Central African Republic: Team Portraits to Projection Night

Team Portraits to Projection Night, Central African Republic

Context

In the Central African Republic (CAR), in many locales outside central Bangui, film is less an indoor pastime than an outdoor public square. Because permanent cinemas are scarce outside central Bangui and travel is often limited by rough roads, moving images frequently reach people when screens come to them, while many teams also schedule earlier indoor or courtyard slots for safety, accessibility, and caregiver needs. That is the promise of Cinéma Numérique Ambulant (CNA), a West and Central African network of mobile cinemas that set up giant screens and project short films in underserved places. CNA confirms it now operates in CAR alongside nine other countries, running hundreds of open‑air screenings each year across the network to spark learning and shared experience. *

The format suits CAR’s realities. An AFP field report from Bayanga, at the edge of Dzanga‑Sangha, described how a CNA team negotiated rutted tracks to host an evening show for some 200 residents, using locally dubbed shorts on civil registration, health, and girls’ education to entertain while tackling practical problems. The story also noted the partnerships that make such tours viable, from UNICEF to the Alliance Française in Bangui. * A parallel wave of film culture is rising in the capital: the “Bangui fait son cinéma” festival, covered by RFI, supports new Central African filmmakers and occasionally collaborates with mobile projections in the suburbs. *

For teams working in CAR, NGOs, hotels, banks, even government field offices, mobile cinema offers more than outreach. Done right, it becomes a repeatable, hands‑on ritual that bonds colleagues through co‑creation and a shared, emotionally rich experience that is logistically simple, co‑hosted with local partners, and aligned to priorities such as smoother cross‑team handoffs or retention.

Meet the Company/Cultural Tradition

CNA‑Centrafrique began operations in Bangui in the late 2010s and is part of the continent‑wide CNA network that grew out of West African ciné‑bus traditions in the early 2000s and has been used in CAR after 2013 for peacebuilding alongside phone and WhatsApp micro‑video habits that now shape audience expectations. The organization lists a Central African point of contact, journalist Serge Mbilika, in its directory, and this guide follows local spellings and diacritics (e.g., cinéma and CNA‑Centrafrique) verified against official sources, underscoring a local leadership model that recruits technicians, presenters, and drivers from CAR’s media community. * CNA’s own profile pages note the CAR branch’s creation and mobile units; the wider network’s mission is summed up as “cinema for all, cinema everywhere,” with outdoor screenings in rural areas and urban neighborhoods. *

On the ground, CNA‑Centrafrique has refined a simple technique that doubles as a team‑bonding engine: arrive early, film only willing participants with documented consent and guardian sign‑off for minors, cut a short “portraits of the day” montage in the van, and open the show by projecting those familiar faces without any online upload unless separate permission is granted. AFP’s Bayanga dispatch captured the method in action: an afternoon of filming on foot to spark word‑of‑mouth, then delighted laughter as residents recognize themselves on the big screen. *

CNA is not alone in using mobile cinema in CAR to strengthen social fabric. Invisible Children’s USAID‑supported “People‑to‑People” activity launched a three‑episode Sango‑language series, E Ma Tere (“to understand one another”), with 36 screenings and dialogues engaging more than 8,800 participants by late 2023: evidence that a simple screen can convene communities at scale. * Earlier, the organization’s Le Pouvoir du Dialogue was created by Central African artists specifically for CAR’s conflict‑affected east, cementing the country’s ownership of the medium. *

The Ritual

Minute	Scene	Purpose
0–20	Arrive on site; quick walk‑through of the venue; confirm power and projection angles	Shared task focus; establish a safe, workable space
20–50	“Portraits of the Day” – small crews film willing volunteers and landmarks on smartphones; collect consent	Co‑creation; teams move together with a tangible goal
50–65	Rapid edit in the vehicle/tent; export a 60–90s montage to a USB stick	Time‑boxed collaboration; a visible artifact of teamwork
65–75	Screen setup and sound check; run the montage privately once	Quality ritual; align on cues without lengthy meetings
75–80	Doors open; play the montage first as a “cold open”	Immediate connection with the audience; shared pride
80–105	Main short film(s) on a locally relevant theme (e.g., civil registration, health)	Purposeful content, adapted to context
105–115	Quick interactive element (e.g., simple show‑of‑hands poll or on‑site pledge wall)	Light participation without heavy facilitation
115–125	Strike and pack down; cable‑coil routine and gear checklist	Calm closure; collective care for shared tools

