From oral to animated: Reconstructing African folktale fantasy in the digital age

Lencer Achieng Ndede

doi:10.51867/asarev.3.1.1

Authors

Lencer Achieng Ndede Masinde Muliro University of Science & Technology, Kenya Author https://orcid.org/0000-0002-7032-0160

DOI:

https://doi.org/10.51867/asarev.3.1.1

Keywords:

African Folktales, Animation, Child Audience, Children’s Literature, Digital Technology, Fantasy, Semiotics

Abstract

This study examines how digital technology serves as a medium for reimagining and repackaging African folktales. The analysis focuses on a case study of ten selected episodes from Tinga Tinga Tales, including Why Hyena Has Short Hind Legs, Why Bat Hangs Upside Down, Why Bush Baby Has Big Eyes, Why Leopard Has Spots, Why Tortoise Has a Cracked Shell, Why the Vulture Is Bald, Why Cheetah Has Tears, Why Parrot Can’t Keep a Secret, Why Snake Has No Legs, and Why Bat Hangs Upside Down. The study adopted a qualitative descriptive design, which entailed a critical textual analysis of animated episodes. This involved participatory observation of preschool children’s responses during viewing sessions at Logitech Academy in Kakamega County, Kenya. Data were collected through viewing guides, informal interviews, and observation notes. Guided by semiotics and children’s literature theory, data was analyzed thematically to explore how digital animation enhances fantasy and engagement among children. Findings show that animation transforms African oral narratives into visually immersive experiences that heighten imagination, emotional engagement, and moral understanding. Children responded with belief, curiosity, and empathy, indicating that digital storytelling not only sustains the cultural and didactic functions of folktales but also adapts them to the visual expectations of digital-native audiences. The study concludes that Tinga Tinga Tales exemplifies how African oral traditions can be revitalized through digital media to preserve heritage and foster imaginative learning among children.

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