Responding to the negative, one-dimensional representation of African Americans in
the Hollywood films of the 1970s, the women of Delta Sigma Theta, an African American
service sorority, embarked on an ambitious project to produce a feature film that would
challenge these stereotypes. Filmmaker S. Torriano Berry recounts in his documentary on
the sorority’s efforts how, unfortunately, what could have been a historic project with
the power to transform the U.S. entertainment industry failed due to the sorority’s
reliance on the major movie studios’ traditional marketing and distribution system.
Lillian Benbow, the president of Delta Sigma Theta, and the sorority’s Arts and
Letters committee headed the effort to raise money for the production of the film,
Countdown at Kusini, from donations. While most of the funds were contributed
by the thousands of sorority members across the United States, African American
entertainment luminaries not only supported the project financially but also donated
their talent and expertise. However, after arriving on location in Nigeria, the producers
found that lack of qualified technicians, editors, film crews, equipment, and cinematic
support services within the country meant that unexpected costs quickly added up,
drastically exceeding the initial budget.
Even with the cost overruns, the movie could have paid for itself and perhaps even
turned a modest profit if the sorority’s initial marketing proposal had been followed.
When preparing the budget, Delta Sigma Theta expected to use a four-wall marketing
plan, in which the sorority’s extensive membership would rent local theaters across
the country, then sell tickets to other members, friends, and family. Additional
screenings would be held as demand warranted. As one of the oldest and most extensive
service sororities, Delta Sigma Theta had enough members in enough cities to at least
recoup production costs. However, a major Hollywood film company became aware of
the project and approached the sorority with an offer to distribute the film.
Buoyed by the interest of the mainstream media, the sorority believed that the film
company’s expertise in marketing and distribution would lead to broader exposure
and greater opportunities for success. Unfortunately, when the film was released
through traditional channels, without any coordination with the local chapters of
the sorority, it quickly failed.
Despite the film’s commercial failure, the project is remarkable for its prescience,
providing an early example of crowdfunding and media activism. Delta Sigma Theta
took active steps to counter the limited range of stereotypes of African Americans
in Hollywood films, and it funded these efforts through numerous small contributions.
Moreover, the film’s ultimate impact may not be only historical but also tangible
in the modern Nigerian film industry, second in size only to that of India. When
Countdown at Kusini was produced, there was no filmmaking infrastructure in Nigeria.
While some of the production equipment was brought back to the United States, much was
left behind, as well as the newly developed expertise of the local technicians,
editors, actors, and production staff who were trained on the film. One of the most
intriguing questions surrounding Countdown at Kusini may be that of its effect
on the nascent Nigerian film industry.