The opening is wide expansive spaces - picturesque - Africa.
Deep saturation giving a sense of depth and history; mood.
We are struck by the sight of a young man in a village like setting then suddenly Vignetted.
Vignette - the speaking black person or for God narration.
Instantly the scene moves from exacting Africa's picturesque qualities to being symbolic - we now see the mise-en-scene and expect meanings behind each item in the frame.
Poverty but most importantly deep thoughts about family life. Things become existential - about the existence - life - each time this happens we know God is watching.
To Wezi Nyimbo yako - the classroom - where an individual can rise above their circumstances and not be held to the efforts good or bad of their family. A lot of effort doesn't guarantee success but self-care is important to lift he burden of care from the one's pursuing and chasing the future. The guilt of the mother figure maybe young now abandoning 'black' hard labour and indulging in white privilege. This Wezi in Nipuluseni - a song with a prediction about how both her parents have passed on but she by herself has managed to secure herself in wealth and happiness - again in deep saturation this time not the greens and oranges of substitence but in deep almost warm blues ... for some the blonde-blue signifies a warning of the promiscuous - a dream sequence of future comfort or wealth... Or shall we make then signifier of comfort,wealth,vice threats and promiscuity - this deep saturated blue - but not the indulged. That would be found in performance through tears in these full urban worlds.
- TJ Joy Zimba asst. jaco / I NO SOUND. Just focus on the visuals for now ;)
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