Nigeria Heritage Sites: Hidden Beauties. The theme for this Documentary Challenge is in celebration of the African World Heritage Day. This theme enables film makers, documentarians and journalist to create documentary contents on the beauties seen within several listed heritage sites in Nigeria. Documentarians must ensure that their documentary is in line to promote and create awareness for the Nigeria cultural heritage, to highlight the historical importance of these sites, to renew public interest in our diverse cultural heritage, educating the people both citizens and foreigners of our rich heritage, promote tourism, capture the attention of the Nigeria populace as well as the Government on the need to improve on the development and protection of our monuments and heritage sites nationwide.
The advantages of our heritage sites for Nation building should be highlighted as well.
5 - 10 minutes
Documentarians must present a short synopsis briefly explaining the produced documentary.
Names and positions of crew members
Short Bio of director/producer/crew members
Provide a space for the submitters to Check off signifying that this entry is the original work of the producer/director
Production Catalog that explains in details the plot and production equipment
High Definition, Ultra HD and 4K
All Documentaries must be submitted on or before 25th Day of April 2020 via firstname.lastname@example.org or upload videos on www.afidff.org
Documentaries will be judged as follows:
The research, analysis, and interpretation of the topic. The entry should be accurate. It should not simply recount facts but interpret and analyze them; that is, the entry should have a strong thesis or argument. In addition, it should place the topic into the context of the theme—the intellectual, physical, social, and cultural setting. The entry should also reflect the causes and consequences of an event, for example, or the relationship of a local topic to larger events. The best entries will use a variety of both primary and secondary sources and will consider multiple viewpoints (e.g., those who suffered as well as those who benefitted, males and females, people from different racial or ethnic or socioeconomic groups, as appropriate to the topic).
The entry must clearly relate to the competitions theme and demonstrate why the topic is
Significant in history. The documentary should draw conclusions about the topic’s significance. In other words, the entry should answer the questions, “So what? Why was this important?” It should not be just descriptive.
This relates to the entry’s production quality: the creativity and clarity of the script, the use of visual images, the use of music and other sounds, and the mastery of technical skills.
NB: To be fully observed.
Language: Full transcripts in English are required to be a part of the submission process.
Contest Participation: Submitters may participate in the research, preparation, and presentation of only one entry per competition.
Individual or Group Entries: An individual documentary must be the work of only one submitter. A group documentary must be the work of 2 or more participants. All participants in a group entry must be involved in the research and interpretation of the group’s topic.
Development Requirements: Entries submitted for competition must be researched and developed during the current contest timeline. Revising or reusing an entry from a previous year or competition is unacceptable and will result in disqualification.
Construction of Entry: Submitters are responsible for the research, design, and creation of their own entries. They may receive help and advice from others on the mechanical aspects of creating their entries: (1) typing the paper and other written materials; (2) guidance from others as they research and analyze the material, but their conclusions must be their own; (3) photographs and slides must be originals or credit is attributed when they are not originals.
REQUIRED WRITTEN MATERIALS FOR ALL ENTRIES
Title Page: A title page is required as the first page of written material in every category. The title page must include only the title of the entry, the name(s) of the participants(s), their roles and the contest division and category. Note: The title page must not include any other information (pictures, graphics, borders, organization name) except for that described in this rule.
List of Resources: A list of all contributors is required for all categories. It should contain all sources that provided usable information or new perspectives in preparing the entry. They should list only those sources that contributed to the development of their entries. Sources of visual materials and oral interviews must be included. The annotations for each source must explain how the source was used and how it helped the students understand their topics. Annotations of Web sites should include a description of who sponsors the site.
Submissions: Entries in all categories must include (1) A title page. (2) A description of no more than 250 words explaining the documentary and how it relates to the theme of the festival. This can or should include how the producer chose the topic, (b) how they conducted the research, (c) how the documentary fits into the category, (d) how the project relates to the overall theme of the festival
Time Requirements: Documentaries may not exceed 3 minutes in length. Timing will end when the last visual image or sound of the presentation concludes. This does not include credits.
Entry Production: An entry must be an original production. Participants may use professional photographs, slides, recorded music, etc. within their presentations. However, they must integrate such items into the presentation and give proper credit within the presentation as well
as in the annotated bibliography. Participants must operate all editing equipment used in the production of their presentations.
Note: Using objects created by others specifically for use in the entry violates this rule, but using photographs, video footage, etc. that already exist is acceptable.
Story Development The focus, theme, is present and obvious within the documentary. The story telling is smooth and flows nicely from one point to the next. There is an element of Transformation that is obvious, meaning changing or revising the understanding or known belief of something, someone, or belief that is wrong or misunderstood to a higher and more factual point of understanding. Sounds used in the mini documentary are clear and understandable. Editing of story is smooth and attractive and not distractive. Full transcripts in English are required to be a part of the submission process.
Credits: At the conclusion of the documentary, documentarians should provide a general list of acknowledgments and credits for any featured music, images, lm/media clips, interviews or other sources. These credits should be a brief list and not full bibliographic citations. All sources (music, images, lm/ media clips, interviews, books, Web sites) used in the making of the documentary should be properly cited in the annotated bibliography and credits that come at the end of their documentary.
