“AI is Here and is Here to Stay” How Can Nigerian Animation maintain its cultural identity amid technological advancements?

So, I was minding my own business, scrolling through TikTok and watching film-related videos when I stumbled upon a film called The Legend of Ochi, facing allegations of using AI for its animation. Initially, I wasn’t particularly interested until another video popped up on my feed, featuring a guy calling the film

“The film AI tries to be.”

Intrigued, I thought, “Oh really?” It reminded me of another news piece I had seen about an upcoming animated film that promised to incorporate a fusion of different animation techniques, from 2D and 3D to animatronics and puppetry.

This got me thinking: with all these rapidly evolving technologies and developments, where does Nigerian animation stand? What’s the future of Nigerian animation?

As I reflect on the current state of the Nigerian animation industry, it becomes clear that we are at a pivotal moment in Nigeria’s animation evolution.

The recent success of Pixar’s Inside Out 2, which soared to become the first $1 billion grosser of 2024, serves as a clarion call for Nollywood’s animation sector. While the live-action realm continues to thrive, the Nigerian animation industry feels like a fledgling bird, still struggling to find its wings. This disparity raises a crucial question: How can Nigeria harness the potential of animation while navigating the rocky terrain posed by technological advancements, particularly artificial intelligence (AI)?

During the recent AFRIFF panel discussions, which I had the privilege to attend, the overarching sentiment was one of cautious optimism. The first session, titled “Animating the Future: Iwaju and the Evolution of African Storytelling,” featured speakers like Toluwalakin Olowofoyeku and Hamid Ibrahim, founders of Kugali Studios. They emphasized the necessity of prioritizing authenticity in storytelling. Hamid remarked, and I paraphrase,

“If authenticity was not at the forefront, it’s most likely that with the collaboration of Disney+ into funding the project, that authenticity and African representation might have been lost.”

This notion echoes the importance of maintaining a clear vision to elevate African storytelling through animation.

The second panel, “Financing and Marketing African Animation Projects,” highlighted the ongoing struggle for funding within the industry. As I listened to the discussions, it became evident that, despite the global spotlight on Nigerian entertainment, animators still face significant financial hurdles.

The third session, “Animation as a Medium for Cultural Expression and Education: Animating African Folklore,” struck a chord with me when the topic of AI’s impact on animation was raised. Godwin Akpan, the art director for the upcoming series “Iyanu: Child of Wonder,” articulated a very vital point while we had a mini discussion.

On the topic of AI and its impact on the animation industry, my reflections were further deepened by an article I encountered that discussed the disruption caused by AI in Nigeria’s comic and animation industry. Richard Oboh, the creative director and CEO of Orange VFX studios, expressed a pressing concern:

“Artificial intelligence remains a double-edged sword capable of making and also destroying the industry as it has put jobs at stake and created a lot of controversy.”

The introduction of AI technologies has not been without consequence; it has threatened the livelihoods of many who rely on traditional methods for storytelling, character design, and animation.

Oboh elaborated, stating,

“Currently, it’s possible to use AI to write an entire script, write stories, and design characters. It can even mimic people’s styles and is creating much controversy.”

This stark reality made me realize that while AI offers tools that can streamline the creative process, we must tread carefully. The human touch, which has long been the heartbeat of storytelling, risks being overshadowed by algorithms and automation.

The speed of AI’s advancement is staggering. For instance, the recent launch of Runway’s Act-One, a tool that generates character animations based on simple video and voice inputs, illustrates just how quickly technology is evolving. This allows users to create animated characters directly from a video and voice recording, bypassing traditional animation complexities and enabling productions with minimal resources. However, this rapid development poses an existential challenge: how can the Nigerian animation industry, still in its infancy, create and keep its identity amid such swift changes?

What did Godwin Akpan have to say?

“Prioritize the story; the technical dexterities come next.”

This statement encapsulates the essence of what I believe is necessary for the growth of the Nigerian animation industry.

It’s a challenge that calls for a renewed focus on storytelling. By investing in strong narratives, we can ensure that our stories remain at the forefront, allowing us to explore various animation techniques—be it stop-motion, 2D, or 3D—while preserving our cultural integrity.

Reflecting on the broader context of Nollywood and its animation sector, it is essential to recognize Nigeria’s unique position within the global animation industry. With a rich cultural heritage and diverse storytelling traditions, Nigerian animators have the potential to carve out a distinctive niche. However, the industry remains ensnared by funding woes, a lack of proper training facilities, and inadequate infrastructure.

Despite these challenges, there are shining examples of success that inspire hope. Projects like Iyanu: Child of Wonder, which is being adapted by HBO and Cartoon Network, and Iwaju, a collaboration between Disney and Kugali Studios, demonstrate the potential for Nigerian animation to break free from the shadows and reach a global audience. These initiatives not only showcase the richness of African stories but also highlight the importance of collaboration and investment in the industry.

As I conclude my thoughts, I am reminded of the words of Biodun Stephen, who succinctly stated, “It is a very expensive venture.” The costs of producing high-quality animation can be daunting, yet the potential rewards are akin to gold buried beneath the earth, waiting to be unearthed. By fostering a supportive environment for animators, investing in education, and prioritizing authentic storytelling, we can navigate the complexities of the animation landscape.

The future of Nigerian animation lies in our ability to embrace both tradition and technology while remaining true to the stories that define us. If we can achieve this balance, I believe the industry will not only thrive but also inspire a new generation of storytellers eager to share the beauty of African culture with the world.