Click laurels to watch the playlist.



ROFFEKE is proud to partner with Additude Africa

ROFFEKE is proud to partner with Additude Africa
"Additude Africa promotes time credits as a means of encouraging the youth to be involved in community building activities in order to add a new dimension in their lives and make a positive contribution to their communities."

ROFFEKE is proud to partner with

ROFFEKE is proud to partner with
"Looking for a way to pitch your idea for a television show or movie? offers a next generation platform for creators of original ptiches for TV, film and digital media to connect directly with Hollywood producers and studio executives."


Friendship (networking), Fun (experimentation), Freedom (purpose, empowering, transparency)


ROFFEKE logo by Jozie of Kenyan band 'Murfy's Flaw'

ROFFEKE is a member of the Universal Film and Festival Organization

Featured Post

Comments on "The ABC of ROFFEKE" Screenings (September 2015 at iHub)

I liked all the films especially the one for Superman [“This is Joe”] and the last one which was longer [“ Frontman ”]. I look forward to at...

The Indie Bible

Tuesday, September 29, 2015

Spirit Dance: A Screenplay by Kitania Kavey

"After the death of her father, a disabled girl dances her way back to happiness and provides her grieving mother with an opportunity to connect with people again."

ROFFEKE: What inspired you to write "Spirit Dance"?

KITANIA: It is the visual representation of how I experience the world. Like the main character in my story, I have mental and physical disabilities, and have found myself throughout much of my life living with external challenges. I wanted to show that people with "different" ways of viewing the world aren't bad or wrong... and that music and dance can help us connect with people of all abilities.

ROFFEKE: Why animation as opposed to live-action?

KITANIA: I wanted a way to clearly define the contrast between what is in the main character's imagination and the "real" world around her, and I thought that in animation, my characters could also more easily be ethnically ambiguous, like me!

ROFFEKE: What are your thoughts about how people with disability are portrayed in film?

KITANIA: For me, I am most comfortable when the disability is not the focus of the story, or used as a trigger (the sole reason why a character is evil or depressed, for example). It doesn't bother me when 'regular' actors portray disabled characters. I've acted in many roles for which I had no 'real life' experience, but one can develop empathy and understanding about how to portray a particular type, personality or occupation. It would be great to see more disabled actors in 'regular' roles, though!

ROFFEKE: Your advice to aspiring screenwriters?

KITANIA: Learn proper screenplay formatting. A brilliant story may be overlooked simply because it is hard to read due to formatting problems and plot issues. However, if you plan to direct your own screenplay, then break any formatting rules you want.

ROFFEKE: Your advice to female screenwriters?

KITANIA: Find your voice, and write for your intended audience. If the odds are 1 in 100, be the one. If you can't find the examples of women who have done what you want to do, then lead others by your example. And of course, if you're not directing your own screenplay - use good format!

About Kitania Kavey: "Disabled screenwriter who finds purpose and passion in writing short and feature-length live-action and animation screenplays."

Also check out Rock 'n' Roll and Disability

Friday, September 18, 2015

Animation School: Things you should look for when choosing one

I asked prolific filmmaker Robert Lyons his views on this article by Atlantis Studios titled “4 things You Should Look For When Choosing A Animation School in Kenya.” Below are his thoughts:

I am in agreement with it in regards to their 4 points, they are in fact valid points. I do have a few "howevers" in regards to some of them.

#1) Does the program teach all aspects of the art of animation? This can be pretty subjective; animation is a broad discipline involving many aspects, including art & design, film theory, history, software and computer skills, as well as other technologies. It also depends upon the goals and objectives of the curriculum; are they preparing students for the existing animation job market, or are they helping them to become independent animation filmmakers in their own right. Personally I find many schools offer an over emphasis on software skills in sacrifice of many of the other items I mentioned. But this seems largely driven by economic times and the rising costs of going to school. People want to know they can find employment quickly after graduating.

#2) How much experience does the instructors have in the animation industry? I have taught now in 5 different universities (The School of Visual Arts, The New School, NYU, The University of the Arts, and Pratt Institute) and in all of them my academic credentials were secondary to my professional experience. However that seems to be changing, many of those schools would not hire me today because I do not hold a masters degree. I think this has to do with a changing landscape in the accreditation process.

