HomeAnimation in Africa and the Arab world

Animation in Africa and the Arab world

L’art de l’animation en Afrique et dans le monde arabe

فنّ التحريك في إفريقيا والعالم العربي

From Geneses to Present Day: challenges and perspectives

Des genèses au temps présent : défis et perspectives

منذ النشأة والبدايات إلى العصر الحاضر: التحدّيات والآفاق

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Published on Monday, July 01, 2024

Abstract

Français English العربية

Arab and African animation has come into the spotlight, gaining more visibility in international festivals by virtue of a renewal of interest and curiosity for these societies since the popular uprising of 2011. The primary aim of this conference is to bring attention to film production that is still barely explored in film discursive practices and to expand the existing knowledge base on film and animation. The second objective is to map the theoretical field of African and Arab animation by approaching it as a whole.

Announcement

Français English العربية

Argument

Arab and African animation has come into the spotlight, gaining more visibility in international festivals by virtue of a renewal of interest and curiosity for these societies since the popular uprising of 2011. Despite being noticed and/or awarded at the most prestigious festivals (Annecy, Cannes, the Berlinale) as the subject of exclusive cultural events, animation is rarely approached as an exclusive study object but often as a cultural product that highlights the socio-political upheavals in the region.

Animation Studies in the Arab world, and even more so on the African continent, are still in their embryonic stage, despite a renaissance of the genre and the production's boom since the early 2000s accompanying the technological revolution.

The "democratization" of digital tools has freed the practice of this artistic expression and technique from the financial and technical constraints specific to the genre (Rostrum camera, filmstrip, etc.).

Maureen Furniss (2007) noted this marginal status of animation at university compared to "the other" cinema until the late 1980s. The author sheds light on the context of emergence of Animation Studies in the United States. She explains this in terms of the influence of postmodernism on media studies, which legitimized the study of popular forms of art and entertainment (wrongly considered less "serious"), on the one hand, and the urgent need to document and trace the "evanescent" memory of this art form, on the other.

Somewhat paradoxically, it's hugely the mass-market and commercial cinemas, with their hegemonic presence on both large and small screens, which mostly mobilized discourses and writings on the genre. State cinemas such as Canadian animation, mainly supported by the National Film Board, or Eastern European cinemas benefiting from a privileged status under socialist regimes (compared to other countries) find themselves on the bangs of animation literature. Even though they are not lacking in "visibility" : international recognition, prizes, and awards at festivals (S. Bahun : 2014, Ü. Pikkov : 2018, M. Jean : 2008).

Animated films from Africa and the Arab world are at the edges of the margins of film and animation studies despite the fact that the animation's genesis in these cultural and geographical areas goes back to the early years of the last century. One of the continent's first animated films was made in 1915 in South Africa by the American Harold Shaw, The Artist's Dream (Bendazzi, 2015). Egyptian animation was also a pioneer in Africa and the Arab world, with the Frenkel Brothers' Mish-Mish Effendi, Belarusian immigrants in Egypt whose first opus dates from 1936. This experience would be followed by Dokdok in 1940, directed by the Egyptian Antoine Selim Ibrahim who immigrated to the United States in the 1970s where he joined the Hanna Barbara Studios as an animator.  The decade of the 1960s, when many of these nations gained independence, also marked the birth of African and Arab cinema.

In 1961, the Moheeb brothers, Cairo School of Fine Arts graduates, founded an animation department in Egyptian television (Ghazala, 2021). The cartoonist Mohamed Aram, who self-taught to produce animated shorts for Algerian television, headed the animation department founded in 1964 at the Centre National du Cinéma. The same year, 1965, saw the production of the first African films : La mort de Gandji by Nigerian filmmaker MoustaphaAlassane during his study period at the National Film Board (Canada), and La rentrée des classes by Tunisian filmmaker Mongi Sancho as part of an association (Association des Jeunes Cinéastes Tunisiens, which became the Fédération Tunisienne des Cinéastes amateurs in 1968). Like many of Tunisia's animation pioneers, Mongi Sancho left to complete his studies in Bulgaria in 1967 (Ben Ayed, 2019).

