R E S E A R C H M O D U L E
- Serrell Tafari
- Sep 22
- 13 min read
Updated: Nov 14
USE OF AI
I want to clarify something important about my process. Aside from my very first project, where I experimented with MidJourney, the only way I’ve used AI in this course - and the only way I plan to use it - is for blog transcription. Previously I used to audio record myself for blogs which proved to be more practical for me but impractical for my tutors. It’s an effective tool to capture my thoughts word for word. I often think and speak faster than I can write, so recording my voice and transcribing it helps me get everything out. From there, I can organise my ideas and reflections into structures and then shape them into blog posts. I’ve got a lot of research and exploration ahead over the next six-eight weeks, and I’m really excited to see how it unfolds.
WEEK 1
25.09.25
FIRST LESSON
The first day back went well. It was great to be back, reconnect with my classmates, and see what everyone’s been working on. There’s something exciting about seeing the different directions people are going with their ideas which makes me really curious to see where it all leads.
In the lesson, we did a reflective activity on our last essay work, which was really informative. The section on different software tools was especially useful, and I’ve decided I need to start referencing sources in Harvard format right away. I need to make that a habit so that it doesn’t become an issue when I’m working on my essays.
After class, I had an interesting conversation with my classmate James, and it got me thinking. Instead of just creating static 3D sculptures, I could explore making small maquettes, similar to the ones Tim Burton uses in stop-motion films. One of my favorite studios is Laika Studios—they’re behind films like Coraline and Kubo and the Two Strings, both of which are comfort films of minde. That animatronic style really fascinates me, and I’d love to recreate something similar with my own characters and art style. Exhibiting multidimensional animation skills in my portfolio ( 2D, 3D, and physical) would definitely make me a more versatile candidate for industries, so that’s the direction I’m excited to pursue in creation lab.
26.09.25
NARRATIVE IDEAS
My project can explore the importance of indigenous and underrepresented communities to the story of humanity. Exploring the past - our ancestral roots and spiritual knowledge; the present - the realities of ecological crisis, erasure, and misrepresentation; and the future - the different paths humanity may take, depending on whether we listen to these voices or continue to ignore them; creation or destruction.
I want to reflect this through a fantasy lens - using surrealism, analogical metaphors,visuals that are ethereal, dreamlike or graphic. In this sense, indigenous communities are not represented as a backdrop, but as central to our collective human story: our rich beginnings, our present challenges, and the possible future. By drawing on diverse creation myths and ancestral narratives, I can expand the worldbuilding into something both universal and deeply rooted.
PLOT
I imagine it beginning with the origins of humankind — different cultures, spiritual beings, and representations of nature coexisting and nurturing life, and some nuanced aspects where conflict did exist. As time progresses, the story will move through the impacts of colonialism and capitalism, showing how these forces have devastated communities and the planet itself. These traumas are recurring and have always affected Indigenous and nomadic peoples the most — those most vulnerable to the systems of exploitation that dominate the world today.
Visually, I want to portray that damage symbolically - perhaps showing blood running through the rivers where Indigenous people live, echoing the idea of the marshes turning red. As the narrative continues, the Earth itself becomes more damaged and fragile. The final scene might show a girl spinning, as the planet fades and reforms - eventually zooming out to reveal the Earth held in the palms of an amorphous, shapeshifting being, constantly transforming into different kinds of people. It could be anyone - it’s all of us. Then, the Earth transforms into a seed, simultaneously growing and dying in their hands, before fading into the final image.
28.09.25
ARTIST EXPLORATION/ POTENTIAL COLLABORATOR
SARAH AL SARRAJ
There is an artist who I’ve been thinking about specifically in mind for this project, and that is Sara El Sarraj. She is also British-Iraqi like me and is someone I’ve looked up to for quite a while. She’s an incredible multidisciplinary artist, and someone I even have some connections with, which is already great. I really want to reach out to her again — but this time to gain some insight and just have a conversation with her.
'Sarah Al-Sarraj (b. 1997) is a visual artist and cultural worker based between Pittsburgh (US) and London (UK). Her work centers on worldbuilding as a creative and critical process, where painting and immersive technologies are understood as portals to other worlds. Predicated on the belief that our world was designed in service of imperial violence, she builds new lifeworlds rooted in land, spirit, and ancestry. Currently working with game engines, she is interested in appropriating military simulation technologies to build uncolonisable realms inspired by Global Majority knowledge systems and emerging quantum thought.'
