Blog written by Kole Ade Odutola, Nigerian poet, scholar, activist

Introduction

If anyone told you that there are Nigerians (or even Africans) who have expertise in the production of animations; would you believe it or will you like me reach out to the nearest search engine to fish out one example?

In my case I looked through some sections of the World Wide Web to seek out someone who could tell me about the state of affairs in the art of animation and maybe express fears in the present or in the future. I did not need to look too far when facebook came to my rescue and delivered as it were a graduate of Civil Engineering to my in-box. It is imperative that you read his story yourself and check out the various links he graciously supplied.

Ha !! before you enjoy (or reflect on)  his responses to my curiosity, I will like to know why no one has written a comment on the last entries. What is going on? I may just stop this blog if you all don’t make it an engaging site. It is not ‘clopen’ blog. It is totally open and I will want you to read and respond to the ideas contained therein. I look forward to your responses in my in-box (kole2@yahoo.com) or right here on this page.
 
Ok, now back to the story at hand. Our animator of the moment is a man full of passion and vision. He is Oladeji Victor Bamidele. He studied Civil Engineering before signing up at the Media Village, Kalk Bay, Cape Town to train in 3D communications as an animator. After working on several projects with South African animation houses like Character Matters Animation Studio, Ambient Animation Studios, Telegenic Production amongst others, Deji- who has been privileged to work with the likes of Tom Roth (from Disney) and Eric Lessard (Dream works) among other South African animators- went back to Nigeria for the first time in three years in January to run some workshops in 3D communication and to create awareness for his training program in Cape Town –Animation for Africa - whose six months training and internship program at Image Animation Studios.

Now you can enjoy our over-the-net questions and answers:

(1). What is your background and how did you get into Animations?

 I am a graduate of Civil engineering, after my studies. I decided to pursue one of my dreams, which is media, though I had early  influences on me which was the fact that my dad worked in a media organization, so I grew up seeing camera and stacks of beta-cam tapes in the house; but also like every other kid, I was amazed by cartoons on TV and its  captivating hook and always wondered how the characters were created, up until when I left the higher institution, I didn’t fully understand the technology behind Animation until I went to media school to study (Video production).

From there I started birthing the dream of producing a feature 3D film, and at that time I didn’t know any school where I could study animation, so I started a search and found a couple of schools in the United States but these were too expensive for me then. Fortunately through a recommendation, I was able to find a school in Cape Town, South Africa. So that was how I ended up in South Africa. After my studies, I proceeded for an internship program in an Animation studio, after which I pick a job with them for some time, I also engaged in free lance work for a time and even started lecturing basics in 3D communication.

(2) What is the state of animations in Nigeria? How can you describe the kind of productions coming out of the different production houses?

We are not there yet, but it’s amazing what the guys here are chucking out, the spirit and passion is there which is key, we just need a bit of guidance from experience animators and projects to kick start the industry . You can really see the bits and pieces here and there on our screen especially music videos and several montages.

(3) How will you compare stories you produce to productions elsewhere. Do you think the technology allows producers to include cultural ideas and stamps that show the identity of Africa/Nigeria?

I think a lot of people don’t yet have the experience of writing for animation, it’s definitely not the same. Writing for live action and writing for a 3D movie are two different things but all of that comes with experience and training, that is why an American writer can pick an Africa story and transform it totally into something every audience would applaud.

Technology isn’t a problem, with funds you can acquire any technology any where…the most important factor here is the artist, the story and funding. You will agree with me that Africa has got lots of rich stories but how do we translate those into world class pieces, remains the issue.

In responding to your question I will ask myself this question:

Do we have good animation directors and script writers who can translate raw ideas into master productions?  Once we begin, and the industry begins to grow in terms of proper production then we can deliberately begin to infuse/ stamp our identity into our work.

(4) What are the major problems for animators in Nigeria?

Lack of exposure, training and funding for big projects as you know animation is very expensive and takes lots of time. I think another issue is impatience, Animation isn’t like live action where you can chuck out films every 3 months or 3 weeks, at times a feature film like the one I worked on, can take up to 2 - 3 years working every day.  Do we have that character to wait? Can the investor wait that long? It’s a big issue.

