After Nigerian filmmaker Joel Kachi Benson’s “Daughter’s Boys” won the VR competition in startups and Venice in Kenya and South Africa in 2015, the industry’s outlook is leaning towards the African XR ecosystem with growing interest.
Some of that interest, albeit somewhat overlooked, has been confirmed by speakers at a NewImages panel on the growing African ecosystem.
“Over the years there has been a lot of discussion about its market and population on the African continent,” said Judith Okanco, founder of Lagos-based lab EMCI Three. “We want to change that. [Not to be seen] As a customer but also as the creator of technology around the world. “
Speaking to the French Institute in South Africa’s Erica Dennis, O’Connor outlined a number of recent initiatives aimed at improving production infrastructure and detailed ways local students could gain significant access and opportunities for participants in AR / VR hackathons.
The technology’s founder also spoke highly of the Africa XR report, which was released later this year and has a collaborative overview of industrial activity across the continent. “There is a lack of information when it comes to what is happening with XR,” Okanco explained. “People in other parts of the world are curious, but they don’t know where the information is.”
Other panel members echoed their enthusiasm for the report.
“There’s a huge digital culture, and an even bigger digital divide,” said Brian Affandi, co-founder and managing director of BlackRino VR. “A lot of people are working in Silo; The XR report highlights some of these stories and provides information on who is doing what. “
Afrand, whose Nairobi-based production company has partnered with Germany’s INVR.space for the urban exploration project “African Space Makers” (pictured above), has emphasized the benefits of international co-production, both European and African.
“A lot of knowledge has been transferred between these agreements [that goes both ways], He explained. “We need to deny the fact that Africans can, do, and are exporting knowledge and solutions right now.”
Asked how to strengthen the production ecosystem, Ingrid Cope, co-founder of South Africa’s non-profit incubator Electric South, pointed to a mockery of the current funding system.
“There’s been a lot of funding around the work,” Kopp explained. “We’ve been able to make some money from our workshops and distribution and festival work. [if the artists cannot make their projects] Everything else is meaningless. “
“People really need to have confidence in our artists to move forward.” The future of the world doesn’t look great if you leave everything to technologists.