LIST OF DECLARED MONUMENTS/SITES
NAME OF MONUMENT
CHIEF OKOROJI'S HOUSE, AROCHUKWU ABIA STATE
OBU HOUSE, ELU OHAFIA ABIA STATE
CHIEF OCHU KALU’S HOUSE, NDI OKEREKE ABAM, ABIA STATE
OMO UKWU OF NDI NZERA CLAN ASAGA-OHAFIA, ABIA STATE
SUKUR CULTURAL LANDSCAPE, MADAGALI, ADAMAWA STATE
GIDAN MADAKI IN KAFIN MADAKI, BAUCHI STATE
DUTSEN DAMISA ROCK PAINTING NEAR GUMJE, BAUCHI STATE
DUTSEN ZANE GEJI, ROCK PAINTINGS , TORO, BAUCHI STATE
SHADAWANKA ROCK PAINTINGS, BAUCHI STATE
SHIRA ROCK PAINTINGS AT SHIRA, BAUCHI STATE
THE CAIRN OF STONES AT THE FOOT OF PANSHANU PASS, NEAR MILE 31 ON THE JOS-BAUCHI ROAD KNOWN AS KWANDONKAYA, TORO, BAUCHI STATE
FIRST MINING BEACON, TILDEN FULANI, BAUCHI STATE
RABEH’S HOUSE/FORT, DIKWA BORNO STATE
THE OLD RESIDENCY, CALABAR, CROSS RIVERS STATE
THE OLD CONSULATE, CALABAR, CROSS RIVERS STATE
CHIEF EGBO BASSEY’S HOUSE, CALABAR, CROSS RIVERS STATE
CARVED STONE MONOLITHS AT ALOK, CROSS RIVERS STATE
CARVED STONE MONOLITHS AT EMAGHABE, CROSS RIVERS STATE
PALACE OF CHIEF NANNA OF KOKO, DELTA STATE
CHIEF OGIAMEN’S HOUSE, BENIN CITY, EDO STATE
CHIEF AIKORIOGIE’S HOUSE, ENOGIE OF OBAZAGBON, EDO STATE
BENIN CITY WALLS AND MOAT, BENIN CITY, EDO STATE
CHIEF NWOKOLO’S HOUSE AT UKEHE, ENUGU STATE
ROCK PAINTINGS AT DUTSEN HABUDE, BIRNIN KUDU, JIGAWA STATE
ROCK PAINTINGS AT DUTSEN MURUFU, BIRNIN KUDU, JIGAWA STATE
ROCK INSCRIPTIONS, GONG AND SHELTER AT DUTSEN MESA BIRNIN KUDU, JIGAWA STATE
ROCK PAINTINGS AT DUTSEN ZANGO BIRNIN KUDU, JIGAWA STATE
ZARIA CITY WALLS, ZARIA, KADUNA STATE
KUFENA HILLS, NEAR ZARIA, KADUNA STATE
STEEL FOOT BRIDGE, BUILT BY LORD LUGARD, KADUNA STATE
HABE MOSQUE AT MAIGANA, KADUNA STATE
HABE MOSQUE AT BEBEJI, KANO STATE
GIDAN MAKAMA, KANO STATE
KANO CITY WALLS AND GATE, KANO STATE
GOBIRAU MINARET, KATSINA STATE
THE TUMULI AND BAOBAB TREE KNOWN AS DURBI-TAKUSHEYI, KATSINA STATE
OLD KATSINA TRAINING COLLEGE, KATSINA STATE
OJOGWU ATOGWU TUMULUS NEAR THE PALACE OF THE ATTAH OF IDAH, KOGI STATE
RELICS OF THE STEAMER “DAYSPRING” AT JEBBA STATION, KWARA STATE
OLD WEST AFRICAN FRONTIER FORCE FORT AT OKUTA, KWARA STATE
OLD WEST AFRICAN FRONTIER FORCE FORT AT YASHIKERA, KWARA STATE
STONE FIGURES AT OFARO, KWARA STATE
STONE FIGURES AT IJARA, KWARA STATE
ILOJO BAR, LAGOS ISLAND, LAGOS STATE
IGA IDUNGANRAN (OBA’S OLD PALACE), LAGOS ISLAND, LAGOS STATE
WATER HOUSE, LAGOS ISLAND, LAGOS STATE
OLD SECRETARIAT, MARINA, LAGOS STATE
TSOEDE’S TOMB AT GWAGWADE, NIGER STATE
SITE OF MAI JIMINA’S HOUSE AT WUSHISHI, NIGER STATE
RUINS AND SITE OF COLONIAL GOVERNMENT HOUSE AT ZUNGERU, NIGER STATE
THE KATAMBA OF THE PALACE OF ETSU NUPE, MOHAMMED AT BIDA, NIGER STATE
SUNGBO’S SHRINE AT OKE-ERI, NEAR IJEBU-ODE, OGUN STATE
IGBARA OKE PETROGLYPHS, NEAR IGBARA OKE, ONDO STATE
IWO ELERU CAVE, NEAR OWO, ONDO STATE
THE OLD PALACE OF THE DEJI OF AKURE, ONDO STATE
RIVER-SIDE SHRINE AND SACRED GROVE OF OSUN, OSOGBO, OSUN STATE
SHRINE OF OSUN IN THE KING’S MARKET AT OSOGBO, OSUN STATE
SHRINE OF OSUN AT AFIN ATA-OJA (PALACE), OSOGBO, OSUN STATE
ITA YEMOO AT ILE-IFE, OSUN STATE
CARVED STONE FIGURE AT IGBAJO, OSUN STATE
STONE CAUSEWAY AT BATURA, BOKKOS, PLATEAU STATE
STONE CAUSEWAY AT FOROF, BOKKOS, PLATEAU STATE
STONE CAUSEWAY AT TADING, BOKKOS, PLATEAU STATE
KING JAJA’S STATUE AT OPOBO, RIVERS STATE
RUINS OF ANCIENT CITY OF SURAME, SOKOTO STATE
The National Commission for Museums and Monuments. Act cap 242 of 1990
ARCHITECTURAL (COLONIAL, INDIGENOUS, RELIGIOUS AND MEMORIAL)
TECHNOLOGY (INDIGENOUS, COLONIAL AND EARLY POST –COLONIAL ERA)
WILD LIFE/ FOREST RESERVE