Creative Comment and Critique: Animation filmmaking in Africa
By Paula Callus, Senior Lecturer at the National Centre of Computer Animation, Bournemouth University
It comes as no surprise that African animation has gone largely
unnoticed, with its history and development undocumented, sometimes
resulting in the misplaced notion that it does not exist. However,
African animation has a history that is at times as old as European
animation, with its earliest animations dating back to 1916 in South
Africa, the 1930s in Egypt and the 1950s in the Democratic Republic of
the Congo.
As is true of animation worldwide, animation in Africa does
not only exist in the realm of children's entertainment, but also acts
as a document of local narrative and myth, political criticism and
social commentary. The animation programme for Africa in Motion aims
to position African animation within these discourses, presenting a
diverse collection of works, from its earliest forms to the more
contemporary 3D computer-generated animations being developed by young
'up-and-coming' graphic artists and cartoonists.
The work presented stems from a variety of African countries: Niger, DRC, Kenya, Uganda,
Tanzania, Egypt, Ghana, South Africa, Nigeria, Senegal, Zimbabwe and
others. Whether artistic or commercial, they offer the viewer the
opportunity to dispel the notion that perhaps African animation is
primitive in its form or lacking the production values of its American
or European equivalent. At times we can see evidence of the influences
as far off as Japanese Manga Anime, but the work still retains a
strong sense of the unique identity that drives it.
The programme
showcases some of the earlier work, such as that of Moustapha Alassane from Niger,
cited as the father of Sub-Saharan
animation who made Bon Voyage Sim (1966), a charming satirical account
of the pomp and grandeur of African politicians
post-independence.
Also screening are a collection of films by Jean
Michel Kibushi from the DRC who presents the viewer with a diversity
of aesthetics, techniques, and narratives, at times sombre and
reflective, at times a celebration of local myth riddled with
Congolese humour. The animated hand-drawn documentary, Kinshasa
Septembre Noir (1992), for example, makes use of rudimentary materials
such as chalk-on-paper, which due to the political environment at the
time was the only way to document the military pillaging that was
occurring in Kinshasa. Kibushi's work also promotes aspects of his
culture through local myths and narratives that stem from his
childhood, whilst drawing from popular artistic practices such as
those of Congolese popular painting and local theatre and dance. This
is evidenced in his stop-motion film, Prince Loseno (2004), and cutout
animations Muana Mboka (1999) and Le Crapaud Chez ses Beaux Parents
(The Toad who Visits his In-Laws, 1991).
Although both Alassane and Kibushi are fundamentally
auteurs and tend to work independently of an industrial incentive,
this is not always the case. There is evidence of young animators in
Kenya that are funding their own work through commissioned projects in
the advertising industry such as the talented Peter Mute, Alfred
Muchilwa, Moses Wanjuki and Kwame Nyongo and Gado featured in the
programme. These practitioners began as cartoonists, fine artists,
painters and graphic designers. They all participated in UNESCO's
Africa Animated! project in 2003 that aimed at encouraging and
empowering young artists with the skills and knowledge to produce
their own short animations. The Africa Animated! project ran for three
years and included participants from East Central, South and West
African countries. In most cases the participants stemmed from varying
practices and had no previous knowledge of animation. Educational
shorts were produced with a view to broadcast across various African
countries. A collection of these shorts will also be screened.
Perhaps the greatest success story of the
growth and development of both the commercial sector and independent
filmmaking circuit can be seen in South Africa. Animation in South
Africa has been used to address local issues, such as HIV/AIDS, with
the case of the commercially driven and locally broadcast Takalani
Sesame Series (Sesame Street Africa) introducing the first HIV
positive character, Kami. The more sensitive topical issue of the rape
of a young infant was tackled in the animation And There in the Dust
(2005) by DOproductions, which is included in the program for Africa
in Motion. Here the directors used a combination of pixilation and
stopmotion, with strong visual metaphors to address this otherwise
difficult to depict theme. South Africa also has produced some
wonderful independent shorts shown at Africa in Motion, such as the
experimental work of fine artist Tessa Comrie, and the comedic
political satirical skits of cartoonist Mike Scott.
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Hm Hm |
Also featuring will be the work of some talented graduates from Helwan University of
Cairo, Minia University, and independent filmmakers from the Cinema Institute,
Cairo. The work showcases the variety of aesthetics and skills whilst being technically very
accomplished. These animations will screen alongside the artist
Mohammed Ghazala's 2D digital animation Hm Hm (2005), meaning
`hungry'. Besides being a practising prolific animator, Ghazala also
lectures in the Animation Department of the Fine Arts Faculty of the
University of Minia. The department attracts students from all over
Egypt to study animation and is considered one of the first animation
departments in universities in the Arab world. The film Hm Hm was part
of a video installation for the Youth Salon festival 2005 in Cairo
where it was awarded a prize for the video art section. It is intended
to be viewed in a gallery setting projected on a screen facing
upwards, placed as if the top of a set table in a restaurant. Its
production process included loose drawings on the computer using
rudimentary technology, drawing with the mouse rather than a graphics
tablet. This gives the work an experimental loose and erratic movement
that is well suited to the humorous theme.
Across the continent there
is evidence of a growing community of animators and there is much to be said about
the impact of digital technologies on the sudden appearance of African
animation in the European circuit. Perhaps the internet has to some
extent democratised the dissemination of this work that can now be
viewed online, for those young African animators that have access to
these technologies. With animation groups and forums popping up
everyday, African animators are beginning to discuss and disseminate
ideas about their own work and the specific problems they face. For
this reason, the inclusion of animation as part of the Africa in
Motion programme could not be more timely. African animation, it would
seem, is at the cusp of a new and exciting period and deserves the
attention of a wider audience to recognise its efforts and
accomplishments. It is within this climate that Africa in Motion seeks
to promote the work of these artists, and frame and contextualise it
within its specific social, cultural and political contexts, providing
a platform for wider discussion on the future of animation in Africa.