PREPARING OVER THE SUMMER
- Serrell Tafari
- Jul 17
- 14 min read
Updated: Nov 14
17.07.25
WHAT AREA OF PRACTICE DO I WISH TO EXPLORE?
Since before completing my global project I knew my practice would be digital animation. It naturally combines many disciplines I love : illustration, concept design, narrative, performance, storytelling. Over this course I grown in some of these skills and learned to work across multiple software platforms like nomad and mixamo, which felt like stepping stone in my desire to learn animation and work in that industry potentially as a creative director, animator or concept artist.
Looking back at my previous projects since Thought Lab, and even college, I highlighted the thematic patterns that run through them, things which I naturally was inspired by and gravitated towards: Nature - Indigeneity - 3D Modelling - Character Design - Narrative and Performance - Fantasy i.e Media - Heritage i.e Mesopotamia. I already considered people and potential collaborators like Sarah Al Sarraj , an incredible British Iraqi artist whom I look up to and already have connections with. I would love to get her insight about here creative practice at some point in my project. https://www.sarahalsarraj.com/
It seems Im a good start, but I still need to think of a question or subject...
02.09.25
WHAT IS THE RESEARCH QUESTION I WANT TO EXPLORE?
For months, I struggled to decide on a topic - my mind would often go blank whenever I tried to focus. Then I realised the answer had been right in front of me the whole time. I remembered what Zoe said about choosing something I’m passionate about, something I would continue pursuing after graduation.
I which one of those things is to create art that connects people - whether through fine art, illustration, or film. I want my work to amplify and represent marginalised and Indigenous communities, including those from my homeland, while also contributing to positive change in society and the environment.
This is something I’ve thought about since the age of 10. Inspired by the things I would learn and anime, I dreamed of becoming a comic illustrator and potentially an animator; world building and making stories centred around diverse misrepresented characters, mythologies, and sci-fi futurism. For a time, I stepped away from that desire, discouraged by the disparities developing within the animation industry, and peers advising me to pursued a more “realistic” path. College interrupted that focus, but my journey through this course has empowered me to return to it, considering a future where its possible. Freelance public platforms like Webtoon have reignited my inspiration, revealing better opportunities within creative industries, pursuing a career that merges storytelling, cultural representation, and creative innovation.
Indigenous people in particular are the oldest, most sustainable yet margenalised groups in the world. This is proven further through a statistic which I encountered in my first module , thought lab, that '80% of global biodiversity is protected by indigenous communities, who only make up 5% of the global population". The extremity of this tells a huge story and a clear need.
IDEAS
"Amplifying Marginalized Voices Through Animation"
"How can the hidden stories and faces of Indigenous/misrepresented communities be brought to life through creative technology, fostering understanding and revealing our shared interconnectedness and humanity?"
" Is humanity starting to forget its humanity...the impact of technology? "
Key Focus:
representation in media? Amplify hidden stories and faces
Foster empathy and understanding
Shift perspectives on human identity
Highlight the vital role of Indigenous and underrepresented communities in global interconnection and environmental protection
Explore ethical, collaborative storytelling
Need:
Indigenous and marginalized communities represent only ~5% of global population but protect ~80% of the world’s biodiversity
Among the most endangered and underrepresented communities
At the forefront of climate change activism and environmental stewardship
Stories largely unseen by wider audiences
SKETCHES AND IDEAS
CURRENT
OLDER INSPIRATIONAL CHARACTERS
03.09.25
MY JOURNAL
OF EARLY IDEAS
IDEA 1 { ELEMENTAL, INDIGENOUS GUARDIANS
TRANSCRIPT:
Okay, so now I’m brimming with ideas. If I were to recreate the sculptures, or the aesthetic of the elementals, I’d like it to draw inspiration from scenes like the shamans in American Gods, and then expand into different aesthetics by referencing films, manga, and various artists. What excites me about this personal project is that it combines so many things I’m passionate about—manga, anime, animation, narrative worldbuilding, storytelling, anthropology, and studying ancient and indigenous cultures—while also sending a meaningful message: amplifying underrepresented voices, advocating for climate and social change, and showing how connected we all are.
