Black Africans in Renaissance Europe: Fred Kuwornu’s We Were Here Rewrites History
- Tammy Reese
- 25 minutes ago
- 5 min read
Revealing the Overlooked Legacy of Black Presence in Europe’s Cultural Renaissance
Black history in Europe did not begin with migration, colonialism or modern politics. It was already there, painted into canvases, written into court records and embedded in the architecture of the Renaissance. Documentary filmmaker Fred Kuwornu has made it his mission to bring that truth back into view.
The Afro-Italian filmmaker, born and raised in Italy, has built a career on purpose-driven storytelling, working across television, film, and media while insisting on creating with meaning. His latest documentary, We Were Here — The Untold History of Black Africans in Renaissance Europe, explores a chapter of history that has long been overlooked: the profound influence of Black Africans on Renaissance Europe. From Alessandro de’ Medici, the first duke of Florence of mixed heritage, to Saint Benedict the Moor, a co-patron saint of Palermo, the film traces a lineage of dukes, diplomats, saints, and knights who shaped the culture of the period.
Since the start of the year, We Were Here has screened more than 70 times across 56 American cities, in addition to Toronto, Montreal, and Vancouver. The film also garnered international recognition, first being selected for the main pavilion of the 60th Venice Biennale Art in 2024 by Adriano Pedrosa, and later receiving the 2025 Dan David Prize, often called the “Nobel Prize for History.” The documentary is now advancing through the qualification process for the 2026 Academy Awards in the Best Documentary Feature category, a milestone for an independent European filmmaker bringing untold Black histories to the global stage.
I spoke with Fred Kuwornu about his journey, his motivations, and the impact he hopes his work will have.
Tammy: Fred, before we dive into We Were Here, can you share your background and how you became a filmmaker?
Fred Kuwornu: My journey into filmmaking has been nonlinear. I started as a radio host in a small Italian city. For 14 years, I worked in radio. It was my first connection to storytelling and communicating with an audience. At 30, I began writing for Italian public television, which was my first experience behind the scenes. I wanted to create work connected to the broader world, so I left the job and was unemployed for two years.
My break came when Spike Lee filmed Miracle at St. Anna in Italy. I worked as a stand-in, extra, and set assistant. After that project, I used my earnings to fund my first documentary about African American soldiers who fought in Italy during World War II. That experience showed me the freedom of independent filmmaking: the ability to tell the stories I couldn’t tell on television, to travel, and connect with audiences globally.
Tammy: Tell us about We Were Here and where audiences can see it.
Fred Kuwornu: The documentary explores Black presence in Renaissance Europe through art. Many paintings from the 15th and 16th centuries include Black figures, but their stories have been lost. We reconstructed their histories, showing ambassadors, dukes, saints, and other influential figures. The Venice Biennale selection was crucial, it gave the film visibility on an international platform that traditional documentary distribution might not have reached. Since early this year, we’ve screened in universities and museums across North America and Europe. By 2027, the documentary will also be available on streaming platforms.
Tammy: What do you want people to feel after watching?
Fred Kuwornu: I want European audiences to recognize that Black presence in Europe was never foreign. It predates colonialism or modern migration and was integral to Southern Europe, particularly Italy, Spain, and Portugal. For North and South American audiences, especially white viewers in political contexts that claim Europe is solely “white,” it challenges contemporary misconceptions about heritage and identity. I also hope it inspires a broader understanding of history, showing that racial barriers in the past were not as rigid as people assume today.
Tammy: Did anything surprise you during your research?
Fred Kuwornu: Absolutely. Growing up in Italy, I had seen these images in Florence countless times, but I never recognized the Black faces or questioned their presence. Realizing how much was overlooked — even figures like Saint Benedict the Moor — was both shocking and motivating. It reminded me of how art can be a powerful tool to understand society, and how much we take for granted in historical narratives.
Tammy: What has been the most meaningful feedback you’ve received?
Fred Kuwornu: People are often surprised by how integrated Black Africans were in early modern Europe. Many see the film as a way to reconsider contemporary divisions, showing that humanity was once more interconnected — beyond skin color, language, or nationality. That kind of reflection is deeply rewarding.
Tammy: Any advice for young filmmakers inspired by your work?
Fred Kuwornu: Focus on untold stories — about yourself, your community, or marginalized communities. Don’t chase film festivals or distribution first. In today’s changing market, the priority should be meaningful storytelling. Technology, social media, and audience consumption are evolving, but the value of giving voice to the unheard remains timeless.
Tammy: Who would you like to thank for helping make this documentary possible?
Fred Kuwornu: There are many contributors. The actors in the reenactment scenes, from the nonprofit Cantieri Metici in Bologna, worked with refugees and migrants learning Italian through theater. The Biennale of Venice provided invaluable support and exposure. And, of course, the historians and art scholars whose expertise forms the documentary’s backbone — I am simply the aggregator of their work.
Tammy: What’s next for you?
Fred Kuwornu: I want to return to Africa, specifically Ghana, where my father is from. My next project is a video installation exploring Adinkra symbols, rooted in the cultural memory of the African diaspora. Using a massive baobab tree with monitors, audiences will experience stories in both museums and village settings. It’s a project about connection, history, and collective memory — a continuation of the mission behind We Were Here.
Tammy: How can audiences keep up with you online?
Fred Kuwornu: Visit the film’s website, www.wewereherethefilm.com, and follow my company, Do The Right Films, named in homage to Spike Lee’s Do the Right Thing, which profoundly influenced my life and career.
Fred Kuwornu’s work is more than cinema; it is reclamation, visibility, and historical justice. With We Were Here, he not only uncovers a forgotten past but also inspires a future where untold stories are brought into the light, remembered, and celebrated.
Please see the film trailer below.
We Were Here — Photo Gallery
Additional ways to stay engaged with Fred Kuwornu'w work, follow him across platforms: Website: https://www.fredkuwornu.com/