Key Points

Moderated by Paris-based cultural strategist Mounia Aram, the panel hosted Nigerian powerhouse Damilola Solesi, Ghanaian-British disruptor Comfort Arthur, and Kenya-based storyteller Sarah Mallia, all ready to challenge the industry's status quo.

From Lagos to Nairobi, London to Accra, their origin stories spoke of resilience, cultural reclamation, and unapologetic ambition, proving that animation is far more than moving images and is about moving perceptions.

Sarah Mallia, co-founder of Nairobi-based Pungulu Pa Productions and Freehand Movement, shared an unconventional path. A communications specialist for charities and UN agencies, she spent years commissioning animations for social causes.

"I saw how storytelling could drive change, but I wanted to create those stories," she said.

Partnering with her husband, a comic artist and animator, she launched her studio, blending her advocacy background with his creative expertise.

Mallia spoke about collaboration as key to dismantling industry barriers, but women need to trust in their own strength too.

"Women don't have to choose between career and family, and it's important that we get our perspectives out into the world," she said, highlighting her studio's focus on indigenous storytelling and environmental themes.

Mallia's flagship project, Uli and Tata's African Nursery Rhymes, is a 2D animated series following siblings who rediscover Africa's disappearing nursery rhymes.

The show blends entertainment with education, preserving oral traditions through lively and textured animation.

"We have been proud to create beautifully illustrated comics and animations, turning complex ideas and issues into engaging stories that celebrate our cultures."

Nigerian animator Damilola Solesi, founder of Smids Animation Studios Ltd, opened with a nostalgic reflection on her childhood love for gaming and cartoons.

Her "lightbulb moment" came during a screening of Toy Story.

"I stayed until the credits rolled and realised hundreds of people brought that magic to life. I knew I wanted to be part of that world," she recalled.

Despite parental pressure to pursue computer science, Solesi secretly honed her skills in 3D character design through YouTube tutorials. "The internet became my classroom," she laughed.

Her path to founding Smids Animation Studios was fraught with skepticism.

"People dismissed me for being young and a woman in a male-dominated field," she shared.

Yet her persistence paid off, with her studio now producing award-winning content that blends African storytelling with cutting-edge animation. "Every 'no' fueled my determination to prove that talent has no gender," she asserted.

Ghanaian-British animator Comfort Arthur, founder of Comfy Studio, recounted her struggle to reconcile her artistic passions with societal expectations. Born in the UK to Ghanaian parents, she faced pressure to pursue "safe" careers like medicine or engineering.

"Art was seen as a hobby, not a livelihood," she said. After following her passion regardless and earning a degree in art, Arthur hit a wall and struggled to find employment in her field.

An opportunity arose when she relocated to Ghana for an editing role, even though she had no prior experience, and with a rough start, her manager noticed she had a strong talent for storytelling.

After gaining some experience and learning about the ins and outs of producing content for television, she decided to take the plunge and founded Comfy Studio, creating animated productions that tackled social issues like mental health and identity.

"In Ghana, I found my voice," she explained. "Animation became my tool to challenge stereotypes, both cultural and gendered."

Her work, including the acclaimed short 'The Peculiar Life of a Spider Girl', and the impactful 'Black Barbie', which challenged the concept of skin bleaching and colourism, her powerful work and storytelling have since sparked global conversations.

Running from May 1 to 4 at Expo Centre Sharjah, the conference features an expansive programme with over 35 workshops, 16 panel discussions, and four world-class concerts, welcoming 74 leading figures from the animation sector representing 18 countries. (ANI/WAM)

- ANI