#3) Where is the animation school located? This is important, but not necessarily essential. Four of the schools I have taught at are in NYC, three in Manhattan and one in Brooklyn, the fifth one is in the city of Philadelphia. The NYC schools hold a greater appeal and some additional clout as a result of being in NYC and as a result being more connected to a more active animation community and job market. However, sometimes it can be advantageous to be removed from the commotion and distractions of a big city when one is trying to focus artistically. Personally, I went to college in a small town in upstate NY and am very happy that I did so. Also there are great schools like Sheridan College in Canada that are located hours outside of the nearest big city/job market.

#4) Does the school have a good alumni network? This is also a plus, but often is more a function of the student body themselves than of the administrative structure. Students set up a variety of different social networks that usually continue on beyond their years at school.

A couple of points that were not mentioned in the article that come to mind as equally important are:

1) What kind of facilities does the school have. Are their computer, software, cameras and other equipment up to date, in good repair, and is there an adequate supply to support the enrollment.

2) Does the school have a campus, or is it like some NYC schools a number of dislocated buildings or even a single building with no other support infrastructure for the students to interact and otherwise replenish their energies and inspiration when not in classes.

3) Does the school have a strong internship program in place? I am the internship coordinator for the animation department at Pratt. The internship program offers opportunities for students to begin bridging the gap between academia and the professional job market while still in school giving them a valuable foot in the door to possible future employment.

Hope all of that helps. And let me know if you would like me to submit any more films to ROFFEKE.

On 19th September, at iHub you will have the opportunity to watch Robert Lyons’ animation films at “The ABC of ROFFEKE”, from 2pm. Some of his films that will be screened include:


At the 46th annual 2015 ASIFA-East Animation Awards Festival after party held at The New School in NYC we set up a whiteboard with many colored markers for the animation artists in attendance to have some fun with. I documented that fun via time-lapse photography setting up a digital still camera connecting to a lap top with Dragonframe stop motion software. I shot 1 frame every 5 seconds with a 1/2 sec long exposure time for the duration of the party. Have fun trying to spot some of the animation celebrities as they briefly flash by in front of the camera. The music used is "Sweet Tea" by the Woggles.


This rotoscoped animation created in my 2012 U-Arts Animation ll class was derived from a music video for the group Mungo Jerry of their #1 hit song "In the Summertime".


Created in my 2015 Pratt Experimental Animation class based on a theme chosen by the class, each of the ten students worked independently and contributed a different segment to this animated film exploring the culture of the superhero.

Wednesday, September 9, 2015

Rock is Not an Attitude: Short Film by XIAOXIAO TANG

Synopsis: A stop-motion rock band talks about life before their band: Rock is not only an attitude. Our lives are a reflection of our attitudes: just like music, we are all different and unique, but there is no distance between us.

Luci Döll’s review: “This beautifully composed stop-motion film manages to skilfully force one to ask themselves, is rock and roll something you put on, or something that puts you on? Lovely, lovely work.”

ROFFEKE: What inspired you to do a film about a rock band?
XIAOXIAO TANG: I love rock music but in reality I cannot sing or play a musical instrument, so I wanted to make an animation about my own rock band, which would allow me to live out my fantasy:)
ROFFEKE: Are the characters based on real people or are they completely fictional?
XIAOXIAO: The rock band in my film is fictional.
ROFFEKE: Which band member of this fictional band is your favourite and why? :-)
XIAOXIAO: My favorite character is the bassist, because I used to rely on a headphone in a environment where I could not enjoy. I also really like the hair style of the singer and drummer. After all the work for this film, the band members all feel like my kids and I do have a special feeling for them.

About Director Xiaoxiao Tang
Xiaoxiao (Soup) Tang is a director/artist who was born and raised in Beijing, China in 1989. She graduates from MFA Computer Art at the School of Visual Arts in New York City. Xiaoxiao has worked as an animator on mixed media in both China and the US. Her projects include: Motion graphics for the 2008 Beijing Olympic Games, character animation for KAKU Media, directing videos for BAMC Mobile TV, as well as a stop-motion artist at Flick Book Studio in New York. She specializes in stop-motion animation and is particularly interested in its ability to allow a deeper expression based on its direct physical foundation. Now she works as mixed media artist at Hornet Inc.

Director’s Statement
As a stop-motion and mixed media animator/artist, I create work that is ‘alive’ and connected to the world. Our lives are a reflection of our attitudes: just like music, these attitudes can be classified as rock, classic, jazz or pop; just like music, we are all different and unique, but there is no distance between us.