This is also the case for the pioneers of animation in the Levant, Syrian cartoonist Mwafak Katt, who graduated from the VGIK in 1982 and made the first Syrian animated film, Juha Fi Al-Mahkameh, for television in 1985, and Iraqi filmmaker Fayçal al-Yasiri, who graduated in television directing in Vienna and worked for East German (ex-GDR) television in the late 1950s and early 1960s, made the first Arab animated feature film, The Princess and the River, in 1982. At the end of the 1980s, Congolese animation pioneer Jean Michel Kibushi, who graduated in film studies from Kinshasa's National Institute of the Arts and received animation training from the Belgian company Atelier Garphoui, founded the Malembe Maa animation film studio. In addition to producing the director's works, the mobile studio organizes workshops for young people. The aim is to promote animation as a natural extension of Congolese cultural forms and heritage (Callus, 2010). At the same time, in 1989, Malian director MambayeCoulibaly directed an animation film, La geste de Ségou, which was, as far as we know, the first of its kind in the country.

African and Arab animation, though still little known today, is an integral part of the global history of animation. Although it emerged at different times in this vast region, its genesis, and evolution were strongly influenced by tricontinental internationalism and the pan-African and pan-Arab movements of the 1960s and 1970s. The Tunisian capital, at the crossroads of two African and Arab cultures, and its JCC (1966), along with FESPACO (1969) in Ouagadougou, Burkina Faso, were spaces for reflection and aesthetic debate on the educational and artistic vocation of cinema and its mission to awaken consciousness in the countries of the South. What has become of this heritage in today's global age ?

The primary aim of this conference is to bring attention to film production that is still barely explored in film discursive practices and to expand the existing knowledge base on film and animation. The vulnerability of early movies due to the use of the silver medium, the loss of pioneers like Mohamed Aram and Moustapha Alassane, and the transience of contemporary works, such as web animations created exclusively for the Internet and quickly overshadowed by the constant flow of information, all contribute to the urgency of documenting these cinemas. There is a pressing need to record the history of animation in these unexplored regions and to integrate it into the global narrative of this art form and the cultural and heritage history of these societies.

The second objective is to map the theoretical field of African and Arab animation by approaching it as a whole. By “a whole”, we mean not only the final artwork but the whole ecosystem involved in its production, from the training of its authors to the various circuits of its distribution. This conference will focus on its inherent hybridity (between art and technology), its multi-layered filiations with other artistic expressions, its marginal status as a practice and in film studies, and how animation can be a social witness to major transformations.

Research Axes

  1. Animation in Africa and the Arab World : an uncharted territory
  • National and Regional Animation : Early Cinema and Pioneer Portraits.
  • The historiography of an Art : Animation-specific blurring of boundaries between different artistic forms (theater, film, visual arts).
  • Afro-ArabAvant-Garde : Legacies of the Pan-Africanist and Pan-Arabist Movements of the 1960s and 1970s : affiliations and disruptions
  1. Legacy, national and regional identity(ies) and contemporary practices
  • « Pervasive Animation », Hybridity and Transmedia : Animation at the Crossroads of Disciplines, Artistic Expressions, and New Media. From puppetry, shadow’s theater to video games, artificial intelligence, virtual and augmented reality.
  • Animation at the intersection of creativity and technicality : the crossfertilization between graphic designers/visual artists and video processing and web development technicians.
  • Identity and heritage : Animation film as a tool for the promotion of cultural heritage. African and Arab cultural heritage (oral traditions of storytellers, griots, fdawi hakawati, Karagöz shadow theater, Puppet Theater) as a source and material for the construction of a singular national, regional, and transnational imaginary.
  1. Teaching animation at the African and Arab universities : overview and approaches
  • Status and comparative approaches, public/private training.
  • Associative environments as a training ground on the margins of the academic space : examples : Tunisian film clubs (FTCA and FTCC), ASIFA by country
  1. The changing ways of financing, producing, and distributing in the global era. Constraints, challenges, and prospects that are specific to the genre
  • The neoliberal economic policies of the mid-nineties, the end of state protectionism, and the digital revolution : the consequences for the film industry, especially animation in African and Arab countries.
  • Flows and movements of people/creators and "animation workforce" abroad due to lack of means and production structures or as a result of political/armed crises, etc. Attractiveness of certain countries for African and Arab animators and filmmakers (Gulf countries, Europe and the Americas).
  • The State cinema versus an "independent" cinema. "Independent"/transregional/transnational financial support funds for creation since 2000.
  • Transnational platforms of creations : associations, artist collectives.
  • New ways of circulation and venues of films in the World age : Film festivals, specialized festivals, animation in art galleries, exclusively online diffusion, and other new medias.
  1. Animated films as a source of knowledge documenting Arab and African societies. Social witnesses and historical documents in the same way as documentaries and other film genres.
  • Memory and historical narratives and the docu-animation example
  • Animation and crisis(es) : The revival of a genre a causal links ?
  • Webanim documenting the 2011 revolutionary episode in the Arab world. o Global health crisis of 2020
  • Lockdown : from hybridity to animation as the alternative

Submission guidelines

Only original and unpublished articles are accepted for submission. Submitting an article to another conference or journal while it is under review here is strictly prohibited.