Sources describing the technique and its context in CAR: CNA’s network profile; AFP’s Bayanga report; Invisible Children’s CAR program pages. * * *

Why It Works

In brief, inputs (phones, clear roles, and a time box) feed a simple ritual (co‑creating a montage and then viewing it together) that activates mechanisms (relatedness and competence from self‑determination theory, interpersonal synchrony, and social identity salience) to produce proximal outcomes (belonging and shared efficacy) and distal habits (smoother setup coordination and care for shared tools), although evidence in workplace settings is still developing. First, co‑creating a short, tangible output under mild time pressure (the “portraits” montage) generates a sense of shared efficacy: the team sees and hears its joint effort within the hour. Participatory media research shows that making video together, engaging stakeholders, writing and editing side‑by‑side, builds cross‑cultural collaboration and shared ownership, which are precisely the nutrients of cohesion. *

Second, the screening itself delivers a synchronized emotional experience. Watching emotional films together, even silently, increases perceived connectedness, an effect linked to physiological synchrony when people can see one another. A 2024 peer‑reviewed study in Royal Society Open Science found that sharing intense emotions during film viewing can boost feelings of social bonding. This makes the big‑screen moment not just entertaining but a memorable, socially binding experience for teams who just built the show. *

Finally, the ritual fits established mobile‑cinema practices documented in CAR while varying across regions, languages, and community norms. CNA and partners report that locally produced, Sango‑language stories and neighborhood‑level screenings often resonate, from Bayanga to Bangui’s suburbs, creating a platform where colleagues and communities recognize themselves and one another. This cultural fit can lower barriers and turn “content delivery” into community building. * * *

Outcomes & Impact

Impact shows up at two levels. At the community level, CNA demonstrations in CAR are reported to raise awareness on practical issues such as civil registration, hygiene, and schooling, and they often leave audiences talking about what they learned as soon as the projector powers down. AFP’s on‑site reporting from Bayanga captured precisely that: a mother resolving to enroll her daughter in school after seeing the film. *

At the program level, Invisible Children’s P2P initiative illustrates how the model scales: three episodes of E Ma Tere in Sango, 36 screenings and dialogues, and more than 8,800 participants reached by September 30, 2023: numbers that turn a simple ritual into a repeatable social technology. * Within the broader CNA network, CNA reports mounting roughly 1,200 screenings a year for about 300,000 spectators across all countries, which indicates a sustainable and frequent operational cadence rather than a once‑a‑year spectacle. *

For internal teams, the gains are qualitative but palpable: the shared build‑and‑show cycle produces collective pride in a concrete artifact; repeated set‑ups can hone perceived coordination; and the audience’s immediate feedback provides instant meaning, which are ingredients associated with stronger team attachment and learning and can be tracked via a short pilot using pre/post surveys (e.g., psychological safety and team identification), opt‑in rates, and setup/pack‑down error checklists. *

Lessons for Global Team Leaders

Principle	Why It Matters	How to Translate
Co‑create a visible artifact	Teams bond through making something together on a deadline	Film a 60–90s “portraits” montage on phones; premiere it before your main content
Keep it hyperlocal	Recognition drives engagement	Use local language and familiar places; feature staff and neighbors on screen
Make emotion a feature	Shared viewing boosts connectedness	Choose short films that elicit constructive emotion and reflection
Time‑box and repeat	Cadence beats one‑offs	Run the ritual monthly or per field trip; keep each cycle under two hours
Partner with pros	Local expertise ensures safety and consent	Work with CNA‑Centrafrique or similar to handle projection, power, and permissions

