Awards season this year was a celebration of Black creativity and cinema. Sinners directed by Ryan Coogler, garnered a historic 16 nominations, ultimately winning four Oscars.
This is a film critics said would never land, which narrated an episode of Black history that had previously been diminished and at some points erased.
Watching the celebration of this film, following a legacy of storytelling dominated by the global north and leading to protests like #OscarsSoWhite, I felt a shift. A movement, growing louder each day and nowhere more evident than on the African continent.
Here, an energetic youth, representing one-quarter of the world’s population, are using creativity to renegotiate their relationship with the rest of the world and challenge the social norms affecting their communities.
The Academy Awards held last month saw African cinema represented in the International Feature Film category by entries including South Africa’s The Heart Is a Muscle, Morocco’s Calle Málaga, Egypt’s Happy Birthday, Senegal’s Demba, and Tunisia’s The Voice of Hind Rajab.
Despite its subject matter, Wanuri Kahiu’s Rafiki, broke the silence and secrecy around LGBTQ love stories. In Kenya, where same sex relationships are illegal and loudly abhorred, Rafiki played to sold-out cinemas in the country’s capital, Nairobi, showing an appetite for home-grown creative content that challenges the status quo.
This was well exemplified at this year’s World Economic Forum in Davos when alcoholic beverages firm, AB InBev convened a group of creative changemakers and unlikely allies from the private sector to explore new ways to collaborate and apply creativity to issues of social justice and the environment.
In South Africa, AB inBev promotes moderation and addresses alcohol-related gender-based violence by partnering with filmmakers to create content depicting positive behaviours around alcohol. This strategy is revolutionising the way brands create social value and serve society.
For brands, the African creative economy represents a significant opportunity. By 2030, 10 percent of global creative goods are predicted to come from Africa.
By 2050, one in four people globally will be African, and one in three of the world’s youth will be from the continent.
Valued at over USD4 trillion globally (with significant growth in Africa), these industries, spanning music, film, fashion, and digital arts, offer vital opportunities for youth, surpassing traditional sectors in youth engagement.
Already, cultural and creative industries employ more 19–29-year-olds than any other sector globally.
This collection of allies in Davos understood that “business as usual” is not enough to succeed in Africa; it must be on terms set by young African creatives with societal and economic benefits.
The key question for brands is: how do we work together to harness and support this potential? The answer is simple.
Brands need courage to invest in possibilities where others see risk; wisdom to partner with those others overlook; and finally, tenacity – to match an African youth that is not waiting but forging its own path.
As the energy of the creative sector continues to gain momentum, I am left wondering: which brands will be smart enough to get involved in our movement, and who has what it takes to thrive in this new world?
Professor Sidíbe who lives in Nairobi is the chief mission officer of Brands on a Mission and Author of Brands on a Mission: How to Achieve Social Impact and Business Growth Through Purpose.