Authors must ensure their research is novel, in-depth, and intentional, adhering to scientific and methodological standards as per the APA guidelines.

Articles should be between 40,000 and 45,000 characters inclusive of references and appendices. The Word file should be saved in Word 365 format.

Regardless of the article's language, an English abstract and an Arabic abstract must be included (translation assistance is available for non-Arabic speakers).

Articles are accepted in English, Arabic, and French.

The research paper and abstract should be prepared in Word using the following fonts : Adobe Naskh Medium (16) for Arabic text. Calibri (Body) (12) for Latin languages. Font size 12 for Latin languages

Duplicate submissions will not be accepted.

Timeline

  • July 20, 2024 : Deadline by which contributors should submit their abstracts to dr.faten-ridene@democraticac.de

  • Results of abstract review returned to authors by July 25, 2024
  • August 20, 2024 : Submission Deadline of the full paper.
  • September 25, 2024 : Results of full conference paper review returned to authors
  • October 10, 2024 : Final articles should be sent to be published

Participation Fees

  • Free Participation
  • Participating presenters will receive an electronic copy of the conference proceedings. All presenters will receive a certificate of participation acknowledging their contribution to the conference. A selection of peerreviewed and accepted articles will be published in a collective book with an international standard ISBN number. Authors of selected articles may have the option to publish their work in the International Scientific Conference Journal, an international peer-reviewed journal published by the #Arab Democratic Centre Germany - Berlin. This journal publishes research articles drawn from the proceedings of academic scientific conferences.
  • The views expressed in the submitted papers are solely those of the authors, who bear full responsibility for the authenticity of the data and any ensuing ethical and scientific integrity issues. Articles should be written in the first person singular.

Conference Chair

  • Dr Maya BEN AYED Research Fellow at The Centre d'Histoire Sociale des mondes contemporains (UMR :8058 CNRS, Université de Paris 1 Panthéon-Sorbonne), France https://histoire-sociale.cnrs.fr/ben-ayed-maya/

Chair Woman of the Scientific Comittee

  • Dr Faten RIDENE Film Studies Teacher-reseacher at the Université of Jendouba-Tunisie- Official representative of the Arab-Berlin-German Democratic Center in Tunisia-.Member of the international ranking Committee of Université de Jendouba. https://orcid.org/0000-0002-5202-427X

Honored Committee

  • Pr Amer Sabah ALMARZUK, Dean of the University of de Babylon-Irak
  • MA Dr Abdelaziz Smida University of Kairouan-Tunisia
  • Mme Raja KMICHA Président and fonder of the festival international du cinéma d’animation de Kairouan-Tunisie
  • Pr. Ammar CHARAAN, Head of Democratic Arabic Center, Berlin-Germany

Conference Management

  • MC Dr Bahia ZEMNI, Université Princesse Noura Bent Abderrahman, Arabie Saoudite
  • Dr Imene BEN HASSINE, University of Kairouan, Tunisia
  • Abir BEN WAHHADA, Universityof Carthage, Tunisia
  • Dorra DAALOUL, University of Kairouan, Tunisia
  • Dr Karim AICHE, Democratic Arabic Center, Berlin-Germany
  • Dr Ahmed BOHKOU, Democratic Arabic Center, Berlin-Germany

