As the African animation industry continues to experience remarkable growth, a new wave of creative voices is emerging, advocating for greater diversity and inclusivity. This movement is reshaping perceptions and creating opportunities for underrepresented communities, particularly neurodivergent individuals, to make meaningful contributions to the field.

At the 2024 Lagos Comic Convention, held in September 2024, Nigerian animation professionals Toluwalakin Olowofoyeku and Tonye Faloughi-Ekezie emphasised the potential of the animation industry to offer meaningful employment to individuals often overlooked by traditional sectors. Tonye, the founder of SimOne’s Oasis Foundation, recounted how her journey began with a personal project for her young son and evolved into a broader mission to address the representation of neurodivergent individuals in animation.

Tolu, the co-founder of Kugali and an animator dedicated to breaking down barriers, highlighted the industry's ability to tap into the unique talents of people with ADHD and autism. “The animation and creative industries offer a distinctive platform for expression. Individuals with different neurological backgrounds, such as those with autism or ADHD, often excel in areas like sound engineering or visual effects,” he said.

A standout moment from the discussion was the inclusion of neurodivergent talent in production. Tonye revealed that her daughter, who has autism, will voice a character in an upcoming series based on her books. This initiative demonstrates how the African animation industry is embracing diversity within its workforce, providing an environment where individuals of all abilities can thrive. 

The conversation also touched on the challenges facing African animators, particularly the lack of funding. While Western companies like Disney and Google dominate the global market, African animators are frequently constrained by limited resources. Tolu stressed the need for investment and partnerships to help African animation compete on the global stage. “We need the level of funding that Western companies receive in order to produce high-quality content that can hold its own internationally,” he explained.

Despite these obstacles, there is a sense of optimism. African animators are turning to platforms like Kickstarter to crowdfund their projects and bring unique stories to life. Both Tolu and Tonye encouraged the African animation community to collaborate and continue challenging the status quo.

Although the industry is still in its early stages, its future appears promising. With the right partnerships, funding, and a sustained commitment to diversity, African animation has the potential to make a significant impact on the global stage. As Tonye remarked, “We may be a young industry, but so was telecommunications when it began. We are figuring things out as we go, and the possibilities are endless.” 

For aspiring animators, Tolu advised seeking collaboration with industry professionals and taking advantage of online courses. While Nigeria currently lacks dedicated animation schools, he emphasised the importance of continuous learning and adapting as the industry evolves.

As African animators continue to establish their presence in the global market, the focus on inclusivity, creativity, and collaboration remains central to the growth of this exciting industry.