– Steve Babaeko
Africa, the birthplace of humanity, has always been a source of fascination for the Western world. Whether it’s as a subject of Western scientific and cultural curiosity, the continent with diverse wildlife, landscapes, ethnicity and culture has over centuries found itself welcoming a legion of European explorers, anthropologists, and naturalists seeking to explore its array of natural gifts, albeit at a vicious cost.
A brutal exploitation of its people and resources in the form of the transatlantic slave trade and forced labour in mines and plantations meant the continent endured years of dilution of its identity—historical, religious and especially, cultural. Notably, African artefacts and art collected during this time were displayed in European museums and galleries, often without proper context or acknowledgement of their cultural significance. Similar experiences are recorded in popular culture, where Africa and Africans tolerated gross stereotypical misrepresentation in Western media.
African characters were also often depicted in Western films and TV shows as savage and uncivilized, perpetuating the idea of the ‘Dark Continent’. Consequently, African art was often viewed as primitive and exotic by Western audiences. The works of African artists were not considered on par with Western art and were instead valued solely for their aesthetic appeal. This devaluation of African culture and history reinforced the stereotype that Africa was a place of backwardness and demonstrated a pervasive lack of understanding and appreciation for Africa’s diversity and complexity in popular culture.
History, however, shows Africa has been no pushover in influencing remarkable shifts in popular culture. Jazz music which first appeared in the late 19th and early 20th century, for instance, has its firm roots in African music, as it borrows heavily from African folk music and culture. In art, Pablo Picasso famously collected African totem art, and his iconic cubic-art style between 1906 to 1909 was strongly influenced by traditional African masks. Yves Saint Laurent also displayed his tactful connection with African culture and fashion styles in 1967, creating a distinct dress that referenced the Bambara sculptures produced by the Bambara people in Mali. The distortion of history (or lack of authentication) has meant many of these influences have largely gone unnoticed and uncelebrated, unfortunately.
It is therefore interesting that Africa is yet again finding itself at the centre stage of an emerging cycle of global influence. Globally, there is a growing appreciation for African pop culture including African music, film, fashion, arts, and cuisine. The continent, once primarily seen as an importer of global cultural forms, has now become a major exporter of popular culture to the world.
Nollywood, the Nigerian film industry, for instance, has become the second-largest film industry in the world in terms of output, surpassing Hollywood and behind only Bollywood. Nollywood films are now popular across the African continent and beyond, with distribution to countries such as the United States, the United Kingdom, and China. The African film and audiovisual industry is generally predicted to create over 20 million job opportunities and generate US$20 billion in revenues per year.
The feats of the music industry are just as astounding. African music genres such as Afrobeat, Afrobeats, amapiano, African pop and high-life have gained significant global popularity in recent years, with artists such as Burna Boy, DJ Maphorisa, Tems, Nasty C, Davido, Master KG, Harmonize, Tiwa Savage, Diamond Platinumz, Shatta Wale and Wizkid winning international awards, accumulating millions of streams and views, selling out arenas like the Madison Square Garden, and collaborating with global stars like Beyoncé and Drake.
The pull of African artists on the global stage is unprecedented. It was almost impossible for African pop stars to attract collaborations with global superstars at the turn of the millennium, but they are now constantly sought after across the globe. This is also reflected in the Grammy Awards, where African artists have dominated the Best Global Music Album category. International music festivals have also begun showcasing more African music acts.
A recent report by Pan-African PR & Communications Advisory, and Marketing & Media Company, ID Africa, confirms Afrobeats as the fastest-growing genre globally, with streaming platforms and collaborations between African and international artists, cited as contributing factors.
Similar feats are being documented in the fashion industry, as African-inspired prints and designs have become popular worldwide and African fashion weeks are held in cities such as Paris, New York, and London.
Interestingly, Marketing communication and advertising have also assumed significant positions in amplifying African pop culture globally. Through various promotional campaigns, African artists and cultural products have gained visibility and recognition worldwide. Marketing and advertising strategies have helped showcase African pop culture as a unique, vibrant and diverse array of artistic expressions, ultimately challenging stereotypes and presenting a positive image of Africa to the world.
Our understanding of this new bridge between the advertising landscape and Africa’s pop culture elevation has seen us use various Afrobeats songs in our campaigns at X3M Ideas in recent years. And to great effect and results. One such pivotal strategy was our licensing of Olamide’s hit record, First Of All, for a telecommunications TVC in Nigeria.
There is indeed no better time for the continent to own and control the narratives of its pop culture if it will escape misappropriation and maximise the reward of its global embrace for sustainable growth. To avoid the mistakes of centuries past, Africa must maintain its newfound tenacity in celebrating its pop culture. It must then guard, deliberately but carefully, the elements of its uniqueness.
The importance of African pop culture is that it embodies authentic African culture, values and ethos proudly. African pop culture must remain rooted in Africanism and not lose its essence in the attempt to please the world. It must continue to deliver messages of diversity, unity, and identity across cultural landscapes. African creatives need to take ownership of their identity in music, fashion, arts, and film and showcase value on the global stage. On their part, stakeholders must take charge of the narrative and resist unassumed recolonization by the West.
The universal acclaim of African culture cannot be attributed solely to notable individuals like music superstar, Beyoncé, and the director of the blockbuster movie, Black Panther, Ryan Coogler, even as they have played striking roles in shaping global pop culture. African culture has always been vibrant, and while the efforts of these popular individuals in moving the culture forward are notable, it’s important to acknowledge and celebrate this fact. We must also understand that a culture cannot be reduced to one individual or group but rather appreciated as a whole.
Overall, our confidence in our culture and steadfastness in withstanding unassumed colonisation is what I have termed assimilationist rebellion. Artists like Burna Boy, actors like Lupita Nyong’o, writers like Chimamanda Ngozi Adichie and Wole Soyinka, and many others already embody this spirit. Musicians Angelique Kidjo and Yemi Alade for instance have become great proponents of African culture, language, and fashion through their music, consequently inspiring a new wave of African culture enthusiasts globally.
But Africans must not relent. Our ancestors experienced forced assimilation, but we have the opportunity to embrace the meteoric rise of our culture and use it to showcase our authenticity on the global stage. We must also, as a matter of urgency, encourage and intensify strategic stakeholder engagements and investments in Africa’s pop culture.
Embracing assimilationist rebellion will without a doubt, propel us to bridge cultural divides and promote a powerful message of unity, diversity and Africanism necessary for sustainable growth and development on the continent.
– Steve Babaeko
Steve Babaeko is the CEO & Chief Creative Officer, X3M Ideas and a Visiting Fellow at the Henley Business School, University of Reading.