As for the plotline, I’m still working on what story I want to tell, but one idea is that the elementals—the timeless guardians—represent native and indigenous communities, the 50% of people who protect 80% of the planet’s biodiversity. In this narrative, the “good” force could be these guardians, while the “bad” force might be politicians, colonizers, or those who have exploited and corrupted systems, contributing to environmental destruction and the erasure of human connection.
I’m not interested in a simplistic good-versus-evil narrative. I appreciate stories like Samurai Champloo or works by Manglobe Studios, where characters exist on a spectrum - flawed, complex, human. Even the concept of “good” and “bad” is nuanced. I want characters to reflect that - humans, or even non-human beings, with strengths and flaws, capable of both creation and destruction. Works by Alberto Mielgo, and others have inspired me in this regard; they create characters that feel real, messy, and compelling.
The narrative could explore creation, corruption, and speculative futures. I imagine a pilot short, like Scavenger’s Reign pilot episode before it was aired, introducing the characters, the backstory, and hinting at the larger universe. This has been a dream project since I was ten - something I’ve built toward, even though college made me step back. I’ve always used character design as an outlet, but now I want a proper narrative, a coherent plot line, with snippets and threads that eventually form a complete story.
In terms of worldbuilding, I want these characters to embody their natural homelands and communities. Their struggles reflect the land and people they represent. I could analogically fuse creation stories from different cultures - the Enuma Elish, biblical Genesis (but anthropologically accurate), while also exploring myths like Lilith, Kali, or the Anunnaki. From ancient civilizations to modern times, and then into speculative futures, the narrative would encompass past, present, and future, connecting beautifully with my previous Solarpunk research.
I plan to draw on a variety of references: animations, films, books, and historical sites. The series would have a simple, accessible foundation, but it would gradually evolve—like Avatar: The Last Airbender - with increasingly complex worldbuilding, character development, and speculative elements, from prehistoric times to far-future scenarios.
I want my animations to explore what it means to be human, clarifying identity and humanity through an anthropological and spiritual lens. Humanity is being forgotten in today’s increasingly technological and disconnected world. My work would help audiences remember who they are, where they came from, and how we are all interconnected. This could be expressed in monologues, visual storytelling, and immersive worlds.
Collaboration is key. I can work with voice actors, photographers, videographers, illustrators, animators, 3D specialists, and even the communities represented in the work. Surveys and forums could gather perspectives and lived experiences, ensuring authenticity and inclusivity. Platforms like Instagram could help coordinate this and build a collaborative network. Lecturers, peers, and industry professionals like BOM could provide guidance, technical expertise, and insight.
Ultimately, this project combines everything I want to do: creating short films, telling stories, exploring complex characters, and inspiring and educating viewers. I want the visuals to be ethereal, surrealistic, and textured. I aim to learn Blender, 3D animation, and frame-by-frame techniques to bring these worlds to life. It’s ambitious, but I want to build it from the ground up, keep my process visible, and involve collaborators along the way.
MIRROR
Aside from my main project, I also came up with another idea—tentatively titled Know Your Faces or Remember Your Faces. The concept is simple but profound: you look into a mirror that starts either as a blank, amorphous figure or your own reflection, and then it begins to show you the speculative faces of your ancestors—past, present, and future.
What inspired this concept were recent protests and the sense of empowerment I’ve seen in bigoted people. When I look at them, I think: You don’t know who you are. You don’t know where you came from. You’ve forgotten your humanity. This mirror would confront that ignorance. It shows that the people they hate may actually resemble their ancestors, and it forces a confrontation with the biases they carry. Most people hold biases to some degree—it’s inevitable—but the goal is for them to become aware of these biases, intentionally, and reflect on them.
Technically, the mirror would display faces from hundreds, thousands, even hundreds of thousands of years ago, and then project into the future -100, 200, 1,000, 100,000 years forward. The creative possibilities are immense, and it would involve advanced 3D modeling skills—something I’m excited to develop further. The piece would be thought-provoking, ethereal, and slightly surreal, emphasizing detail and realism.
