New animation is being created in the Middle East every year like this shot from Iranian director Amir M. Dehestani's film, Houd the Prophet. © Hoor Animation Association

So, on which shelf of our video stores can we find Amir Hamzeh, The Spring of Butterflies or Tandava? Where can we view some of the artists and works listed above? The answer at present is? You can't, unless you are a devotee of certain university-sponsored festivals, travel abroad, or have access to Asian-owned specialty stores. Since these works would not bring in nearly as much profit as, say, Disney's videos would, we are not likely to experience the joys of multi-cultural animation anytime soon. Still, things are getting better; ASIFA now has chapters in many Asian countries, and the profitability and popularity of Japanese animation is serving to motivate other studios on the mainland. It may be only a matter of time before other Asian animation catches up with Japan's, but in the meantime here are some suggestions for quickening the pace:

1. Expand the schedule of ASIFA festivals
ASIFA sponsors major animation festivals in Annecy, Kiev, Ottawa and Zagreb. There is an ASIFA festival in Hiroshima as well, but how about a festival (or several of them) on the Asian mainland? Now that ASIFA has more chapters among these nations, this would be the logical thing to do. Festivals would not only showcase some of the continent's most exciting new artists, they would lead to greater awareness (and marketing possibilities) for the animation itself.

2. More collaborative international efforts
1997 saw the formation of the International Animation Consortium for Children's Rights in which many nations' animation studios participated in a program that produced 30-second spots for UNICEF. The Cartoon Network provided US$3,000 grants to studios in Iran, Syria, Indonesia and Uzbekistan that went toward production costs in the Cartoons for Children's Rights project. That worthy effort and others like it should be duplicated on a regular basis and involve studios from Asian nations as much as possible.

3. Increased commercial exposure
Since anime has achieved lasting popularity in the US and Europe, why can't some savvy entrepreneur start importing other Asian animation as well? To those who might want to take a shot at it, here are some suggestions for a decent start: Red Hawk, Armageddon and Hungry Best 5 are South Korean productions that fans of anime might enjoy as well. If successful, the door would be open for increased exports from other Far Eastern nations, and animation-starved fans in America could feast heartily on a whole new genre. At one time the Cartoon Network presented Canadian animation to American audiences; after Boomerang becomes the new Scooby Doo Preservation Society, perhaps Cartoon Network can find some programming time for Asian animation as well.

With Western influences flooding the East and vice versa, it will be interesting to see what "morphs" the future holds.

4. Step up cultural exchange programs
It is always a solid idea to send students and professionals overseas to learn, teach, and exchange perceptions with animators from other cultures. Exchange programs need not always be academic in nature; if some of the animators subcontracting for American studios in Korea, Taiwan, and the Philippines could come to the US for advanced training, independent efforts could later be encouraged and original works could be produced and marketed through US outlets. This would be expensive for American producers, but could be a notable investment in the long run. Conversely, US animators should spend time among their Asian counterparts in order to observe and practice the styling and concepts that will appeal to an increasingly multicultural market and audience. Some of this is already being done, and more of it should be.

In Singpore there dwells a cartoon star named Mister Kiasu, instantly recognizable to millions of Asians. Few Americans would recognize this comic little figure, but the day may be coming when he takes his place next to Pepper Ann, CatDog, and Dexter. The names of Tekuza and Miyazaki have become as identifiable to many animation fans as the names of Disney and Fleischer, and in the future they may be joined by Ali Murat Erkorkmaz or Ibrahim Mohd Noor. Such developments could only serve to enrich us all. Animation is perhaps the most creative and flexible medium on Earth; while it is impossible to predict even its immediate future, we might do well to turn to the East for the next set of clues.

Martin "Dr. Toon" Goodman is a longtime student and fan of animation. He lives in Anderson, Indiana.