Theatre producer and creative entrepreneur, Latif Abubakar, has called on Ghanaian animators to bridge the gap between culture and commerce by transforming traditional stories into modern digital assets that can drive national development.
Speaking at the UniMAC-IFT Department of Animation and Game Design’s Animation Exhibition to mark World Animation Day, Latif Abubakar said the animation industry holds immense potential to become a pillar of Ghana’s creative economy if given strategic attention and investment.
“Our past is the foundation for our future. Animation connects our traditions with modern technology and gives us the chance to redefine our economy through creativity,” he told students and guests at the UniMAC-IFT Television Studio. “Africa is not just a consumer of stories. We are storytellers, and we must use our talent to build industries that employ, inspire, and sustain.”
Held under the theme “The Future Through the Past: Building Bridges Between Tradition and Technology,” the exhibition featured screenings of animated works by UniMAC-IFT students and alumni, including Agradaa by Francis Y. Brown, Panga by Mark Adjel Kwarteng, Nubuke by Aryee Bismark Adamafio, Mousetrap by Angelica Atitsogbui, Chaskele by Bertil Toby Svanekiaer, and Edem by Zenock Gyimah Ampornsah. The event celebrated the creative achievements of Ghana’s young digital storytellers while drawing attention to the economic challenges confronting the sector.
In his address, Mr. Abubakar emphasized that animation should not be viewed merely as entertainment but as a medium of economic empowerment capable of creating jobs and promoting Ghana’s cultural identity worldwide. He urged policymakers, investors, and broadcasters to recognize the industry’s commercial value and support its growth through funding and strategic partnerships.
The economic concerns he raised were echoed by participating animators. Bertil Toby Svanekiaer, a UniMAC-IFT alumnus and creator of Chaskele, said most animators in Ghana are self-funded and struggle to sustain production cycles due to high costs and limited financial support.
“Animation takes time and resources. A short film can take six months or more, and most of us finance our work ourselves. We need systems where local investors, TV stations, or government institutions can support content creation instead of demanding payment for airtime,” he explained.
Svanekiaer cited examples from France and Nigeria, where partnerships between television networks and financial institutions have helped establish viable creative markets. He believes that adopting such models in Ghana could create a more sustainable ecosystem for animators and help retain talent that might otherwise leave the industry.
Mrs. Daisy Abaya, Chief Instructor at the Department of Animation and Game Design, also highlighted the need to position animation as a viable business sector. She revealed that the department is reviewing its curriculum to include entrepreneurship and creative business management courses. “For a long time, our focus has been on the art rather than the enterprise. But we now understand that creativity alone is not enough. Students must learn how to turn their art into livelihoods,” she said.
She noted that the animation sector can generate employment across multiple disciplines, from directing and storyboarding to sound design and post-production. However, she added that Ghana’s taxation system and lack of funding mechanisms discourage young creatives from pursuing animation full-time.
Mrs. Abaya urged government agencies and private investors to recognize the sector’s potential contribution to GDP and to implement policies that encourage creative financing.
The exhibition itself was part of global commemorations of World Animation Day, which celebrates the art, science, and business of animation worldwide. In Ghana, it provided a rare platform for young animators to showcase their work and discuss how to move from passion projects to profitable enterprises.
Although Ghana’s animation scene remains relatively small, experts believe it can become a significant contributor to the national economy. The industry’s expansion, they argue, depends on education, investment, and the ability to link storytelling with sustainable business models.
For many attendees, the UniMAC-IFT exhibition did more than display creative works. It served as a reminder that the future of animation in Ghana lies in treating it not just as art, but as enterprise.
As Mr. Abubakar concluded, “Every frame you design and every story you tell is a testament that Africa is not behind technology. We are reclaiming our identity. Let us define the future with the wisdom of our past, where creativity becomes our new currency.”