She mainly comes from a fine art background but has also recently explored animation and immersive storytelling, using software such as Unreal Engine to create a short film called The Isthmus River. I haven’t watched it yet- I want to save it for the exhibition in Manchester. But glimpses of it looks absolutely beautiful.
Some of Sarraj’s work resonates with mine. Back in 2022, for example, I created a piece called Metaphysical Trauma which I never posted, yet explores similar visual imagery and symbolism. Mine depicts a metaphysical plane of life, death, and rebirth, set on what I imagined to be a Mesopotamian marshland. Hers, too, evokes a marshland and also features the Mesopotamian lion tope — a creature that once thrived but is now extinct, and yet remained such a powerful symbol in ancient Iraqi culture. To see her echoing these same motifs in her own work feels surreal like ' what kind of alt-iraqi telepathy is going on here?'. This sort of representation feels special : and her use of indigenous symbolism and futurism - Kufa boats , clothing, the portrayal of her characters and subjects which makes me fall in love with the work even more, despite it being more sublte indirect references.
It’s something I’ve never seen before: futurism applied to my homeland. The way she explores different temporal realities, the timelessness of past, present, and future — her narrative of a time-travelling nomadic tribe, which she doesn’t place in a specific location in the Arabian Peninsula, yet is so clearly Mesopotamian influenced. its so cool!
WEEK 2
02.10.25
ANOTHER CONCEPT : ALIENS
Another thing that came to me, which I think is important to mention, is the way Indigenous communities are alienated in modern society across the world. I’ll use a personal example. In soth of my home country the Indigenous marsh tribes - the Ahwari people - have been continuously persecuted and ethnically cleansed. This persecution was especially heightened under Saddam’s regime and British colonial rule.
It is a very peculiar thing, because these are people who have been proven to hold one of the most ancient and continuous lineages in that land, stretching back to the Sumerian times. They still carry that continuity today — through their culture, their traditions, even genetically. And yet, despite this, they were treated as though they were aliens, impostors, animals, savages. They were made to feel as if they did not belong, as if they were traitors.
I learned about this from a young age, because it was such a significant event. And now, looking back, I ask myself: what have we become as a society to treat these people as though they are alien? If Indigenous people are called aliens and cast out, then doesn’t that make us the true aliens?
This is why I want to explore the idea that as time goes on, we are gradually losing our original humanity. We are becoming more alien, more inhuman — more robotic, more polluted, more corrupted. Slowly, without realising it, we are changing into something we might not want to see, something we do not want to be, something we cannot foresee, in the future. Or maybe look at present, and ways in which life is already becoming dystopian.
And by allowing these injustices to continue — the persecution of such people, and the destruction of the earth’s flora and fauna — we are allowing this malicious mutation to take root and grow.
I want to play with this narrative, to represent what we are turning into as a society, and to explore it further. Some films come to mind that loosely connect with this — for instance, Annihilation. Not directly, but in the way it deals with transformation, with becoming something other. That sense of sci-fi, of cosmic horror, of turning into something else entirely — that’s the feeling I want to tap into.
TUTORIAL 1 with Lara and Lauren
In my recent discussion, I spoke about my early concepts — such as The Mirror Through Time and the pilot animated film — and referenced Sarah Al Sarraj’s work. However, I only managed to skim the surface when explaining the underlying themes connected to my idea. Moving forward, I need to refine both my research focus and the conceptual framework of the project before expanding it further.
Recommended References and Actions
From Lara:
Watch the Human: The First of Us series on BBC iPlayer🔗 https://www.bbc.co.uk/iplayer/episodes/m002fc72/human
From Lauren:
Explore the work of Kite (aka kitekitekitekite), an artist whose practice engages with Indigenous epistemologies and digital media.
05.10.25
HUMAN [2025]
Anthropological Film: Bridging Our Connections
Recently, I was recommended to watch a BBC series called Human by my tutor, who thought it could connect to the project I’m developing now. Though quite long, I made it to episode four, and it’s been fascinating. The series delves into how human beings originated and migrated, debunking stereotypes about species like Neanderthals, and reminding us just how long we’ve existed — and coexisted — with similar humans.
