NINTH ART 3- MANGA & THE AFRICAN PERSPECTIVE

‘WHIMSICAL PICTURES’

In the final part of this discourse, we will talk about the fastest-rising movement in the Ninth Art: the Asian (Japanese) Revolution. Otherwise, known as manga. We will also consider Africa’s contribution to this art form.

So when did Manga (meaning ‘whimsical pictures’) begin? Some go back to the 12^th century for its origin, while some say the 19^th. Personally, I feel these were more of an influence on manga which came about post-WWII with the arrival of foreigners to Japan. Western influences like comics, films, and Disney did the trick. The latter greatly influenced manga and inspired its pioneer, Osamu Tezuka, known as the Godfather of Manga, to develop this unique style. Osamu (pen-named ‘Osamushi’) started the Manga revolution in 1947 with a comic magazine called New Treasure Island– based on R.L. Stevensons’ classic novel, Treasure Island.

MANGA ART

Like the pioneers of bande dessinée in Europe, Hergé, Goscinny, and Uderzo, Osamushi was inspired by Walt Disney who had taken the world by storm ten years earlier (1937) with the first full-length animated film- Snow White & the Seven Dwarfs. Disney cartoons and Betty Boop inspired one of the distinct features of manga art (and Osamushi’s signature)- the large, sparkling eyes. Young Osamu is said to have watched the Disney classic- Bambi– over 80 times! Disney also influenced his cinematographic approach to comics just like his European counterparts earlier mentioned. They used transitional panels to show movement.

While traditional manga created by Osamu was considered the staple of children (e.g. Astro Boy), his students, like Goscinny’s in France, craved more mature material. They created a ‘sub-genre’ called gekiya (meaning ‘dramatic pictures’) which Osamu would eventually be involved in. Inspired by film noir, it had more realistic art, gritty lines, dark hatching, and deeper literary content. From gekiya came Japanese graphic novels and other adult-theme manga content not usually explored by mangaka (manga comic artists). Nevertheless, ‘manga’ is generally accepted as the term for Japanese ninth art.

Traditionally, manga is read from top to bottom and right to left in line with tategaki and kanji (i.e. Japanese vertical writing and ideograms). Since the general Western convention is from left to right, these pages are sometimes mirrored or flipped for the benefit of non-Japanese readers. However, this sometimes brings about reading errors and graphic misinterpretations so most fans have adjusted to the traditional mode. The magazines also don’t have page numbers -which would have been tricky while reading from right to left. Manga is also conventionally published in black and white. The reasons for this are affordability and production speed. Since many manga magazines are serialized manga collections, these considerations are germane.

INTERNATIONAL MANGA

With growing interest in manga, the market has expanded rapidly, particularly in Europe- to the chagrin of some renowned BD cartoonists like the late Uderzo (who expressed this graphically in Asterix & the Fallen Sky with an anagram of manga as the villain!). His native France has become Europe’s greatest consumer of manga. Now, more than half of the comics sold there are manga. Considering the influence of Japonisme two centuries ago on French art, it is not surprising that they are the biggest manga importers globally.

Japan aggressively promoted manga and anime (manga animation) abroad to boost its economy and art tourism. It worked, influencing many U.S. cartoons of the ’80s (Voltron, Transformers, Teenage Mutant Ninja Turtles, Belle and Sebastian, and the Christian-based Superbook) and capturing the youth with new, popular Japanese anime (Sonic X, Dragonball).

In the 21^st century, manga has exploded globally, including in the US and the Middle East where it started slowly. Most of the top-selling comic creators in the States are mangaka. Manga comics are so in demand now that they are published regionally: OEL (Original English Language) Manga, French manga (manfra), Chinese manga (manhua), etc. Of the three movements discussed in this 3-part series, manga is the latest developed style but is now a multi-billion dollar industry. Part of its appeal comes from related video games, webcomics (digital), and anime which appeal to both young and mature readers. It was also quick to adapt to the digital market while other styles were undecided, this made it readily accessible.

AND AFRICA’S RESPONSE?

One might argue that Egyptian hieroglyphics were the prototype of the ninth art as they told stories in pictures long before it became a thing but in the modern sense of the term Africa, understandably, is comparatively late off the blocks. With most countries gaining independence in the 1960s and ’70s, the ninth art was far from mind. Many countries were and still are primarily comic consumers post-independence. The interesting thing about African comics is that they are largely influenced by their former colonial masters’ Ninth Art.

FRANCOPHONE COUNTRIES

The comics created in these countries are largely influenced by Franco-Belgian bande dessinee so comic volumes or graphic novels in this style are common. Examples? There’s Aya de Yopougon by Ivorien author Marguerite Abouet, drawn by French artist Clément Oubrerie. In Gabon, there’s La vie de Pahe by Patrick Essono. Democratic Republic Congo is relatively prolific in comic magazines. Usually done by a team of cartoonists for a cause. A lot of Francophone comics are done in collaboration with French artists and/or publishers.

