Re-imagining African Storytelling Conventions within the Cinematic Virtual Reality Medium

Abstract

In an advancing technological world, it is far-reaching to engage with the implications of the codes and conventions (re)produced by creative practitioners because of the indefinite possibilities accessible to them. Over the recent years, Virtual Reality (VR) in a cinematic context has orientated itself as a contemporary film practice enabling user agency through its immersive and interactive properties. This dissertation through an Afrocentric framework critically explores the representation and consumption of African culture(s) and strengthening existing cultural experiences through the VR medium. It remains rooted in indigenous knowledge systems and knowledge production located as Afrocentric beyond the African continent. This study manifests as a creative output, a VR documentary titled, AFRICA 360. Moreover, this research addresses the representation of culturally rooted storytelling through a case study of the Tsonga ethnic group and its portrayal within VR. The study of the Tsonga people in South Africa is essential as they are a minority group that is underrepresented, stereotyped and marginalized. It further explores existing African storytelling conventions and how they can be re-imagined in the future. Insight offered from interviews with African VR experts invites a discourse around African VR cinema and innovative storytelling. Additionally, the study examines the representation of African women in VR cinema through a techno-feminist perspective seeking to understand the mutual inclusivity of technology, gender and women. The impact of the historical and contemporary portrayals of VaTsonga women is analysed in relation to its culturally representative influence on empowering African VR narratives. 11 This study uncovers that Cinematic Virtual Reality (CVR) particularly in an African context may be strategically employed for the purpose of although not exhaustive knowledge re- discovery, cultural and heritage preservation, accessing African environments and to deconstruct long standing stereotypes and inaccurate representations to promote gender equality and social inclusion. Cultural representation brings to life aspects of culture that may be fading or misunderstood, allowing them to be experienced by a new generation and preserved for the future. Contemporary representations of culture offer diversified portrayals that resonate with audiences because of their creative adaptations which foster a renewed sense of pride and identity. And lastly, interviews with VR experts reveal how African CVR conventions are presently being re-imagined, drawing from select film texts. Re-imagined practices include: producing local content which caters for global audiences through ‘glocalization’, developing narratives which claim to be radically compassionate rather than empathetic, and exploring storylines inspired by African mythology and history. This study advocates for the possibility for the development of an identifiable and distinct African VR cinematic experience. It will assist in the formulation of a progressive cinematic language and grammar for the making of authentic and decolonised African VR story.