It explored questions such as What made us human? Was it when we genetically diverged from other species, when we developed abstract thought, or when we started building communities? It also touched on ritual — like the earliest evidence of human ritual in a cave in Botswana, or the way our earliest ancestors made shell jewellery across continents— and how this obsession with ritual evolved over time. I learned a new term as well - intergenerational knowledge - which I think is very relevant to my narrative.
That naturally made me think about Indigenous, nomadic, and native communities today — how they’ve sustained themselves for so long in remote terrains because of their deep intergenerational knowledge and harmony with the environment. It’s why they’re also among the most endangered communities in the world due to climate change.
THE INCREDIBLE HUMAN JOURNEY
After finishing Human, I watched another BBC series called The Incredible Human Journey. This one felt like the perfect counterbalance. While Human focused more on the scientific and anthropological side of our story, The Incredible Human Journey leaned into the cultural and humanistic side — exploring living communities and what connects us today.
The first series often felt more isolated: the narrator alone in vast landscapes, talking about migration and evolution in an academic way. The second, however, was full of human connection — she travelled to each place in the order of human migration, interacting with guides, tribes, and local people. It felt alive, authentic, and adventurous — not performative. You remembered every face, every gesture of kindness, every moment of shared knowledge.
The contrast between the two was striking: Human gave a scientific understanding of our origins, while The Incredible Human Journey gave a cultural and emotional one. Watching both gave me a balanced view of anthropology — the science and the soul of humanity.
Both series also cleared up misconceptions. Human tackled outdated and almost pseudo-anthropological views of ancient humans like the Neanderthals — who were far more complex and intelligent than often portrayed. The Incredible Human Journey confronted modern misconceptions about people today, especially around race and identity. It emphasized how race is a social construct — a myth that contradicts the scientific fact that all humans share a common ancestry in Africa. This understanding is crucial because it dismantles colonial ideologies that have long divided people.
British poet Akala once stated, 'racial ideology has always stemmed from the top down — created by the upper classes to divide and control. Race, class, caste, misogyny — these are intersectional systems of power. The more divided people are, the more profitable it is for those in control'.
In Natives: Race and Class in the Ruins of Empire (2018), Akala explains that Britain’s racial and class divisions didn’t just arise from personal prejudice — they were designed through empire, economics, and law.
“Racism was not an accident of empire; it was one of its central technologies.”
This perspective feels especially relevant today in England, where we’re witnessing growing social and political division. It makes me ask: Where are we going as humanity? From our earliest pasts to our current struggles — what have we forgotten along the way? So an aspect of my research aims to bridge these timelines, connecting our ancient connections to our modern ones, because together they form the full picture.
As part of this research, I’m exploring some of the world’s oldest continuous cultures, not just the well known native Americans— but from the Arctic peoples like the Sámi, and Yakut; to African communities like the San, Maasai, Himba, Dinka, and Amazigh; to Middle Eastern peoples like the Assyrians, Ahwari, ; and Dravidian and tribal groups across Asia and the Pacific. These communities hold fragments of our shared past, living examples of intergenerational knowledge and resilience. At the heart of my work is the desire to represent people — especially the misunderstood and underrepresented — through storytelling, imagery, and design that reconnects us to our shared humanity.
It’s an essential part of my world-building process — a way of bringing together anthropology, creative storytelling, to reimagine humanity’s journey: where we came from and where we might go, to inform our present worldview.
WEEK 3
06.10.25
TUTORIAL 2 with Lara
Notes: Me and Lara spoke about a few things. Me being sick twice dragging me back a bit. We reflected on the BBC series 'Human' after I watched up to ep 4, I found it quite interesting and I recommended a scene to my other classmate. There may have been a misunderstanding when I mentioned making an" animated piece, in which I initially suggested making a short pilot episode of a story; today we agreed it may be impractical so I suggested another artist Sam Madhu, an Indian artists who creates Blender simulations of her female ancestors, really cool stuff. I still want to broaden my animation skills and portfolio for future industries so I still want to do the pilot episode idea, in which I must start researching about animation methods as priority so that I can establish a timescale. I was also a bit shy about reaching out to Taran and Sarah al Sarraj so Lara suggested using the upcoming presentation deadline as motivation to reach out, as if I were to pitch or explain this idea to Taran and Sarah. I also need to gather some sort of data this month. im also currently debating if l should make my project specific to a single place like my homeland or global.
