Now I've learned another - "twende", which translates as "let's go" and encapsulates the theme of this year's Africa in Motion Film Festival (AiM), which comes to Glasgow, Edinburgh and Stirling at the end of the month.
The concept of movement can apply to many things in Africa. On one level, there are recent news stories of Somali and Eritrean migrants who drowned while fleeing to Europe, and the refugee crisis caused by the conflict between the Nigerian army and Boko Haram rebels. But movement is also at the heart of so much of African culture, from pilgrimages to dance to distance running. It's this more positive definition that shines through the AiM programme.
"It is there in the literal sense," agrees Lizelle Bisschoff, the Glasgow University academic who founded the festival in 2006, "but also more symbolically, in telling of people moving forwards, or political movements, or the focus on sexuality and women's movements.
"The theme of movement captures the vibrancy of African societies. It says that African identity is not something that is captured through a traditional past or stereotypical notions we hold about Africa and its cultures and histories. It's showing that Africa is part of a global world, that African urban centres are very similar to cosmopolitan metropolises anywhere. The theme contains the idea of moving away from looking at Africa as a monolithic entity, to talk instead about the continent in terms of specificities and the differences between the countries, to recognise the diversity that we find across the continent."
That's a lot of ground for any festival to cover, but Africa in Motion's well-curated screenings, workshops, live events and filmmaker Q&As does seem to get to grips with individual issues while also achieving the cumulative effect of banishing certain presumptions about Africa and its cinema.
When the continent emerged from colonialism in the 1960s, the Francophone countries - Mali, Senegal, Burkina Faso - led the way with on-screen stories of the clash between traditions and modern western influences. By the 1990s, a younger generation of filmmakers had gotten their hands on equipment and began to address the issues that affected their daily lives. Now cinema culture is alive the length and breadth of the continent, reflecting, say, the upheavals of the Arab Spring and the realities of post-apartheid South Africa.
"I think there's a natural affinity that developed through the Arab Spring between technology, screen media and the revolution because social media was used a lot when people filmed things on their mobile phones and then uploaded it to Vimeo and YouTube," says Bisschoff. "It was a way to spread the message of the revolution."
As well as screenings of films such as El Sheita Elli Fat (aka Winter Of Discontent, an Egyptian film set against the backdrop of Cairo's Tahrir Square), this year's festival highlights the rise of filmmaking in East Africa. There's a special focus on Kenya in to mark the 50th anniversary of its independence, and on the current scene in South Africa. One gripping film in the latter category is Of Good Report, a serial killer noir by Jahmil Qubeka.
"He's a cinephile director who has watched a lot of world cinema and been inspired by things like Italian neo-realism and film noir," explains Bisschoff. "Of Good Report, because of its provocative and quite controversial subject matter, was banned at the Durban International Film Festival in July, where it was supposed to have its world premiere as the opening film. But on the opening day it was banned by the South African Film and Publication Board who regarded it, basically, as child pornography. The film was subsequently unbanned, but it created quite a debate around issues of freedom of speech. It was reminiscent of the apartheid years when there was a lot of censorship in terms of what people could do creatively."
Qubeka will be at the GFT screening on October 25 and Filmhouse the next day to talk about the controversy. Other festival guests include South African photographer and artist Zanele Muholi, whose film Difficult Love (Filmhouse, October 30) addresses black female sexuality. "That should spark discussions about LGBT issues in Africa," notes Bisschoff, "because we know from recent media reports that homophobia is rising in Africa and a lot of governments have anti-homosexuality laws."
This year, AiM is heading out from its bases at Filmhouse, GFT and CCA with pop-up screenings at venues as unlikely as Govanhill Baths (where South African surfing film Otelo Burning will be shown in an empty swimming pool) and Edinburgh Zoo (where animal animation Adventures In Zambezia will play to a schools audience). There's also the annual Short Film Competition, a chance to get a snapshot of new styles and trends in African cinema.
"It's interesting to look at the trajectory of the festival over the past five years because it really reflects the new developments in African cinema," Bisschoff concludes. "Digital technology has really changed the landscape of African film. Where previously it was a hugely expensive endeavour, shooting on film and so on, now film-makers all over the continent are using digital cameras and have software to edit their films. The output now would have been inconceivable a few decades ago."
Africa in Motion runs from October 24 to November 3, principally at GFT, CCA and Filmhouse, Edinburgh. For full programme details, see www.africa-in-motion.org.uk