For example, imagine a racist white man looking into the mirror. It would show him his past ancestors: a Stone Age Indo-European hunter-gatherer resembling modern-day Middle Easterners or Central Asians, and further back, an African woman. That would challenge his entire sense of superiority. Then the mirror could project his future descendants, showing him that human identity is fluid and interconnected.
And it’s not just for exposing bigotry. Even someone without prejudice might find it fascinating to see the potential pasts and futures of themselves. It’s a deeply reflective, humanistic piece.
AI could be used effectively here - blending random AI generation, biometric face recognition, and skilled 3D modeling to create accurate, imaginative representations of human faces across time. I see this as a collaborative opportunity: AI specialists, 3D artists, photographers, and people gathering data from across Birmingham—or even globally—could contribute to a massive database of faces. But the creative direction and final output would remain firmly my own work; AI would assist, not replace, the artistic vision.
Ultimately, this would be more of a performance piece—a commentary on bigotry, racism, and sexism - encouraging viewers to reflect on their own identities and humanity. It ties directly into the theme of remembering yourself, remembering your origins, and recognizing the interconnectedness of all people. That’s the essence of the piece, and it’s something I’d be passionate about bringing to life.
ANTHOLOGY
Another idea I’ve been thinking about is an anthology of very short stories, each giving a glimpse into different perspectives. Each segment could be up to a minute long, and the full piece could run about 5 minutes, depending on how much I develop my animation skills. The concept would be like a short anthology, with each story set in a different region of the world, across different times. Each would carry its own lesson or meaning or speculative reality, something that inspires or informs the viewer, but in a very concise, easy-to-watch way.
I also like the idea that it could serve as a teaser for a larger anthology project, or just exist as a small, self-contained version of what could eventually become something bigger. I’ve always loved anthologies like Love Death and Robots, example really excites me because each episode can feel completely different yet still connect through a shared theme or trope. The art style and story could vary, giving each story its own identity, while still contributing to the overall experience.
This kind of structure appeals to me more than a continuous series focused on a single character or storyline. I’m not a very consistent person, and there are too many stories I want to tell—or help others tell. An anthology format allows the lens to shift from one character to another, highlighting different experiences and perspectives. For example, one story could be set in Mesopotamia through the eyes of a Bedouin or Marsh Arab girl, another in Botswana through the perspective of an elderly San woman or man, another in England, and another in Japan or the Philippines. I love the idea that each art style could reflect its origin, further immersing the viewer in the world of each story.
There’s also a more personal route I’ve been considering: an anthology of all the stories I’ve wanted to tell since I was a kid. This wouldn’t necessarily be for university; it would be for my own creative benefit. I used to want to explore these stories through comics, but I feel that animation is the medium that can truly bring my visions to life. Learning animation excites me because it gives me the chance to recreate these ideas exactly as I see them in my mind—or even better, with input and skills from others. In that sense, stepping into the role of creative director feels like a natural path for me.
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transcript summary_
My core idea is to amplify the voices of indigenous and marginalized communities through creative technology and storytelling. I’ve naturally included aspects of indigenous and pre-colonial culture in my work, and this has always been a strong thread in my practice. These stories connect deeply to social issues and injustices happening in the world today. My goal is to represent these communities respectfully, centering their experiences, contributions, and resilience in the face of curruptive forces, while exploring the past, present, and future - an approach aligned with my previous solarpunk theme.
The project will create a story that represents these communities beautifully, highlighting their contributions to humanity and their relationship with the land and the environment. The narrative will reflect the tension between creation and destruction: on one side, the guardians—indigenous characters and their cultures; on the other, the forces of greed, colonization, and exploitation. I imagine a ten-minute animation that acts as a pilot, establishing characters, backstory, and worldbuilding while leaving room for expansion into a series.
I deliberately avoid simplistic good-versus-evil narratives. My focus is on nuance: characters with strengths and flaws, humans or non-humans, beings capable of both creation and corruption. This mirrors my influences—works like Samurai Champloo, Avatar: The Last Airbender, and Alberto Mielgo’s projects—which explore human complexity and moral ambiguity.