ARTIST AND RESOURCES WITH LINKS
To support my learning process, I’ve gathered a range of resource pages and artists’ influences ranging from animators - illustrators, animators, technologists, and cultural thinkers. Some I followed for years, others I just discovered, all organised in a way that is easily accessible for now and future use. Their posts, breakdowns, and tutorials provide valuable insight into professional workflows and techniques. I’ve also curated a YouTube playlist of in-depth tutorials and learning materials, alongside some dedicated websites that explain animation processes comprehensively.
youtube // websites//
WEEK 4
13.10.25
BODIES OF RESEARCH
This section is a designated place for all my contextual bodies of research and creative influences for this project.
Presentations are all embedded, take a look!
ETHNOGRAPHIC BODY
ANTHROPOLOGICAL + ECOLOGICAL BODY
Theoretically, my work wants to bridge ecology and anthropology - exploring how human cultures connect to nature and to one another. Through documentaries and research into ancient civilizations and Indigenous knowledge systems, I’ve been examining how those connections have been preserved or erased globally.
Ultimately, my goal is to use animation to help people see how interconnected we truly are — to inspire empathy, awareness, and imagination — and to reimagine our shared future through a lens that’s sustainable, inclusive, and human.
BODY OF PHOTOGRAPHY
///Ive collated photography over the years which inspires me, moodboards I've created since childhood,
like human diversity, various body types, and genuine beauty. These elements serve as my creative inspiration and interest which will help my character design statge, with a particular fascination of vintage photography, offering rare insights into our ancestors.
BODY OF THEORETICAL PRACTICE
In developing the narrative, I’ve been exploring different animation methods - 2D, 3D, and hybrid techniques - to find what’s achievable within my timescale.
BODY OF MEDIA INFLUENCES
My research also includes studying film and media, ones I watched growing up and others I've just discovered. I’m analysing how directors convey emotion and performance through visuals.
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Media and Representation
Media takes on various forms, and I aim to explore its impact on our worldviews — how we perceive both others and ourselves — through societal and creative perspectives. A recurring theme I wish to address in my work is representation, or more accurately, misrepresentation, particularly concerning indigenous and marginalized communities.
Film has consistently influenced my studies; nearly every project incorporates a film or cinematic concept. I naturally observe and draw inspiration from films, and I envision it playing a central role in my final project. This time, I intend not just to theorize but to actively create a film or immersive storytelling experience — a story I can fully realize through animation and narrative design. It’s an exciting opportunity, albeit somewhat daunting. The link between misrepresentation and media also involves opportunity. The creative field offers vast potential to explore and expand stories that are often overlooked.
BODY OF LITERATURE, COMICS, AND ARTICLES
I gathered the of books, articles and stories which have influence me and my project, which will help me during referencing.
Comic books and illustrations provide a special way to tell stories that I find really engaging. The talent and skill needed, often from just one or a few artists, have fascinated me since I was a teenager. I plan to incorporate illustration into my own work and have been collecting references from some of my favorite illustrators for inspiration.
As I think about becoming a creative director, I also look at the careers and techniques of influential people like Alberto Mielgo, Guillermo del Toro, Miyazaki, Watanabe, and various Iranian directors and freelancers. I want to learn how they developed their skills, approached storytelling, and built their careers. I hope to use these insights in my own process when I get to the storyboarding and creation stages.
BODY OF COMMUNITY
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Collaboration is essential I plan to connect with Birmingham Open Media (BOM) and reach out to Taran about using their Rokoko motion-mapping suit. This technology bridges performance and digital creation, helping me translate real motion into animated form.
I also intend to speak again with Sarah El-Sarraj for artistic guidance and to share perspectives on heritage and storytelling.
Furthermore, I want to create a communal platform—on Instagram or Discord—where people, particularly from diasporic or Indigenous backgrounds, can exchange experiences and knowledge. This would ground my work in collective insight rather than just personal perspective.
I will also conduct surveys to gather data on public perceptions of Indigenous communities, ecology, and the future—helping me inform both the narrative and theoretical aspects of the project.
16.10.25
MID MODULE EVALUATION
