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Finally and perhapsmost importantly, Abrahams was determined tomonetize
the industry. Monetising regional animation would also be undertaken
through a strategic series of steps. Abrahams recommends that first the
Caribbean needs to create its own unique format, “the world needs new
content, something fresh.” Next the content will require an audience and for
this Abrahams suggests turning to the diaspora in order to “access millions”
that already harbour an appreciation for the Caribbean-based content.
Finally Abrahams suggests establishing a platform through online technology,
creating an animated television station. “This would provide regional
animators with a forum to showcase their work and receive a fee for their
efforts.”
Abrahams continues to check items off her lists confident that while there
is still much to do the rewards are forthcoming for this creative industry.
“Through the festival we will bring an international audience to our work
and through our work we will take the Caribbean to an international
audience.”
through this medium was realised. Though ‘easier’ should not be
misconstrued as ‘easy’ as financial support from the business community
remains elusive. “The challenge with business investors is that while they
know animation can make a significant financial contribution to the
economy they do not understand this will not happen quickly.” Now in its
12th year the Animation and New Media Festival has spread regionally and is
slated for other Caribbean countries including Antigua, Barbados, Grenada,
Jamaica, Saint Lucia, Saint Vincent and Suriname.
The Trinidadian animated film producer of the popular series Krik Krak
Anansi hopes in time to establish the Animae Caribe brand as the Caribbean’s
Animation Festival and attract international attention. “Caribbean Export
Development Agency provided a great platform to communicate the festival
project to a regional audience and served as an advocate to voice the
potential.” The result of the agency’s support was Abrahams’ ability to build
a regional network, bringing the industry partners together. “Caribbean
Export served as a catalyst for helping people appreciate the feasibility of
animation.” The next step is to duplicate this effort internationally.
Evidence of how embracing the creative industries can impact on economy
positively is visible in the case studies of England, Singapore and Ireland.
The Caribbean however is yet to create a similarly sustainable model here.
“It is easier for music I believe, this genre seems to be doing well but the
challenge is greater for film.”
Abrahams has implemented a strategic plan for animation and digital
media, a staircase to success through a series of steps towards international
penetration. Step one for the Animae Caribe founder was to return to home
base in Trinidad. The producer had honed her skills in the United Kingdom
over a 5-year period and understood that regional development was best
accomplished through being based in the Caribbean.
Secondly Abrahams needed to create awareness for animation as a viable
segment of the creative industry. This she established with the birth of the
annual animation and new media festival.
The third step was to provide an educational platform for training, to help
grow and sustain the industry. With the introduction of secondary and
tertiary qualifications accessible in the region, Abrahams checked this off
the list.
Abrahams suggests establ ishing a
platform thr ough onl ine technology,
creating an animated television
station. “This would pr ovide regional
animators with a forum to showcase
their work and receive a fee for
their efforts.”
*
CARIBBEAN EXPORT DEVELOPMENT AGENCY - CREATE
04FILM&Animation -STEPSTOTHEWORLDSTAGE -ANANIMATEDAPPROACH
Noka Wheel - A Shaun Escayg Film
Filming of Noka Wheel