Studio Ghibli Storytelling Inspires a South African Graphic Novel

If 'Kariba' is any indication, South Africa's booming animation scene may soon have it's very own Miyazakis.

by Beckett Mufson

March 29, 2016, 3:00pm

The Creators Project exclusive concept art of 'Kariba' protagonist

Siku. Images courtesy the artist

A little girl with special powers comes of age in a mysterious world blending African history and folklore in Kariba, an upcoming graphic novel currently being Kickstarted by a South African animation group called the Blue Forest Collective. Kariba follows Siku, daughter of the River Spirit of the Zambezi, as she attempts to reunite her parents who are being divided by the Kariba Dam.

This story is based in fact: the Kariba Dam now stands 420' tall, forming Lake Kariba on the border of Zimbabwe and Zambia. It was plagued by misfortune during its initial construction in the 1950's, a story which Blue Forest Collective director and co-director Daniel Clarke and Daniel Snaddon hope to tell through the lens of local beliefs in the graphic novel. Most of the collective's artists are alumni of Triggerfish Animation Studios, known for worldwide successes like Stick Man (2015), so it's no surprise that they plan on turning Kariba into an animated feature. See how awesome that film would be in the teaser below.

If the narrative of young-but-wise girls helping out powerful river spirits gives you flashbacks to Hayao Miyazaki's Spirited Away, you're on the right track. The films of Studio Ghibli are a huge influence on Blue Forest Collective's work, and producer Yoshiaki Nishimura, who worked on When Marnie Was There (2014), The Tale of Princess Kaguya (2013), and Howl's Moving Castle (2004), consulted on Kariba. Like Pakistani filmmaker Usman Riaz's recently Kickstarted film, The Glassworker, Clarke and Snaddon's work demonstrates the true impact of Studio Ghibli's films. They empower people from all backgrounds to tell their culture's stories with the knowledge that it's possible for them to resonate worldwide. Kariba tackles topics like imperialism, environmentalism, spirituality, and clashing cultures in a way that children can understand, and adults can appreciate.

At publishing time, the Kariba Kickstarter has 42 hours left. We spoke to director Daniel Clarke and co-director Daniel Snaddon about the importance of their story, why it's different from anything else in Africa's animation scene, and why you should donate to their cause.

The Creators Project: Why is this story important?

Daniel Snaddon (DS): The story of the Kariba Dam isn't well known outside of southern Africa but it is important to us as it evokes a very clear picture of what happens when two worlds collide on such a grand scale: In the mid-1950s, European construction companies started to build what was then the largest hydroelectric dam in the world. The local BaTonga people warned that the project would fail, as it would separate the Zambezi river spirit Nyaminyami from his wife who lived further down stream. The dam builders ignored the warnings until an enormous flood washed all of their work (and many of their workers) away. Meteorologists gave assurance that the flood was a 1-in-10,000-year occurrence and that they could continue building, but the very next season, the floods came and devastated their efforts again!

Our graphic novel explores the question of why Nyaminyami eventually allowed the dam to be completed, and we're aiming to bring this rich mixture of history and mythology to life in a way that's never been done before in Africa.

Tell me about the animation scene in Cape Town. How do you stand out from any peers in that circle?

DS: Cape Town is definitely the hub of animated storytelling in Africa. We have produced three feature films and a number of series that have traveled well internationally. All the members of Blue Forest met while working at Triggerfish Animation Studios which is widely regarded to be the industry leader on the continent, and who have a reputation for producing high-quality CGI work under very tight conditions. Last year we finished Stick Man, an animated Christmas special which racked up over 9.2 million views on the BBC over its run last year (more than Dr. Who, and The Queen's address)!

Many of our peers are still trying to replicate the success of the large US studios, which you can often tell from the subject matter they choose to pursue. We formed Blue Forest Collective in response to our need to tell stories that are more personal, and we are excited about exploring the idea of what African animated films could be. We have a lot of fantastic stories to tell, and animation is a lens that allows larger audiences to connect with worlds and characters they'd be more cautious of if presented to them in live action.

The influence of Hayao Miyazaki on your animation style and storytelling is clear. Tell me about your relationship with his films.

Daniel Clarke (DC): Personally I only discovered Studio Ghibli and Miyazaki films in my late teens, although I cant help but feel that every time I watch one I am reminded of my own childhood in a deeply nostalgic way. His films never speak down to their audience and although they often have environmental and feminist themes they never attempt to be didactic or profess to have an answer. The range of his films is also just astounding, to think that the same man directed both Ponyo and The Wind Rises boggles the mind—but the one thing they all have in common is that they ooze with sincere 'humanness.'

What lessons have you learned from Studio Ghibli producer Yoshiaki Nishimura? How has his experience influenced the project?

DC: Mr. Nishimura was kind enough to give us feedback on the Kariba trailer we made last year, which coming from someone who has helped realize two of our favorite Ghibli films, was humbling and invaluable. We all have a passion for traditional 2D animation and are aware that we have a long way to go and a lot to learn so his encouragement means a lot.

Beyond an animated version of Kariba, what is your plan for the next 5-10 years? Are you planning to make Blue Forest Collective a sort of Studio Ghibli-like force for animation in Africa?

DS: As we've all been in the animation game for a good number of years, we're under no illusions about the difficult road ahead of us, but we're thrilled that this first step we've taken has gone so well! Studio Ghibli has been a guiding light in terms of personal, high-quality film making, but as a model they'd be impossible to replicate as Africa doesn't have the appetite for animation that Japan does (though its something that we are aiming to cultivate as we go). Hopefully within the next 5 years, our animated film of Kariba will be released and we'll have figured out our next step by then!