students. In a 1973 SVT interview, Diakité emphasized a film’s ability to be “hard-hitting” evoking emotions and discomfort.
– While many view film solely as a form of entertainment, it should also serve as a tool for political and social influence, Diakité asserted.
This year marks the 50th anniversary of the first airing of “The Invisible People”. The film continues to be screened and serves as a foundation for debates on which stories deserve to be told and who should tell them.
Diakité commends Cinemafrica as a platform that carries on the commitment he initiated in 1973 – illuminating stories too often left in obscurity and amplifying the voices of Black individuals.
– Until a decade ago, there was minimal interest in films from the African diaspora. However, advancements in technology and the affordability of digital cameras have facilitated the creation of more short films by us and about us, Diakité notes.
At the age of 82, Diakité remains hopeful that the African diaspora in Sweden will one day establish its own financing platform dedicated to producing more films addressing their unique issues.
Madubuko Diakité’s legacy embodies empowerment and progress, echoing his belief that true change arises from within, nurtured by education, empathy, and the art of cinema.
Madubuko’s favorite filmmakers include:
Spike Lee
Ousmane Sembène
Haile Gerima
Bernardo Bertolucci
Jean Luc Godard
