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Flip book publisher joins the digital age

With the literary world descending on Leipzig this week for its annual book fair, one local family publisher is there to bring flip books into the mainstream, using innovative products that incorporate digital photography into one of the oldest forms of animation.

Flip book publisher joins the digital age
Photo: DPA

The fun lasts only a few seconds – these tiny books need little time to tell a story that can often include a surprising or curious end.

While one hand holds the book, the other thumb flips rapidly through the pages, creating the effect of a short stop-motion film.

“The flip book is the progenitor of interactive entertainment,” said Holger Schack, the 43-year-old owner of “Schacks Verlag,” a publisher offering the broadest selection of flip books in Germany.

The Leipzig-based publisher has about 300 titles on offer, many of which are imported from countries as far afield as the United States, Spain, Italy, Argentina and Turkey.

“Flip books are not intended to convey deep psychoanalytic truths,” said Schack, explaining that the animations, instead, are meant to deliver quick, concise messages in an entertaining fashion.

But flip books still have the ability to surprise and delight. One of Schack’s titles, for instance, promises to tell the “real” story of the Frog King.

“With some of our books, we had some fun with black humour and let it run free,” he said with a smile.

Schack founded the family publishing house in 1998 with his brother Michael.

“I, like so many others growing up, used to sketch simple little flip-animations in all my school books,” he said.

But he soon realized he didn’t have the talent to become a full-time animator himself. So the Schacks now work together with 10 to 15 illustrators at a time.

“My work as a publisher has become a kind of vicarious satisfaction for an artistic career that never quite materialized,” he said.

In German-speaking countries, the Schacks’ wares are distributed to wholesale dealers or delivered directly to book stores. But the internet has played an increasingly vital role in their business.

Through direct contact with customers, the Schacks have been able to expand their enterprise overseas.

“A Japanese collector orders from us once or twice a year, and we also have a regular customer from France, whose collection of 4,000 titles is surely among the largest in the world,” he said.

Much of their success is driven flip books’ popularity as stocking-stuffers and souvenirs, though.

When the Schack brothers founded the company 13 years ago, the flip book genre was floundering, but they are managing to keep it afloat by concentrating on creating innovative, customizable products.

“More and more, we’re creating personalized flip books for our clientele,” said Schack.

Thanks to the ever-increasing capability of digital cameras, customers can send their own pictures or short films to the Schacks and have them transformed into flip book form. These are then used as greetings to friends and relatives or novel party invitations.

Customers can have as few as four copies of their own flip book made, with production averaging ten days.

“We print smaller series in our own press here,” Schack said, “For larger projects we work with larger printers in the south of Germany and in Poland.”

This, the Schacks believe, will allow them to entertain flip book enthusiasts for many years to come.

dapd/The Local/adn

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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