From 1991 to 2002 a civil war wracked the West African nation of Sierra Leone. The death, mayhem and destruction forced hundreds of thousands of residents to flee, many to the north, to refugee camps in Guinea.
It was in one such camp that a handful of musicians from Freetown, their nation’s capital, found one another and began to play together using the few simple instruments at hand. They called themselves Sierra Leone’s Refugee All Stars. Their leader, Reuben Koroma, says at the outset of this film — which is to be shown tonight on the PBS series “P.O.V.” in concert with World Refugee Day, which was observed last Wednesday — that it is through their music that they could begin to regain some control over their lives.
More than that, the musicians give voice to the experience and the deprivations: Some lost their families; some lost their limbs, hacked off by rebels. And beyond the poverty, they describe the purgatory of the camps, not knowing when the days of living far from home will end or what will be found on their return.
The filmmakers, Zach Niles and Banker White, spent three years with the All Stars. The story they tell, and tell well, is how the All Stars’ songs — a world-music stew of traditional West African melody, reggae and rhythmic folk — first raises their own spirits, then those of their neighbors, then, when the United Nations refugee agency drives them around Guinea, at other camps too.
Their big break comes when the agency seeks their help in urging refugees to return to Sierra Leone. Some are reluctant to do so. Mohamed, had his left hand hacked off by rebels and fears for his life should he return. Most, though, are enticed by the prospect of recording an album in Freetown, and on the strength of that experience return to the camp to encourage others to go back as well.
Along the way we meet strong, memorable characters: Mr. Koroma in particular grows in stature as the film progresses. One musician says: “He is very talented. Maybe through him all of us will survive.” And while it might startle to hear an orphaned teenager who goes by the name Black Nature confess that “sometimes I would like to rap like Busta Rhymes,” when he later raps not only in Krio — a blend of English and African languages — but also French, you think, take that, Busta.
Today, in a Hollywood cliché of success, the band is a hit not only in Sierra Leone, but internationally, too. It is now touring the United States and featured on a benefit album for Darfur, collaborating with Aerosmith on “Give Peace a Chance.” With credited supporters including Angelina Jolie, Paul McCartney and Keith Richards (and Ice Cube as an executive producer), the film’s pedigree almost threatens to make it too perfect.
But there is no reason to question this film’s authenticity, and nothing softens the impact of the very first shots: In a hut lighted at night by a single bulb the All Stars practice “A Weapons Conflict,” while scenes are intercut of combat, and victims, and machete survivors, and the camps.
A weapons conflict for the sake of power
When two elephants are fighting
The grass they will suffer
Which is the position of the civilians, I cry.
The story told here is simple, and ultimately triumphant.
P.O.V.
Sierra Leone’s Refugee All Stars