Scientific Committee

  • Maureen Furniss, California School of Arts, USA
  • Elie Yazbek, University of Saint-Joseph, Beyrut, Lebanon
  • Zohra Makach, Faculty of Letters and Humanities, Aghadir, University Ibn Zohr, Morocco
  • P, Ahmed Bouajila, Higher Institute of Childhood Executives of Dermech, Carthage University, Tunisia
  • Hamadi Bouabid, ESAC Gammarth, Carthage University, Tunisia
  • P, Jawhar Jammoussi, University of Mannouba, Tunisia
  • Ahmed Gamaleldine Bilal, Scientific College of Design, Muscat, Sultanate of Oman
  • Mondher Sameh Al Atoum, Faculty of Fine Arts, Yarmouk University, Hashemite Kingdom of Jordan
  • Ikbel Charfi, Higher Institute of Arts and Crafts , University of Sfax, Tunisia
  • MC Dr Hafedh Rekik, University of Qasim, Kingdom of Saudi Arabia
  • MC Dr Haytham Nawar, American University in Cairo, Egypt
  • MC Dr Stephanie Van De Peer, Queen Margaret University, Edinburgh, UK
  • MC Dr Hamid Tbatou, Polydisciplinary Faculty of Ouarzazate, Ibn Zohr University, Morocco
  • MC Dr  Mohamed Ghazela, Cinematic Arts School, Iffat University, Kingdom of Saudi Arabia
  • MC Dr Sadek Touil, Higher Institute of Arts and Crafts, University of Gabes, Tunisia
  • MC Dr Mohamed Tarek Ben Chaabane, Higher School of Audiovisual and Cinema Gammarth, Carthage University, Tunisia
  • MC Dr Ouafa Ouerniki, Ziane Achour, University of  Djelfa, Algeria
  • MC Dr Mohamed Badir, Department of Arts, University of Telemcen, Algeria
  • MC Dr Ameer Sabah Marzuk, Dean of Faculty of Arts, University Babylon, Iraq
  • MC Dr Anis Semlali, American University of Ras El Khayma, Kingdom of Saudi Arabia
  • MC Dr Anouar Ben Khalifa, National Institute of Technology and Sciences of Kef, University of Jendouba, Tunisia
  • MC Dr Assia Marfouq, Institute of Sports Sciences, Hassan Premier University, Settat, Morocco
  • MC Dr Abdelghani Brija, Faculty of Economic, Legal and Social Sciences Souissi, Mohamed V University Rabat, Morocco
  • MC Dr Mohamed Marzagui, Faculty of Sciences Semlalia, Marrakech, Morocco
  • MC Dr  Samira Ouelhazi, Higher Institute of Applied Sciences in Humanities in Kef, University of Jendouba, Tunisia
  • MC Dr Samiha Khelifa, Higher School of Design Technologies, Denden, University of Mannouba, Tunisia
  • MC Dr Manoubia Ben Ghedahom, Higher Institute of Linguistics, Carthage University, Tunisia
  • MC Dr Chiraz Kilani, Virtual University of Tunisia
  • MC Dr Salma Ketata Guetari, Higher School of Design Technologies, Denden, University of Manouba, Tunisia
  • AP Dr Yazan Alamart, Head of Animation and Multimedia Department, University of Petra, Hashemite Kingdom of Jordan
  • AP Dr Leila Berrhouma, Higher Institute of Arts and Multimedia, University of Mannouba, Tunisia
  • AP Dr Faris Abuhashish, University of Petra, Amman, Hashemite Kingdom of Jordan
  • AP Dr Sherif Galal, Head of Visual Communication Department, Scientific College of Design, Sultanate of Oman
  • AP Dr Jeremy Speed Schwartz, College of the Arts, Kennasaw State University, USA
  • AP Dr Tarik Al Rimawi , Faculty of Architecture and Design, Petra University, Hashemite Kingdom of Jordan
  • AP Dr Aicha Kammoun, Higher School of sciences & technologies of design, University Manouba, Tunisia
  • AP Dr Aicha Kammoun, Higher School of sciences & technologies of design, University Manouba, Tunisia
  • AP Dr Amira Turki, Higher School of sciences & technologies of design, University Manouba, Tunisia
  • AP Dr Amir Hamzaoui, Higher School of sciences & technologies of design, University Manouba, Tunisia
  • AP Dr Amina Tekitek, Higher School of sciences & technologies of design, University Manouba, Tunisia
  • Ap Dr Neila Zanned, Higher School of sciences & technologies of design, University Manouba, Tunisia
  • AP Dr Rym Lahmar, Higher School of sciences & technologies of design, University Manouba, Tunisia
  • AP Dr Ali Chams Eddine,Higher Institute of Arts and Crafts, University of Gabes, Tunisia
  • AP Dr Omar Aloui, Higher Institue of Music and Theatre, Unversity of Jendouba, Tunisia
  • AP Dr Faten RIDENE, University of Jendouba, Tunisia
  • AP Dr Wassim Jmal, National School of Electronics and Communication, University of Sfax, Tunisia
  • Associate researcher at the Center for Social History of Contemporary Worlds-University of Paris Pantheon Sorbonne, France
  • AP Dr Imen Samet, Higher Instute of Music and Theatre, University of Jendouba, Tunisia
  • AP Dr Faten Hamdi, Higher Institute of Sports and Physical Education Boulifa, University of Jendouba, Tunisia
  • AP Dr Ali Mawlood Fadhil AL SAMMRRAIE, Head of Media Department, Samarra University, Irak
  • AP Dr Nouheil Salloum, College of Arts and Social Sciences, University of Sultan Qabus, Sultanat Oman
  • AP Dr Hela Chabchoub, Higher School of sciences & technologies of design, University Manouba, Tunisia
  • AP Dr Mathilde Rouxel, Aix-Marseille University, France
  • Ap Dr Ahlem Hamed, Higher Institute of Arts and Crafts Tataouine, University of Gabes, Tunisia
  • AP Dr Ines Ben Khemiss,   Higher School of Design Sciences and Technologies Denden, University of Mannouba, Tunisia
  • AP Dr Aymen Bessid, Higher Institute of Applied Sciences in Humanities, El Kef, University of Jendouba, Tunisia
  • AP Dr Rym Mansour, Higher Institute of Music, University of Sousse, Tunisia
  • AP Dr Abdelouaheb Youssfi, Higher Institute of Humanities, University of Tunis El Manar, Tunisia
  • Dr Hend Boukari,  Higher School of Design Sciences and Technologies Denden, University of Mannouba, Tunisia
  • Dr Asma Mannai,  Higher School of Design Sciences and Technologies Denden, University of Mannouba, Tunisia
  • Dr Mejda Achour,  Higher School of Design Sciences and Technologies Denden, University of Mannouba, Tunisia

