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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Nimo, Ken Kweku. Africa in Fashion: Luxury, Craft and Textile Heritage. London: Laurence King Publishing, 2022.

This book explores the kaleidoscope of craft cultures that have shaped African fashion for centuries and captures the intriguing stories of contemporary and avant-garde African brands. Part One looks at Africa’s rich cultural heritage and place in the network of global fashion. The first chapter retells the history of African fashion, exploring Africa’s textile traditions, artisanship and role as a global resource. The second chapter presents a New Africa and examines the promise and potential of Africa’s markets, while challenging stereotypes and the concept of European hegemony particularly in the realm of luxury fashion. It also spotlights Africa’s unique position as the global industry shifts towards a more sustainable future. Part Two ushers the reader into the spectacular world of African fashion today. It showcases a carefully curated set of the continent’s most dynamic brands and, through interviews with prominent and inspiring designers, offers rare insight into their ethos and design practice. Covering unisex fashion, menswear, womenswear, accessories and jewelry the brands are each purposefully selected to contribute uniquely to the mosaic of Africa evolving creative landscape.

[Source: Amazon.com]

Nimo, Ken Kweku. Africa in Fashion

Nimo, Ken Kweku
This is some text inside of a div block.

This book explores the kaleidoscope of craft cultures that have shaped African fashion for centuries and captures the intriguing stories of contemporary and avant-garde African brands.

Aesthetic

Moreno-Gavara, Carme, and Ana Isabel Jiménez-Zarco, eds. Sustainable Fashion: Empowering African Women Entrepreneurs in the Fashion Industry. Cham: Springer International Publishing AG, 2019.

This book offers detailed case studies of sustainable fashion enterprises in a number of African countries. Explores and analyses opportunities for female entrepreneurs in the African textile industry. Links economic development and social integration with the study of female entrepreneurship, making this text an interdisciplinary read.

[Source: Springer.com]

Moreno-Gavara, Carme, and Ana Isabel Jiménez-Zarco, eds. Sustainable Fashion

Moreno-Gavara, Carme, and Ana Isabel Jiménez-Zarco
This is some text inside of a div block.

This book offers detailed case studies of sustainable fashion enterprises in a number of African countries.

Aesthetic

McGregor, JoAnn, Heather M. Akou, and Nicola Stylianou, eds. Creating African Fashion Histories. Politics, Museums, and Sartorial Practices. Bloomington, IN: Indiana University Press, 2022.

Creating African Fashion Histories examines the stark disjuncture between African self-fashioning and museum practices. Conventionally, African clothing, textiles, and body adornments were classified by museums as examples of trade goods, art, and ethnographic materials — never as "fashion." Counterposing the dynamism of African fashion with museums’ historic holdings thus provides a unique way of confronting ways in which coloniality persists in knowledge and institutions today. This volume brings together an interdisciplinary group of scholars and curators to debate sources and approaches for constructing African fashion histories and to examine their potential for decolonizing museums, fashion studies, and global cultural history. The editors of this volume seek to answer questions such as: How can researchers use museum collections to reveal traces of past self-fashioning that are obscured by racialized forms of knowledge and institutional practice? How can archival, visual, oral, ethnographic, and online sources be deployed to capture the diversity of African sartorial pasts? How can scholars and curators decolonize the Eurocentric frames of thinking encapsulated in historic collections and current curricula? Can new collections of African fashion decolonize museum practice?

[Source: Indiana University Press]

McGregor, JoAnn, Heather M. Akou, and Nicola Stylianou, eds. Creating African Fashion Histories.

McGregor, JoAnn, Heather M. Akou, and Nicola Stylianou
This is some text inside of a div block.

This volume brings together an interdisciplinary group of scholars and curators to debate sources and approaches for constructing African fashion histories and to examine their potential for decolonizing museums, fashion studies, and global cultural history.

Aesthetic
Political

Jennings, Helen. New African Fashion. Munich: Prestel Publishing, 2011.

From Africa-inspired to African-made, this guide is the first to celebrate a new wave of fashion designers who are emerging on the global stage. Ever since the late 1960s when Yves Saint Laurent and Paco Rabanne presented African-inspired collections, the textiles, details, and colors of Africa have moved into the realm of high fashion. In the past few years, young designers from the continent itself have emerged as people to watch in the fashion world. Helen Jennings, editor of award-winning ARISE magazine, offers in this book a brief history of African fashion, beauty and style, follows its influence on modern designers, and spotlights the best designers, photographers, and models from across the continent and the African diaspora. Profiling popular lines such as Duro Olowu, Jewel by Lisa, Black Coffee, and Eric Raisina, Jennings explores the myriad reasons why African fashion is having its moment in the sun. She shows how designers are looking beyond clichés of the African aesthetic by embracing both traditional and contemporary fabrics and garments, and how the passion for ethically and environmentally conscious clothing is fueling this trend.

[Source: Google Books].

Jennings, Helen

Jennings, Helen
This is some text inside of a div block.

From Africa-inspired to African-made, this guide is the first to celebrate a new wave of fashion designers who are emerging on the global stage.

Aesthetic

Hendrickson, Hildi. Clothing and Difference: Embodied Identities in Colonial and Post-Colonial Africa. Durham, N.C: Duke University Press, 1996.

This volume examines the dynamic relationship between the body, clothing, and identity in sub-Saharan Africa and raises questions that have previously been directed almost exclusively to a Western and urban context. Unusual in its treatment of the body surface as a critical frontier in the production and authentication of identity, Clothing and Difference show show the body and its adornment have been used to construct and contest social and individual identities in Nigeria, Zimbabwe, Tanzania, Kenya, and other African societies during both colonial and post-colonial times. Grounded in the insights of anthropology and history and influenced by developments in cultural studies, these essays investigate the relations between the personal and the public, and between ideas about the self and those about the family, gender, and national groups. They explore the bodily and material creation of the changing identities of women, spirits, youths, ancestors, and entrepreneurs through a consideration of topics such as fashion, spirit possession, commodity exchange, hygiene, and mourning. By taking African societies as its focus, Clothing and Difference demonstrates that factors considered integral to Western social development — heterogeneity, migration, urbanization, transnational exchange, and media representation — have existed elsewhere in different configurations and with different outcomes.

[Source: Duke University Press].

Hendrickson, Hildi. Clothing and Difference

Hendrickson, Hildi
This is some text inside of a div block.

This volume examines the dynamic relationship between the body, clothing, and identity in sub-Saharan Africa and raises questions that have previously been directed almost exclusively to a Western and urban context.

Aesthetic

Gott, Suzanne, and Kristyne Loughran, eds. Contemporary African Fashion. Bloomington, IN: Indiana University Press, 2010.

African fashion is as diverse and dynamic as the continent and the people who live there. While experts have long recognized the importance of clothing as a marker of ethnic identity, life stages, political affiliation, and social class, they have only just begun to discover African fashion. Contemporary African Fashion puts Africa at the intersection of world cultures and globalized identities, displaying the powerful creative force and impact of newly emerging styles. Richly illustrated with color photographs, this book showcases haute couture for the African continent. The visual impact of fashion created and worn today in Africa comes to life here, beautifully and brilliantly.

[Source: Indiana University Press].

Gott, Suzanne, and Kristyne Loughran, eds. Contemporary African Fashion

Gott, Suzanne, and Kristyne Loughran
This is some text inside of a div block.

Richly illustrated with color photographs, this book showcases haute couture for the African continent.

Aesthetic
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