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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El Glaoui, Touria. “Inside Africa’s Thriving Art Scene.” Filmed in August 2017 at TEDGlobal. Video, 07:48. https://www.ted.com/talks/touria_el_glaoui_inside_africa_s_thriving_art_scene?language=en

“Let’s talk about how the narrative of Africa is being told, and who is doing the telling. I want to share with you the selection of work by contemporary artists from Africa and its diaspora. I love this art. I find it beautiful and inspiring and thrilling, and I really hope I am able to pique your interest.”

[Source: Excerpt from introduction].

El Glaoui, Touria. “Inside Africa’s Thriving Art Scene.”

El Glaoui, Touria
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The video discusses a selection of of work from artists from Africa and the diaspora

Aesthetic

DW Documentary. “Africa’s Looted Art.” Released in September 2020. Video, 42:26. https://www.youtube.com/watch?v=3RXlVr_15JY

Africa’s colonial overlords brutally stripped it of countless cultural treasures. Now, the fate of these items is being hotly debated in Europe and Africa as well. Some say the pieces should be returned, while others have reservations. […] What do the people in the African countries where the pieces originated think about all this? What are the views of researchers, museum directors, artists and curators? What emotions arise when the frequently painful past is stirred up and examined? And how significant is the issue in the context of problems such as poverty, hunger and corruption informer colonies?

[Source: Video description].

DW Documentary. “Africa’s Looted Art.”

DW
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What emotions arise when the frequently painful past is stirred up and examined? And how significant is the issue in the context of problems such as poverty, hunger and corruption informer colonies?

Aesthetic

CNN. “Art All Across Africa.” Filmed in March2020 as part of the program “Africa Avant-Garde”. Video, 23:06. https://www.cnn.com/videos/world/2020/03/27/contemporary-art-africa-avant-garde.cnn/video/playlists/africa-avant-garde/

In this month’s Africa Avant-Garde, CNN crosses the continent to meet some of the key people behind the resurgent contemporary art scene.

[Source: Video description].

CNN. “Art All Across Africa.”

CNN
This is some text inside of a div block.

In this month’s Africa Avant-Garde, CNN crosses the continent to meet some of the key people behind the resurgent contemporary art scene.

Aesthetic

Yusuf, Dele. “ART X Lagos is Raising the Bar for African Art and Culture.” The Africa Report, November 8, 2021.

ART X Lagos is running as a physical fair from November 4-7, while its online version runs from November 4-21. Works of young and veteran artists dot the galleries, each telling a unique story about Africa’s culture and lost identities.

[Source: article abstract].

Yusuf, Dele. “ART X Lagos is Raising the Bar for African Art and Culture.”

Yusuf, Dele
This is some text inside of a div block.

ART X Lagos is running as a physical fair from November 4-7, while its online version runs from November 4-21. Works of young and veteran artists dot the galleries, each telling a unique story about Africa’s culture and lost identities.

Aesthetic

The Independent. “The Controversy in African Contemporary Art.” The Independent, February 17, 2022. https://www.independent.co.ug/the-controversy-in-african-contemporary-art/

“What is African art and should African diaspora artists enjoy the African artists identity? The term African contemporary art despite its success in global art circles in recent years, has not been without controversy. In the early 1990s and before, the term generated a furor of arguments, including in particular during the1989 triennial symposium gathering of Africanists in the state of Baltimore, USA where mention of the phrase African contemporary art was ‘interpreted as a regrettable intrusion of a tiresome product outside the concerns of serious scholarship’. On other occasions, during the same workshop, the phrase was described as marginal and of irrelevance.”

[Source: Excerpt from the article].

The Independent. “The Controversy in African Contemporary Art.”

The Independent
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What is African art and should African diaspora artists enjoy the African artists identity?

Aesthetic

Le Monde. “Arts africains: restituer les œuvres, rétablir les faits.” [“African Arts: Giving Back Artworks, Setting the Record Straight.”] Le Monde, October 23, 2021. https://www.lemonde.fr/afrique/article/2021/10/23/arts-africains-restituer-les-uvres-retablir-les-faits_6099633_3212.html.

This article focuses on the restitution by France to Benin of 26 artworks on November 9th, 2021. This is not only a political gesture, but also the acknowledgment of the work done by historians over decades of colonial rules and who established many painful truths, whether we like or not.

[Source: Article abstract, translated from French].

Le Monde. Arts africains.

Le Monde
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his article focuses on the restitution by France to Benin of 26 artworks on November 9th, 2021.

Aesthetic
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