The Elite Africa Project is a global network of scholars working to shift how Africa and its elites are understood.

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The Elite Africa Project

is a Canadian-based global network of scholars working to challenge predominant understandings of Africa and its elites.

Both in academia and in wider public discourse, African elites have either been ignored or depicted as grasping and self-interested. This framing perpetuates negative depictions of the continent and its peoples and draws on a simplistic understanding of what power is and how it is wielded. Our work aims to counter these perceptions by initiating global conversations about “who leads” in Africa and how they do so.

We seek to disrupt and renew both academic and public discussions of African leadership, refocusing attention on a wider, qualitatively different set of elites from those that have predominated in the past (such as the parasitic “Big Men” of neo-patrimonial politics).

Burna Boy, Nigerian musician, rapper and songwriter; in 2021, his album Twice as Tall won the Best World Music Album at the 63rd Annual Grammy Awards, and he enjoyed back to back Grammy award nominations in 2019 and 2020.

Ngozi Okonjo-Iweala, Nigerian economist, fair trade leader, environmental sustainability advocate, human welfare champion, sustainable finance maven and global development expert. Since March 2021, Okonjo-Iweala has been serving as Director-General of the World Trade Organization.

This project focuses on Africa’s elites, defined as those who operate at the highest level across a range of domains, wield significant power, and possess expert knowledge, skills, and personal strengths that are deployed in strategic, creative, and generative ways. While elites are those who possess the most consequential and powerful agenda-setting and decision-making capacity, Africa’s elites have either been sidelined in many of our analyses or rendered monotonal. When we switch frames to consider the continent as embodying and projecting new, generative forms of power, it changes our view of Africa. It may also change how we understand power itself.

We look at six domains of elite power, from the political to the aesthetic, and ask how we might shift how we think about and study Africa, and how this shift would impact our conceptualization of power and its exercise. Our goal is to contribute to popular conversations about Africa and to highlight the achievements of the astonishing new generation of leaders for a broader public audience.

This website will serve as a hub for collaborative activity by scholars, activists, and practitioners working on Elite Africa and house a searchable database of primary and secondary materials on African elites.

Kofi Annan (1938-2018), Ghanaian-born diplomat, trained in economics, international relations and management; was the first UNSG to be elected from within the ranks of the UN staff itself and served in various key roles before becoming Secretary General.

Namwali Serpell, Zambia award-winning novelist and writer; Recognised early on with the Caine prize, her numerous subsequent awards include the Windham–Campbell Literature Prize, one of the world’s richest literary prizes.

Mohammed "Mo" Ibrahim, Sudanese billionaire businessman. He worked for several telecommunications companies, before founding Celtel, which when sold had over 24 million mobile phone subscribers in 14 African countries.

The Elite Africa Project

is a Canadian-based global network of scholars working to challenge predominant understandings of Africa and its elites.

Both in academia and in wider public discourse, African elites have either been ignored or depicted as grasping and self-interested. This framing perpetuates negative depictions of the continent and its peoples and draws on a simplistic understanding of what power is and how it is wielded. Our work aims to counter these perceptions by initiating global conversations about “who leads” in Africa and how they do so.

We seek to disrupt and renew both academic and public discussions of African leadership, refocusing attention on a wider, qualitatively different set of elites from those that have predominated in the past (such as the parasitic “Big Men” of neo-patrimonial politics).

This project focuses on Africa’s elites — those who operate at the highest level across a range of domains, wield significant power, and possess expert knowledge, skills, and personal strengths that are deployed in strategic, creative, and generative ways. When we switch frames to consider the continent as embodying and projecting new, generative forms of power, it changes our view of Africa. It may also change how we understand power itself.

This website is the hub for collaborative activity by scholars, activists, and practitioners working on Elite Africa and will house a searchable database of primary and secondary materials on African elites.

ELITE AFRICA PROJECT DATABASE

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Banjo, Georgia. “African Fashion Designers Will Be in the Spotlight.” The Economist, November 8, 2021. https://www.economist.com/the-world-ahead/2021/11/08/african-fashion-designers-will-be-in-the-spotlight

“In June 2022 the Victoria and Albert (V&A)museum in London will stage an exhibition on the history of African fashion, from independence through to the present day. It is an ambitious task: no exhibition could ever do justice to the fashions of an entire continent. But with 250 pieces, curators hope to show that there is far more than tassels, beading and wax prints. The V&A show will shine a spotlight on African designers, such as Lagos Space Programme, who are increasingly being recognised in the world’s fashion capitals. African talents are vying for some of the industry’s biggest awards, such as the LVMH prize for young artists - Thebe Magugu of South Africa is a recent winner.”

[Source: Excerpt from the article]

Banjo, Georgia. “African Fashion Designers Will Be in the Spotlight.”

Banjo, Georgia
This is some text inside of a div block.

African talents are vying for some of the industry’s biggest awards, such as the LVMH prize for young artists - Thebe Magugu of South Africa is a recent winner.

Aesthetic
Economic

African Development Bank. “African Development Bank’s Fashionomics Africa, partners, launch new sustainable fashion competition with $6,000 in cash prizes.” February 11, 2022. https://www.afdb.org/en/news-and-events/press-releases/african-development-banks-fashionomics-africa-partners-launch-new-sustainable-fashion-competition-6000-cash-prizes-49103

“The African Development Bank Fashionomics Africa initiative’s second online competition is offering $6,000 total in cash prizes, mentoring, new branding packages and other support for winning African designers of sustainable and circular fashion. The competition celebrates African fashion brands that will change how we produce, buy, use and recycle fashion and that encourage a more sustainable shift in consumer practices. “Sustainability is the present, not the distant or even the near future. It is where we are now, and it is vital that we open our eyes to what the fashion industry already has to offer. By embracing the industry’s existing resources, we are promoting circularity at the most fundamental level,” said Amel Hamza, Acting Director for Gender, Women and Civil Society at the African Development Bank. “With the second edition of the Fashionomics Africa contest, the Bank aims to continue highlighting the ingenuity that African fashion designers consistently demonstrate through the strength of their culture and heritage,” she added.”