(4.1) Are there training schools in Nigeria/Africa for professionals interested in animations? If yes where?

Training school are beginning to spring up in Nigeria specially in Lagos a least I have heard of one or two, but for sure seminars and short courses are also taking place.  You can check out http://www.ticfilmschool.com

(5). Do you have links to your work(s)...that can be included in the blog?
http://www.lionofjudahthemovie.com
http://www.youtube.com/watch?v=mrjG_a30eGI

I was one of the lead pre-viz animator for Lion of Judah, it was a privilege working with great animators on this project.

(6). How do you see the future of animation in Nigeria?

We will get there…we have the stories, beautiful stories virtually every place you go in the country.You find every interesting stories of animals, fictions, it’s unbelievable. With lots of support we can begin our way into first, a support/service 3D industry and then have a 3D industry, I mean we already have a background in videos; we are also not doing badly with our videos. With funding the guys here will cook up a storm.

(7) Have you won any competition recently or anyone you know? 

 NO. There is no animation industry here. I’m  hoping to start something here soon, like an award for works in partnership with relevant bodies both local and international , I’m trying to get a friend of mine here – Eric Lessard (one of the lead animators for Shrek and Madagascar), he might be visiting soon. Hopefully, we can do some seminars and also encourage people.

Character Matters has just finished working on Africa's 1st full length featured CGI animated feature, 'The Lion of Judah'. The movie, commissioned by Animated Family Films in the United States and produced by Sunrise Productions, is an 80-minute, 2K, cinema production with all the bells and whistles we have come to expect from the major studios.
Links:     http://www.charactermatters.com/
http://www.lionofjudahthemovie.com
http://www.youtube.com/watch?v=mrjG_a30eGI

Actors in the movie: Ernest Borgnine, Michael Madsen, Sandi Patty, Anupam Kher,
 

END-NOTE FROM YOUR AFRICAN SPACES BLOGGER:

He has lived the dream that remains in the realm of wishful thinking for many of his generation, training as an animator and working with some of the best in the industry.

Blog written by Kole Ade Odutola, Nigerian poet, cultural activist, intellectual

It is debatable if the present situation in the film/video market can be referred to as an industry where capital, machinery and resources are in place.

One very heartening development is the presence of a film policy for the country. The history of the policy dates back to 1991 when Nigerian Film Corporation (NFC) constituted a panel to look into the existing regulations with a view of harmonizing and distilling the essence of a film policy. The film policy fortunately is a beautiful document that not only articulates the many possibilities and options open to the country but also attempts at providing enabling environment for the production of films.

The document on its face value seems not to lack in the necessary guidelines and visions, for example the preamble recognizes that "the film is a unique means of communication, it is a means of education and entertainment, socialization, information and mobilization. More than any other means of mass communication the film can be used as a tool to promote positive social transformation as well as to consolidate and build a new relationship between culture and national development".

From the foregoing it is evident that the brains that put together the policy are very current and visionary. However the present situation seems not to be in sync with the sentiments expressed.

The situation of film production and consumption demands a critical attention.

In terms of the technology of film production the country is presently undergoing a rapid retrogression and decay. The Cinema culture built over the years on foreign films and taste is fast dying out and replaced with indoors small-screen consumption that may be local in content but still largely foreign in concept.

Whichever way the film consumption/production pattern is framed, this country seem to be in a bind, a resolution of which, may require a concerted cultural revolution that places premium on available and affordable technology.

It may not be very necessary to engage in a review of the film policy or even the non-existent infrastructure or the subsistence finance and capital mode of funding film productions in the country as that should be a separate topic for another paper. In fact, it may require a whole seminar to appraise the funding and marketing of films inNigeria.

The few and far between involvement of Banks and the capital market is enough proof of the primitive financing arrangement in place presently. Suffice to say, the level of financial involvement in any industry coupled with the risk taking mechanism determines the growth, sustenance and quality of the products that roll off the production lines.

Meanwhile, if the capital base is weak, the same cannot be said of the human resources available to the yet-to-take-off-film industry.

