AFRICAN AND GLOBAL CULTURAL CONVERSATIONS IN ANIMATION

For many years, African stories struggled to find their place in mainstream animation. Our myths, our heroes and our spirituality were either ignored or simplified. Today, the digital world has changed everything. Africa is no longer waiting for permission to be seen. Creators are building their own platforms, using animation to show the world who we really are. The future of African folklore in a digital world is bright because our stories are crossing borders faster than ever before. At the same time, new African animators are rewriting myth in bold ways. They are not just retelling legends exactly as they were told centuries ago. They are asking fresh questions: What would Sango be like in a modern city? How would Anansi act in an age of social media? What if our gods stepped back into a world that forgot them? These creative decisions make traditional stories feel alive again. They give ancient characters a new voice, while still honouring the elders who first told their stories. There is also a growing conversation around cultural borrowing versus cultural belonging. Animation studios around the world are now interested in African themes, symbols and traditions. That attention can be a good thing when it comes with respect, research and collaboration but problems arise when cultural elements are taken without understanding their meaning. A sacred mask is not just a design. A name, a dance, a shrine, a totem, these are not decorations. They carry history, identity and spiritual weight. Studios must know that culture is not a costume. To tell these stories well, they need to work with people who belong to the culture, not just observe it from afar.

African animation companies have a responsibility to protect our heritage even as we innovate. The world wants authentic stories and authenticity starts with us. In an interview with Channels TV, Olufikayo Adeola, co-founder of Kugali Media, explained that it is our authenticity that makes our stories truly special. This means documenting folklore properly, involving cultural custodians and ensuring that local communities feel seen and respected. The rise of global platforms has shown that audiences are hungry for fresh worlds and different histories. Viewers in Asia want to learn about the Yoruba pantheon. Children in Europe want to explore the legends of East Africa. African viewers want to see themselves portrayed with dignity and imagination. We must protect the essence of our traditions while embracing new forms of creativity. We must invite the world into our stories but never lose control of how those stories are told. The digital future gives African folklore a chance to expand not change into something unrecognizable.