Selective bibliography

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Alrimawi, Tarek. “Challenges Facing the Arab Animation Cinema”. In : Lee, N. (eds) Encyclopedia of Computer Graphics and Games. Springer, Cham, 2015

BAHUN, Sanja. The Human and the Possible : Animation in Yugoslavia, Czechoslovakia and the Soviet Union, 1960-1980. In : Cinema, State Socialism and Society in the Soviet Union and Eastern Europe, 1917-1989 Re-Visions. BASEES/Routledge Series on Russian and East European Studies. London : Routledge, 2014

BARRES, Patrick. Le cinéma d’animation, un cinéma d’expérience plastique. Paris : Éditions l’Harmattan, 2006

BAZZOLI, Maria Silvia (Ed.). African Cartoons. Il cinema di animazione in Africa. Milano : Il Castoro, 2003.

BEN AYED, Maya. Le cinéma d’animation en Tunisie (1965-1995). Un cinéma de la marge en contexte autoritaire. Paris :L’Harmattan, 2019.

BENDAZZI, Giannalberto. Animation : A World History : Volume I : Foundations - The Golden Age. États-Unis : CRC Press, 2015.

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BUCHAN, Suzanne (Ed). Pervasive Animation.London :Routeledge, 2013.

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FURNISS, Maureen. Art in Motion.Animation Aesthetics. London : John Libbey Publishing, 2007.

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MADICHIE, Nnamdi O., & HINSON, Robert Ebo. The Creative Industries and International Business Development in Africa.Royaume-Uni : EmeraldPublishing Limited, 2022. OUÉDRAOGO, Jean. Figuration et mémoire dans les cinémas africains. Paris :L’Harmattan, 2011.

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TOLAN-SZKILNIK, Paraska.Maghreb Noir.The Militant-Artists of North Africa and the Struggle for a Pan-African, Postcolonial Future.Allemagne : Stanford University Press, 2023.

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Places

  • ISAM Kairouan-université de Kairouan
    Kairouan, Tunisia (3100)

Event attendance modalities

Hybrid event (on site and online)


Date(s)

  • Friday, July 19, 2024

Keywords

  • cinéma, animation, Afrique, Monde Arabe

Information source

  • Faten RIDENE
    courriel : dr [dot] faten-ridene [at] democraticac [dot] de

License

CC-BY-4.0 This announcement is licensed under the terms of Creative Commons - Attribution 4.0 International - CC BY 4.0 .

To cite this announcement

Maya Ben Ayed, « Animation in Africa and the Arab world », Call for papers, Calenda, Published on Monday, July 01, 2024, https://doi.org/10.58079/11wqs

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