In many parts of Africa the problem of teenage motherhood is endemic. Girls are often not yet ready for motherhood, physically or psychologically, and are thrown out of the educational system. Their situation becomes even more worrying in the context of the AIDS pandemic, which is hitting both regions harder than any other area of the world. In Eastern and Southern Africa, rape, adolescent pregnancies, female genital mutilation, forced marriage, polygamy and multiple partner relationships all have contributed to the rapid spread of HIV/AIDS. The adolescent girl is two to seven times more likely to be HIV positive than the adolescent boy.

Striking a Common Chord
This is a negative and depressing picture. While it is possible to present the female child as a victim requiring assistance and protection, it is more important to recognize her potential as a leading agent in promoting development. In both the Meena and Sara Communication initiatives, UNICEF decided to create a role model and set of common stories which would provide motivation for a way towards acceptable solutions.

But how can cartoons address such deep-rooted problems? In viewing live action films, people in multi-ethnic environments respond to cultural and social cues such as dress, facial features, language and accents, housing and vegetation which may alienate and distract them. They may be fascinated by what they see but may miss the main message or conclude that the situations posed are "someone else's problem." However, with proper formative research, animated film can be used to "strike a common chord" across a diverse region. Common characters, backgrounds and stories can be found which belong to everybody's neighborhood.

A storyboard session for the UNICEF South African Initiative. © UNICEF

In creating the series, research revealed the need to remain within the realm of realism in order to maintain a credible message source. Therefore, Meena's parrot, Mithu, only ever repeats what he has heard and Sara's pet monkey, Zingo, does not talk. She only mimics and gestures in sympathy with Sara's emotions. Both animals are extensions of the girls' egos. They can do things which the Meena and Sara would like to do but which would be disrespectful, for a girl to do in Asian or African society. Therefore, cultural sensitivity is maintained. By steering this fine line between reality and fantasy, the e stories remain both relevant and exciting to the target audiences. They are their stories. What the research revealed is that the target audiences don't have a vocabulary for 'cartoon' versus "live action." The Meena and Sara films are viewed as stories on their situations and lives, as opposed to the live action fantasies churned out by Hollywood or BollyWood.

The Flagship Medium
Also, animated film can portray difficult social issues and values in sensitive, non-threatening ways, without losing message impact. The stories and messages provide a "hook"" into the culture without alienating or threatening cultural integrity. In addition, animated films can be dubbed and produced in many languages at little cost, making them useful across a large population base.

In both Meena and Sara initiatives, the animated film is the "flagship" medium through which a set of characters and core set of stories "come to life," capturing the attention and imagination of audiences and providing a creative focus, However, multi-media dissemination is essential to reach target audiences who often do not have access to television, video or film. A Meena radio series has been broadcast in Asia through the BBC Bangla service and the BBC Africa Service will broadcast a five language Sara series beginning in June 1996. In addition, comic books, story books, audio cassettes, posters, users' and facilitators' guides are either available or in planning.

However, films and videos have further reach than is often assumed. India has had satellite television with community viewing stations since the 1970s. There are also growing informal channels of video distribution - associations, religious groups and commercial outlets, for example. Videos are shown in public places such as restaurants and bars and "video theaters" are quickly growing in small communities. in some countries there are mobile film or video units owned by private firms or government.