Worldbuilding will fuse historical, mythological, and speculative elements. I’ll draw on Mesopotamian myths like the Enuma Elish, biblical Genesis, Hindu creation stories, and other ancient narratives, while exploring contemporary indigenous experiences and projecting speculative futures. The narrative is connected to my Solarpunk research, envisioning alternative futures that emphasize human and environmental interconnectedness.
In terms of references, I’ll gather inspiration from animation, film, literature, anthropology, and history, keeping detailed documentation and resources. I want to showcase this process in the presentation: initial sketches, mind maps, source references, and character designs. Collaboration is also crucial—voice actors, animators, illustrators, technical specialists, and members of the communities represented. Forums or online platforms could allow discussion and inclusion of underrepresented voices, even at a small scale.
Networking and Collaboration Opportunities
• University of Birmingham – Animation Department and Research Groups
◦ Engage with departments focusing on anthropology, Indigenous studies, and digital media.
◦ Participate in seminars and workshops related to Indigenous cultures and storytelling.
◦ University events
• Online Communities and Forums
◦ Join platforms like Reddit, Discord, or LinkedIn groups dedicated to animation and storytelling.
◦ Connect with professionals and enthusiasts to share ideas and resources.
Birmingham Open Media (BOM)
Reach out to inquire about potential access to equipment such as the Rokoko motion capture suit (Roomix), or any other available digital media tools and software.
Explore possibilities for collaboration, residencies, or involvement in community-focused creative projects.
Early June I emailed the bcu animation department though they haven"t responded since, I 'll resend the message but it might be better to reach out to BOM instead since we have closer connections and it can forge future connections and work opportunities:
Relating Animated Works
"The Four Souls of Coyote" – Áron Gauder
◦ An animated film that brings Native American myths to life, focusing on ecological themes.
◦ Provides a visual representation of Indigenous storytelling traditions.
◦ Read the article
"Savages" (2025) – Directed by Claude Barras
◦ A stop-motion animation set in the Borneo rainforest, following a teenage girl of partial Indigenous Penan heritage.
◦ Explores themes of environmental conservation and Indigenous identity.
◦ Read the review
THEMES
Storytelling & narrative design
Experience design / immersive experiences
Representation & underrepresented communities
Hidden or overlooked histories and faces
Interconnection between humans, nature, and society
Environmental stewardship & biodiversity
Ancient civilisations & anthropology (Mesopotamia / your heritage)
Character design and 3D sculpture
Anthropology & ancient civilisations in relation to indigenous cultures
Hidden or lesser-known aspects of the world
Interconnection and shared humanity
Theoretical & Conceptual
Identity (personal, cultural, existential)
Anthropology (tribes, history, human traditions — Pinterest boards, ethnography, cultural studies)
Spirituality & Mythology (folklore, creation myths, cosmologies)
Ancient Civilizations (Mesopotamian elements, world myths, early societies)
Existentialism — Remember Who You Are as a central theme
Fantasy & Surrealism (storytelling tone, worldbuilding techniques)
Indigenous-futurism / Afro Futurism
Society & Politics
Nature, Creation & Destruction (cycles, climate crisis)
Climate Activism (historical and contemporary)
Social Injustices (racism, colorism, genocide, bigotry, riots, systemic violence)
Capitalism & Colonialism (historical exploitation, modern structures)
Speculative Futures (futurism, time travel, “what if” scenarios related to activism and philosophy)
Media & Inspirations
Films, Animation, Comics (case studies and references)
Childhood Influences (personal background, passions shaping voice)
Animators, Directors, Designers & Storytellers (e.g., Alberto Mielgo, Shinichirō Watanabe, Elio, Sam Madhu, Sarah Al Saarage, Sagpi)
Platforms (YouTube, WEBTOON — as both audience and potential publishing space)
Creative Practice & Methods
Character Design (passion and central skill)
Illustration & Comic Design (visual storytelling)
3D Modelling & Sculpture (clay, animatronics, 3D printing, painting, inspired by Tim Burton exhibitions and Laika Studios)
Anatomy Drawing (technical foundation for character work)
Narrative, Plot & Scriptwriting (creating layered, complex stories)
Music Composition & Voice Acting (soundscape and performance elements)
Storytelling Principles & Performance (cinematography, rhythm, emotional arc)
Technical Tools & Skills
Software: Blender, Procreate, Mixamo, Nomad, Amber draws, others (future employability)
Animation Techniques (traditional, digital, experimental)
Cinematography / Animation Performance (camera language, movement, timing)
Collaboration & Professional Development
Collaborators: animators, photography/videography, potential cross-course projects (animation students, BOM)
Outreach: emailing, networking, Instagram, LinkedIn, online platforms
Research Tools: surveys, social media, identity-conscious media
Professional Growth: employability skills, software proficiency, networking with artists/animators
21.09.25
RECAPPING PROJECT WITH MYSELF WHILST HARVESTING GRAPES IN PREPARATION FOR MY PRESENTATION:
TRANSCRIPT:
Since my summer global project, I knew my practice would be animation. I was certain that animation would be my medium because it naturally combines many disciplines I love: illustration, concept design, narrative, performance, storytelling, cinematography, sound, visuals, 3D, and 2D. Over this course, I’ve learned to work across multiple software platforms, developing the skills necessary to create animation that integrates all of these elements.