[Source: Excerpt from the article].

African Development Bank. “African Development Bank’s Fashionomics Africa, partners, launch new sustainable fashion competition with $6,000 in cash prizes.”

African Development Bank
This is some text inside of a div block.

“The African Development Bank Fashionomics Africa initiative’s second online competition is offering $6,000 total in cash prizes, mentoring, new branding packages and other support for winning African designers of sustainable and circular fashion.

Aesthetic
Economic

Young, Paulette. “Power Dressing: Men’s Fashion and Prestige in Africa”. African Arts 39, no 3 (2006): 80‑82. https://doi.org/10.1162/afar.2006.39.3.80.

"Power Dressing: Men’s Fashion and Prestige in Africa, "curated by Christa Clarke at the Newark Museum of Art, was a dynamic contribution to understanding how men’s dress relates to concepts of power within Africa’s changing sociocultural and political landscape. Many of the pieces in the show were from the Newark Museum’s own important collection, some of them dating back to the museum’s first African acquisitions in the 1920s.Private and public lenders supplemented the collection. Ann Spencer, former curator of Africa, the Americas, and the Pacific at the Newark Museum for more than twenty-five years, was instrumental in developing the museum’s textile and dress collection.”

[Source: Excerpt from the article]

Young, Paulette. “Power Dressing"

Young, Paulette
This is some text inside of a div block.

"Power Dressing: Men’s Fashion and Prestige in Africa, "curated by Christa Clarke at the Newark Museum of Art, was a dynamic contribution to understanding how men’s dress relates to concepts of power within Africa’s changing sociocultural and political landscape.

Aesthetic

Rovine, Victoria L. “Mode africaine : réseaux mondiaux et styles locaux.” [“African Fashion: Global Networks and Local Styles.”] Africultures, n° 69(2006): 104-109.

African fashion is as present in the international field of haute couture, dominated by the West, as in the local fashion economies while keeping their local touch. Africa has been absent from the concept of international fashion for a long time, except for being a source of punctual inspiration for Western designers.

[Source: Excerpt from the article, adapted and translated from French].

Rovine, Victoria L. “Mode africaine : réseaux mondiaux et styles locaux.” [“African Fashion: Global Networks and Local Styles.”]

Rovine, Victoria L.
This is some text inside of a div block.

African fashion is as present in the international field of haute couture, dominated by the West, as in the local fashion economies while keeping their local touch. Africa has been absent from the concept of international fashion for a long time, except for being a source of punctual inspiration for Western designers.

Aesthetic

Rovine, Victoria L. “FIMA and the Future of African Fashion.” African Arts 43, no 3 (2010): 1‑7. https://doi.org/10.1162/afar.2010.43.3.1.

“Fashion is a prominent element of popular culture throughout Africa, a commodity that only a minority of people can afford to own, but that nearly everyone experiences via mass media of all kinds, including magazines, television, billboards, and the Internet. Despite its associations with frivolity, fashion design matters to people. It is the object of admiration and desire as well as condemnation, as vividly illustrated by FIMA’s reception in Niger, where it has been viewed variously as a source of national pride and as an affront to personal morality. Depending on where you stand, by the side of the runway or outside the gates, FIMA looks very different. What I offer here is one perspective on this event, drawing out a handful of insights into the political and artistic context in which it took place, and into the strategies of some young designers who are striving to succeed in competitive fashion markets in Africa. Stepping back from the runways and the politics of FIMA, I hope to indicate that African fashion design, like creative expressions in other visual media, provides rich material for art historical analysis.”

[Source: Excerpt from the article].

Rovine, Victoria L. “FIMA and the Future of African Fashion.”

Rovine, Victoria L.
This is some text inside of a div block.

The author reflects on African fashion design and how provides material for art historical analysis.

Aesthetic

Morsiani, Benedetta. “From Local Production to Global Relations: The Congo Fashion Week London”. Fashion Theory ahead-of-print, no ahead-of-print (s. d.): 1‑19. https://doi.org/10.1080/1362704X.2020.1845532.

This article examines the Congo Fashion Week London (CFWL), a fashion catwalk produced and consumed by Congolese and other Black Africans in London. The paper addresses the various ways through which CFWL organizers, designers and performers act within the contemporary fashion industry. The process is defined as “double-bind”. It involves a multifaceted, often contradictory, positionality between ways of dealing with the “Western gaze", the reproduction of cultural “authenticity” and the contestation of the limiting discourses of Western exoticism. The article reveals how CFWL social actors are influenced by Western and non-Western power relations through which the global fashion industry operates, while their body performances simultaneously emphasize an “original” African narrative and subvert stereotypical boundaries dictated by the West. In addition, the entanglement between the cultural/aesthetic sphere of the CFWL spectacle and its fundraising goal is explored. The paper, therefore, argues that the medium of fashion and its system are embedded in the social world of Black Africans and have effective political weight.

[Source: Article abstract].

Morsiani, Benedetta. “From Local Production to Global Relations"

Morsiani, Benedetta
This is some text inside of a div block.

This article examines the Congo Fashion Week London (CFWL), a fashion catwalk produced and consumed by Congolese and other Black Africans in London.

Aesthetic
Economic
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