ANGLOPHONE COMICS

Without the effect of French assimilation, comics in Anglophone Africa were arguably more diverse. They were influenced by English-speaking comics not just Britain.

British comics particularly come with their unique sense of humour and representation. Originally published in newsprint and predominantly in black-and-white, they came in diverse genres: humour, football, futuristic, war etc. Like manga, they were usually comic anthologies drawn by various cartoonists. These comics (The Beano, Dandy, Whizzer & Chips, Roy of the Rovers, 2000AD, Tammy & Jinty, etc) were common in the ’70s and ’80s in anglophone countries like Nigeria and Ghana: While they were consumed by those who could back then, they never sparked off an African renaissance of the genre.

SOME RENOWNED ANGLO- AFRICAN CARTOONISTS

That is save for a few such anthologies published then by seasoned cartoonists like the Nigerians, Jossy Ajiboye, Wale Adenuga of Binta & Friends, Super Story, and the adult-themed Ikebe Super fame, and Moses Osawe & David Lasekan of Fun Times. African cartoonists were mostly limited to comic strips in newspapers and tabloids. Editorial strips blossomed under renowned names such as South Africa’s Zapiro and Tanzania’s Gado to become the conscience of many governments.

As soon as top-selling bande dessinee comics like Tintin and Asterix were translated to English, they made their way to Anglophone Africa dominating a significant part of the market from the 1970s to the ’90s. Currently though, comics in Anglophone Africa are largely dominated by the American model- specifically the superhero genre. Since the influx of Marvel and DC comics in the ’70s and ’80s coupled with their massive success on screen, the superhero genre has become synonymous with comics in Anglophone Africa. Granted, there are a few comics inspired by other styles like bande dessinee (Bayajidda, Moremi) and manga (Siri Watu) but the African space is largely American-inspired superhero genre.

THE AFRICAN CHALLENGE

We can safely conclude that Africa has yet to create her Ninth Art. Yet to discover a distinct form. We have merely adopted foreign movements. This is quite unlike what the continent has done in music with Amapiano, Afrobeats and Singeli- revolutionizing the global music scene like reggae did decades ago. Let’s be inspired by manga and how it has created a multi-billion industry in Japan. Japanese government’s involvement in promoting the market and entrenching manga in their culture and identity was also vital. African governments should take a cue from this and support this budding industry.

From the history of the Ninth Art, we can see that new movements were inspired by earlier ones or by great minds like Walt Disney. Manga is easily identified by its distinct drawing style while bande dessinee is more varied in its approach. BD can be cartoony, realistic, or a smart combination of both. This can be applied literary-wise too. American-style superhero genre (also satirized in Uderzo’s Asterix & the Falling Sky) thrives, for the most part, on realistic graphical and literary representation.

THE NINTH ART TRIANGLE: STORY, CHARACTERIZATION & ART

For African practitioners to create their own Ninth Art movement, they must first look inward. We are blessed with distinct, traditional craftsmanship. Our human depictions in sculpture, masks, and murals range from naturalistic to cubic to pure expressionism. These have inspired many celebrated art movements in the West. Why can’t it be used as inspiration? Magic Carpet Studios approached seasoned Nigerian painter/sculptor, Prof. Bruce Onobrakpeya for art direction in their upcoming animation, The Passport of Mallam Ilia. The resultant art gives me hope. Such synergy between related art is the surest way to an African Ninth Art identity.

Also, our traditional tales and folklore have their distinct communication style in the form of proverbs, song, rhyme, and rhythm. Griots are sometimes described as the first rappers. Africa has peculiar stories that require telling and will surely resonate with readers. These are not always well-served under the superhero genre we seem to have adopted. We should not limit ourselves to one genre. There are great stories to tell of society, spiritualism, superstition, crime, romance, comedy, history, and politics. To create our own, we should not be afraid to explore the Ninth Art. The comic creator, D. Ajayi, adopted an interesting African approach to O Kingdom Come. It became the first African graphic novel to make CBR’s list of best indie comics of the year.

There appears to be a greater focus on artwork over content (i.e. story and characterization). All aspects are equally important in the Ninth Art triangle and the craft suffers deeply when one is neglected. Not every practitioner has all the skills. Like the great BD duos, you might be better served sharing credits or outsourcing an area to focus on your strengths. From this 3-part article, you will agree that the most successful comics are not necessarily the most perfectly or conventionally drawn.

Granted, there may never be one single African style. Franco-Belgian BD branded the European style while the Asian approach is dominated by Japanese manga. So who knows? The African signature might emerge from one or two countries in the continent. Just like Afrobeats.

Food for thought at this year’s Lagos Comiccon.