There abounds a multitude of script writers, producers, technicians, directors, etc. in the land that can take on the challenge of any screenplay no matter how complex.

One thing that is quickly noticeable among these available human resources is the different educational backgrounds.

In time past, the British film school was the main supplier of film personnel in Nigeria before the entry of African-Americans and other directors from mainstream America.

It is therefore pertinent to take a look at the quality of film education available in the country. Is there a clear-cut direction as to the standard and cultural influence in the training? In the film policy document, section 9 deals with training, research and development.

In the subsequent sub-sections, the document only reinforces rhetorics without laying any frameworks that can answer the lingering questions.

It does not tackle the How of training but lays emphasis on why. Though it talks about the establishment of a film institute to "serve as training and research center", it does not bother about how the center will come on stream or the direction of its policy.

There is no need again to delve into the merits or demerits of a film institute at this period of our national economic reality.

What we can at best focus upon will be how to make the knowledge gained in a film school adaptable to our present situation where it is no longer economically prudent to invest in film stock [16mm gauge at the worst]. The deciding factor is the favorable reaction of the market to narrative films produced with less capital outlay on VHS format.

The curriculum of the film institute must include how to infuse both technologies and culture to produce products of international standards in terms of quality of presentation.

It must be stated that films/videos demand a certain basic standard that is irrespective of race, color of cultural backgrounds. That film aesthetics as a universal concept cannot be argued, what can be debated will most likely be resolved with the subjectivity of beauty being in the eye of the beholders.

Factors that influence film production and consumption: In Nigeria as in other countries the content of films can be dictated by complex inter-related factors. The major factor being the culture of the people and their approach to relaxation. This is also a function of disposable income and available products ready for consumption at any point in time. The interplay of economics, expectations and socialization thus play a major role in determining the film culture.

Just like a society gets the kind of workmen it deserves, a film maker through research determines what the market prefers in terms of theme, the treatment however still happens to be the prerogative of the financier and director, in other words, "What works is repeated endlessly, until it stops working. What fails is not tried again".

Yet in-between the market forces and the people is the sometimes uncomfortable position of the film critic, on whose shoulders rest the responsibility of making or breaking a box office hype or fact.

Blog entry by Kole Ade Odutola, poet, activist, intellectual 

In real life the two words open spaces will immediately bring to life open fields where all can roam and get lost or reclaim self. Such open spaces hide memories and sometimes help relieve hidden emotions. In a virtual world an open space allows for all manners of objects and subjects within its bowels.

As a first step in a journey of a thousand words I want to use this opportunity to kick-start the bond between my computer screen and yours. Remember this is the age of hide and seek, hide and type till the fingers hurt. I promise you that nothing in this blog will make you sick but I can bet my last dime that I will make you think about the continent of Africa.

I will connect the delicate net that links us all and comment on issues from different points of views. If I come across any news I think you can use, be sure I will spare nothing till you are made aware.

In the spirit of the spoken word I leave you these ideas. If you dare; feel free to send to me what you think about social spaces that promote individualism and capitalism without freely flowing capital.

Where does African stand (or sit) within the global media ecology? Let me get back on to the street and I shall be back on your screens with a brief on the status of the Nigerian movie industry. Does Nigeria possess a movie industry?

The screen, the street and a dream retold....

Constellation of dots

concentrating our thoughts

within the capitalist rot

of textual assault issuing

from right to left

making circulation the unleavened bread

of sorrow.

The flat world of tomorrow

points the arrow of my likeness

to the information

pool

of facts, fraud and fantasies.

I really like the screen

the world out there behind it

hidden and unseen

my words like hit and miss

run on this superhighway,

never known to kill,

never known fear

when they miss moving targets.

Do I really like the screen

that has taken us away from the streets?

The streets of our endless struggle

the mean and main-streets of the few rich

I think I like the screen

that allows me reach

my comrades

far and near

far but dear

firm and feared by stones

thrown by sates.....

The screen likes me to always

state my case as clear as the

Willow waters watered by love and by all

( c ) Kole Odutola