Implementation Playbook

Map a safe venue (yard, courtyard, parking area) with a flat wall or portable screen and basic power options, obtain any required municipal or prefectural permits, plan for accessible routes and seating, provide lighting and safe transport if after dark, and schedule during on‑hours when possible with comp time if not.
Partner with CNA‑Centrafrique (or a similar local mobile cinema team) to co‑host and to localize content and language, estimate all‑in costs (staff time, CNA/vendor fees, fuel, and gear rental), budget fair local rates, start with an indoor/daylight 60–75 minute MVP using existing projectors where possible, cap staff participants at about twelve, avoid peak customer periods, name an accountable facilitator and a data owner, and agree on neutrality (no party branding) and a grievance contact. *
Assemble a three‑person “portraits crew” with smartphones, written or recorded consent forms in Sango or French, guardian consent for minors, a do‑not‑film list for vulnerable people or sensitive sites, and a simple shot list (faces, tools, landmarks), plus an option for remote colleagues to submit portraits asynchronously.
Capture 20–30 short clips in 30 minutes; edit a 60–90s montage in any basic app; export to USB, store files on secured devices, and set a retention window of 90 days followed by deletion unless renewed consent is obtained.
Run a strict tech check: projector alignment, sound kept below 85 dB, generator downwind with exhaust clear, barriered cable routes, a quick site risk sweep, a named Safety Lead, first‑aid kit and contacts, and a weather/curfew go/no‑go plan.
Open with the montage, then screen one or two short films relevant to your context (e.g., civil registration or safety) for which you have screening rights and language versions, credit local filmmakers and crews on‑screen, avoid political branding, and if ticketed or sponsored, agree on a benefit‑sharing plan with local partners. *
Close with a light, anonymous participation step (e.g., sticker‑dot or paper poll on non‑sensitive topics) and a calm pack‑down routine that includes a quick debrief.
Archive the montage and a one‑page log (where, who co‑led, what improved) in a secured folder for no more than 90 days, limit footage to internal use unless separate releases are signed, publish a one‑page staff communication on voluntary participation and data use, and route the plan through Legal/HR before the pilot.

Common Pitfalls

Skipping consent: always secure written or recorded permission in Sango or French for on‑camera appearances, obtain guardian consent for minors, offer blur/no‑name options, and avoid filming vulnerable individuals or sensitive sites.
Over‑talking: the power is in making and showing; keep speeches minimal and the flow tight, avoid public pledge walls, and use anonymous polls instead.
Tech tunnel vision: assign a named Safety Lead to mind cables, power, decibel levels, generator exhaust, crowd flow, and emergency egress throughout.
Language mismatch: ensure Sango or local language versions—or subtitles and captions in French or other local languages such as Gbaya, Banda, or Sara—so everyone follows, and provide a quiet zone and accessible seating where needed.
Single‑hero syndrome: rotate roles (camera, edit, MC, tech) so the ritual remains inclusive, respect opt‑outs with equivalent on‑hours alternatives, and offer transport or childcare stipends when appropriate.

Reflection & Call to Action

A screen in a courtyard is a humble thing. Yet in CAR, mobile cinema has become a powerful convening device, one that companies and NGOs can adopt not just to reach communities but to knit their own teams together. The “portraits and projection” cycle is deliberately simple: arrive, co‑create, share, and pack down. Done monthly, it becomes a heartbeat, an occasion to look each other in the eye and to see yourselves, literally, on the same screen.

If your team operates in CAR, start small with a single site and a 90‑second montage, with voluntary opt‑in, safe timing and transport, and proper licensing and permissions. Borrow CNA’s mantra, cinema for all, cinema everywhere, credit CNA‑Centrafrique and local filmmakers in your materials, and let the ritual do its quiet work. The bonds you build in the hour before the projector hums may last well beyond the closing frame, and you can test this with a 6–8 week pilot tracking voluntary participation (target ≥70% opt‑in), short pre/post surveys (target +0.3 on belonging and psychological safety), and coordination proxies such as fewer setup reworks and shorter pack‑down time.