The Untold Stories Beneath the Surface: How African Voices Are Reshaping Wildlife Narratives
There’s something profoundly unsettling about watching a wildlife documentary where the stories of Africa’s natural wonders are told by voices that don’t belong to the continent. It’s like reading a biography written by someone who never met the subject. This disconnect isn’t just a minor detail—it’s a symptom of a larger issue in how global media represents Africa. But thanks to trailblazers like Pragna Parsotam-Kok and Noel Kok, this narrative is finally shifting.
When the couple first ventured into wildlife filmmaking in 2015, they were struck by two glaring realities: the lack of access to animals for African filmmakers and the near-absence of African voices in the industry. Their response? To create the Nature Environment and Wildlife Conservation Trust (NEWF), a not-for-profit that’s not just training filmmakers but rewriting the rules of storytelling itself.
The Ocean’s Untold Stories
One thing that immediately stands out is the Koks’ discovery about African underwater filmmakers—or rather, the lack thereof. In 2018, they couldn’t find a single African underwater filmmaker for a panel discussion. What many people don’t realize is that this isn’t just about missing representation; it’s about missing perspectives. African marine biologists often can’t swim, let alone scuba dive, which means entire ecosystems remain unexplored through local eyes.
Personally, I think this is where NEWF’s work becomes revolutionary. By organizing dive “labs” and training nearly 400 fellows from 37 African countries, they’re not just teaching technical skills—they’re unlocking stories that have been submerged for decades. Take Silindile Mbuyazi, for example. Her journey from searching for her drowned brother to becoming a diving instructor is more than a personal triumph; it’s a metaphor for reclaiming African narratives from the depths of exclusion.
Music as a Cultural Bridge
A detail that I find especially interesting is NEWF’s focus on music composition. Noel Kok’s frustration with Mozart accompanying African wildlife scenes is spot-on. Why should European classical music dominate the soundtrack of African stories? In 2021, NEWF fellows composed the score for a National Geographic film about Botswana’s Okavango Delta, and it won best original score at the Jackson Wild film festival—beating Hans Zimmer, no less.
What this really suggests is that authenticity in storytelling isn’t just about visuals; it’s about the entire sensory experience. When local musician Koolkat Motyiko’s compositions resonate with the rhythms of the region, it’s not just music—it’s a cultural statement. If you take a step back and think about it, this is about more than soundtracks; it’s about decolonizing the way we perceive Africa.
The Power of Local Perspectives
What makes NEWF’s approach particularly fascinating is its emphasis on local voices. Ethiopian filmmaker Elshadye Berhanu, for instance, spent two months on a NEWF residency, capturing the rare bond between two female cheetahs raising their cubs. Her words—“Being able to film that, from your eyes, it just makes me happy”—highlight something critical: when storytellers are deeply connected to their subjects, the narratives become richer, more nuanced, and undeniably authentic.
From my perspective, this is where the real magic happens. It’s not just about training filmmakers; it’s about fostering a sense of ownership over Africa’s stories. When Silindile Mbuyazi teaches diving on her grandmother’s land at eKhaya, the center she co-founded with NEWF, it’s a powerful symbol of roots and renewal.
The Broader Implications
This raises a deeper question: What does it mean for global audiences when African stories are told by African voices? In my opinion, it challenges the monolithic narratives that have dominated wildlife documentaries for decades. It’s not just about diversity; it’s about depth. When local interns learn to swim and dive, they’re not just acquiring skills—they’re becoming part of a movement that’s redefining what it means to tell Africa’s stories.
One thing that’s often misunderstood is that this isn’t an anti-globalization effort. NEWF’s partnership with National Geographic, which provides $1m-$1.5m in annual funding, shows that collaboration is key. But the terms of that collaboration are shifting. Africa isn’t just a subject anymore—it’s a partner, a leader, and a storyteller in its own right.
Looking Ahead
As NEWF expands its programs, from building a dive boat to establishing a fellows’ house in Bayala, it’s clear that this is just the beginning. The Koks’ vision isn’t just about training filmmakers; it’s about creating a sustainable ecosystem where African voices can thrive.
If you take a step back and think about it, this movement is about more than wildlife documentaries. It’s about reclaiming identity, challenging stereotypes, and reshaping global perceptions. What this really suggests is that the stories we tell about Africa—and by extension, about ourselves—have the power to transform not just media, but society.
Personally, I think this is one of the most exciting cultural shifts of our time. It’s not just about what’s on screen; it’s about who’s behind the camera, who’s composing the music, and who’s shaping the narrative. And that, in my opinion, is a story worth telling—and retelling.