At first, I struggled to define the purpose of my project: what it was about, what the need was, what my research topic should be. The answer was in front of me the whole time, prompted by my last project on Solarpunk. What resonated with me was Zoe’s advice: choose something you are passionate about, something you want to do after graduation. And one of those things for me is help tell stories through media that explore important themes and amplify marginalized voices.
This is something I’ve wanted to do since I was ten. I used to create comics, characters, and stories. College interrupted that focus, but now I’m ready to return to it, considering a future as a creative director, animator, or concept artist.
My core idea is to amplify the voices of indigenous and marginalized communities through creative technology and storytelling. I’ve naturally included aspects of indigenous and pre-colonial culture in my work, and this has always been a strong thread in my practice. These stories connect deeply to social issues and injustices happening in the world today. My goal is to represent these communities respectfully, centering their experiences, contributions, and resilience, while exploring the past, present, and future - an approach aligned with solarpunk, reinterpreted through indigenous futurism.
The project can create a story that represents these communities beautifully, highlighting their relationship with life, the land and the environment. The narrative will reflect the tension between creation and destruction: on one side, the guardians - indigenous characters and their cultures; on the other, the forces of greed, colonization, and exploitation. I imagine a ten-minute animation that acts as a pilot, establishing characters, backstory, and worldbuilding. Something that could leave room for expansion say if I do turn it into a series.
I deliberately avoid simplistic good-versus-evil narratives. My focus is on nuance: characters with strengths and flaws, humans or non-humans, beings capable of both creation and corruption.
Worldbuilding can fuse historical, mythological, and speculative elements. I might draw on Mesopotamian myths like the Enuma Elish or biblical Genesis and other ancient narratives, while exploring contemporary indigenous experiences and projecting speculative futures. The narrative is connected to my Solar-punk research, envisioning alternative futures that emphasise human and environmental interconnectedness or complete social and environmental destruction.
In terms of references, I’ll gather inspiration from animation, film, literature, anthropology, and history, keeping detailed documentation and resources. I want to showcase this process in the presentation: initial sketches, mind maps, source references, and character designs. Collaboration is also crucial—voice actors, animators, illustrators, technical specialists, and members of the communities represented. Forums or online platforms could allow discussion and inclusion of underrepresented voices, even at a small scale.
One thing I’m particularly conscious of is ethical representation. For example, films like Avatar beautifully draw inspiration from indigenous communities, but does it give back or actively support those communities ( answer is yes and no ). The ethicality of culturally informed film is something I also want to explore, giving back to people, whats appropriation and appreciation. My work to do more than use aesthetics; it should respect, support, and amplify the voices of the people who inspire it. Even if my project is small now, I hope to create forums, online communities, and partnerships to provide visibility and support to these groups.
Ultimately, my project isn’t just about storytelling or animation - it’s about helping audiences remember who we are as humans, understand interconnectedness, and confront social and environmental issues. Through this, I want my work to inspire empathy, awareness, and action, all while celebrating the resilience, knowledge, and diversity of indigenous and marginalised communities.
