The demand for animated content continues to grow. There are a few reasons for this; for starters, animation can reach a wide range of audiences. Contrary to popular perception, animation is not solely intended for children and is very often used to convey socio-political critique, quietly. Another plausible reason is because of the ability of the medium to draw upon a variety of artistic practices, meaning that animation can take many forms: a cartoon, puppets or sculptures come to life, sketches for example. African animators in particular use animation to safeguard and preserve stories, myths and the legends they grew up with, some of which have been used to inform superhero animations in games; for example have a look at the Nigerian “Afro-anime” production Red Origins, the all-ages comic that follows the adventures of three young men who find themselves transported to Africa in 2070. The founders, Nigerian-American brothers Obi and Onyi Ubeh founded their animations, comic and gaming company Kolanut Productions to“produce media from emerging, untapped markets, including the rich traditions of African mysticism.”
Talented animators abound in Nigeria, South Africa, Morocco, Ghana, Kenya, Uganda, Egypt, Mozambique and Burkina Faso. Many are self-taught, however. As a result, today, more support is available to help talented animators build on their innate talent and creativity For example, the African Animation Network, in Burkina Faso, supports the skills development of aspiring animators and locally made productions are becoming more popular. Morocco-born, Paris-based, truly pan-African business leader and the winner of the 2021 Cultural Innovator category award (Black in Animation Awards) Mounia Aram specialises in African animation, production, and distribution. Aram both champions and helps African animators bring their content to the world, distributing stories about Africans by African production companies. In Uganda, pioneer David Masanso teaches animation to aspiring creators through his award-winning company, Crossroads Digital and aims to empower youth to change outdated African narratives through modern storytelling.
It’s also worth noting that African animators are winning global acclaim for their talent and international studios are paying attention: if you remember Mama K’s Team 4 (a Zambian cartoon about teenage girls), well, that one was acquired by Netflix; Pixar now routinely hires Africa-based animators. Times, they are a-changing.
Here are some of the animators to watch closely – the trailblazers contributing to Africa’s blossoming animation scene and bringing African stories to the world.
Chris Morgan of Fundi Films used a pan-African pool of African talent working remotely across the continent for his My Better World production, which is aimed at teenage Africans (and younger). The series comprises 55 short animated films that are available in English, Swahili, Hausa and Somali. The episodes focus on characters who are navigating complex situations, all done in a fun and accessible way. Each film also features an interview with a real-life professional, such as Africa’s first female pilot. My Better World was nominated for the Annecy International Film Festival, one of the world’s top animation competitions.
Kayode Oloko is the Nigeria-born, Finland-based polyglot creator of the wonderful Yoruba language animation series, Ẹbí Fọ́lọ́runṣọ́ which aims to teach children (but not necessarily only children) how to speak Yoruba. Oloko, an advocate for Yoruba language , views his creation as a vehicle with which to raise awareness of culture, tradition, language, and identity. The series, based on the life of the marvellous Fọ́lọ́runṣọ́ family, a family of four, is engaging and delightful in equal measure.
“The uniqueness of our mother tongues is far beyond compare.”
Nigeria-based Ridwan Moshood is a rising star in Nigeria’s burgeoning animation industry. Moshood has been recognised by the Cartoon Network Africa Creative Lab for his animation Garbage Boy and Trash Can.
Multi-award-winning creator Kenyan Ng’endo Mukii uses animation to tell ‘hard-hitting’ but necessary stories. Her best-known film, called Yellow Fever (2012), confronted the use of skin-bleaching creams by African women, and in other work she explores subjects such as people trafficking and migration.
Segun Williams’ Trans Tales Entertainment was founded in 2015 and creates and distributes African-themed animation films from its base in London, England. The company is perhaps best known for its film Mark of Uru which won a World Summit Award in 2009. The films explore history and traditions through animation – a great example of this is the film Sade the Secret Princess, which looks at the stigma of being childless, a stigma that’s still common in a number of African societies today.
Why do you feel there is now a high demand for animated content? Are you a fan of the genre? We’re interested in your views, so please go ahead and add your thoughts to the comments below. One more thing – please support these creators in their efforts to showcase African stories to the world.
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