This is such a good (and almost-balanced) appraisal of the Nigerian creative scene. I say almost-balanced because, while extolling the elements that a foreign and high-culture audience can relate with, it ignores two critical components of the Nigerian creative space - the unbridled creativity stemming from the “streets” and the dynamics of business. So far, the street culture - with the exception of traditionally upper-class-upper-upper-middle-class creative domains (Galleries/exhibitions, high-class fashion etc.,) feeds the high culture. It makes for a beautiful Nigerian phenomenon. The high culture, only with capital, network and distribution resources, have always “win” in controlling the overall narrative, to the foreign audience especially.
Beautiful article that didn’t do much to explore how the business value-chain is being managed and sustained, and who enjoys the returns the most.
The writer didn’t mention my current favourite Nigerian creatives - Terry Apala, Qdot, Lil’ Kesh, those genius Instagram painters, those Instagram storytellers - Maraji, Lasisi, SLKcomedy, Alutaemir, Lekan_kingkong, not even those advertising guys doing cool stuff. I’m suing somebody! 😝
“...the assertive Nigerian global influence today cannot be denied, whether it’s in literature, music, fashion, or art, with new talents appearing at a relentless pace..... But all of them feed off the scene in Nigeria itself—and in its megacity, Lagos, a frenetic engine of creativity.”