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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Turine, Roger-Pierre. Les arts du Congo: d’hier à nos jours [Congolese Arts: From Yesterday to Today]. Bruxelles: Renaissance du Livre, 2007.

This book invites the reader to discover the wealth and diversity of the young generation of Congolese artists whose emergence is a sign that Congo is finally coming out of artistic anonymity. Reference book and unique showcase of contemporary art, this book is the reflection of a country resolutely turned towards the future.

[Source: Amazon, adapted and translated from French].

Turine, Roger-Pierre. Les arts du Congo: d’hier à nos jours [Congolese Arts: From Yesterday to Today]

Turine, Roger-Pierre
This is some text inside of a div block.

This book invites the reader to discover the wealth and diversity of the young generation of Congolese artists whose emergence is a sign that Congo is finally coming out of artistic anonymity.

Aesthetic

Schemmel, Annette. Visual Arts in Cameroon: A Genealogy of Non-Formal Training, 1976-2014. Bamenda: Langaa Research & Publishing CIG, 2015.

Annette Schemmel provides a highly illuminating case study of the major actors, discourses and paradigm that shaped the history of visual arts in Cameroon during the second part of the 20th century. Her book meticulously reconstructs the multiple ways of artistic knowledge acquisition -from the consolidation of the "Systeme de Grands Freres" in the 1970sto the emergence of more discursively oriented small artists’ initiatives which responded to the growing NGO market of social practice art opportunities in the2000s. Based on archival research, participant observation and in-depth interviews with art practitioners in Douala and Yaounde, this study is a must-read for everyone who wants to better understand the vibrant artistic scenes in countries like Cameroon, which until today lack a proper state-funded infrastructure in the arts.

[Source: Google Books].

Schemmel, Annette. Visual Arts in Cameroon

Schemmel, Annette
This is some text inside of a div block.

Annette Schemmel provides a highly illuminating case study of the major actors, discourses and paradigm that shaped the history of visual arts in Cameroon during the second part of the 20th century.

Aesthetic

Savoy, Bénédicte. Africa’s Struggle for Its Art: History of a Postcolonial Defeat. Princeton: Princeton University Press, 2022.

For decades, African nations have fought for the return of countless works of art stolen during the colonial era and placed in Western museums. In Africa’s Struggle for Its Art, Bénédicte Savoy brings to light this largely unknown but deeply important history. One of the world’s foremost experts on restitution and cultural heritage, Savoy investigates extensive, previously unpublished sources to reveal that the roots of the struggle extend much further back than prominent recent debates indicate, and that these efforts were covered up by myriad opponents. Making the case for why restitution is essential to any future relationship between African countries and the West, Africa’s Struggle for Its Art will shape conversations around these crucial issues for years to come.

[Source: Princeton University Press].

Savoy, Bénédicte. Africa’s Struggle for Its Art

Savoy, Bénédicte
This is some text inside of a div block.

For decades, African nations have fought for the return of countless works of art stolen during the colonial era and placed in Western museums. In Africa’s Struggle for Its Art, Bénédicte Savoy brings to light this largely unknown but deeply important history.

Aesthetic

Salami, Gitti, and Monica Blackmun Visona, eds. A Companion to Modern African Art. Somerset: Wiley, 2013.

Offering a wealth of perspectives on African modern and modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as explores broader themes such as discoveries of new technologies and globalization. A pioneering continent-based assessment of modern art and modernity across Africa, includes original and previously unpublished fieldwork-based material, features new and complex theoretical arguments about the nature of modernity and modernism and addresses a widely acknowledged gap in the literature on African Art.

[Source: Wiley].

Salami, Gitti, and Monica Blackmun Visona, eds. A Companion to Modern African Art

Salami, Gitti, and Monica Blackmun Visona
This is some text inside of a div block.

Offering a wealth of perspectives on African modern and modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as explores broader themes such as discoveries of new technologies and globalization.

Aesthetic

Savage, Polly, Anthony Caro, Robert Loder, and John Picton. Making Art in Africa 1960-2010. Burlington: Lund Humphries, 2014.

What does it mean to make art in Africa? In Making Art in Africa, 60 of the continent’s leading artists give very different answers to this question through a series of extraordinary first-hand commentaries relating to specific works. The book includes accounts from key curators and co-ordinators, and primary images are considered in the context of contemporary events, personal discoveries, and the networks such as Triangle which have brought them together.

[Source: Lund Humphries].

Savage, Polly, Anthony Caro, Robert Loder, and John Picton. Making Art in Africa 1960-2010

Savage, Polly, Anthony Caro, Robert Loder, and John Picton
This is some text inside of a div block.

What does it mean to make art in Africa? In Making Art in Africa, 60 of the continent’s leading artists give very different answers to this question through a series of extraordinary first-hand commentaries relating to specific works.

Aesthetic

Pierrat, Emmanuel. Comprendre l’art africain [Understanding African Art]. Paris: Chêne, 2008.

In this book, Emmanuel Pierrat answers all the questions that people may have about African art, such as the idea of falsehood, the multiplicity of ethnicities and styles, the materials (from gold to ivory), the voodoo fetish, daily objects or symbols of power.

[Source: Amazon, adapted and translated from French].

Pierrat, Emmanuel. Comprendre l’art africain [Understanding African Art]

Pierrat, Emmanuel
This is some text inside of a div block.

Emmanuel Pierrat answers all the questions that people may have about African art, such as the idea of falsehood, the multiplicity of ethnicities and styles, the materials (from gold to ivory), the voodoo fetish, daily objects or symbols of power.

Aesthetic
Religious/Spritual
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