On March 18th 2017, Rapper and Canadian Jew Drake Aubrey released his new album More Life, only he didn’t call it an album, not exactly. He called it a playlist and asked that we not consider a proper body of work. It is highly convenient for Drake to describe the album this way, setting the scene for how reviewers and the audience that isn’t already besotted with his work is supposed to consume the album.
You see, Drake has been making the news for the last few years for being a ‘Culture Vulture’, a half-white upper middle class surburban kid who reinvented himself first as a rapper from Atlanta and has subsequently reinvented himself with each new album he releases, taking on and shedding identities as he goes on to top charts and smash sales records. His last album Views, was so decidedly Caribbean that West Indian communities began to rail against him. But Drake doesn’t seem to care, considering he ‘features’ three British Grime rappers on his new project, probably as he’s into Black British sound and subcultures.
Drake and his obsession with co-opting the music of other cultures and artists and passing them off as authentic is a metaphor for much of the Nigerian creative industry.
There is talent in Nigeria, undeniable world class talent. Artists like Njideka Akunyili Crosby and her engaging paintings that incorporate the minute of Nigerian life into surreal portraits is evidence of this. We all watched, impressed beyond belief as Chike, a young Nigerian interpreted some of the most complex songs out there on The Voice Nigeria. We’ve seen Somkhele Idhlama, a relative newbie receive the Toronto International Film Festival Rising Star award, for stellar work. But we also have the thousands that get by on mediocre, diluted impressions of the genius our small cache of true talents have offered to the world.
The Culture Vulture syndrome, where people seek to profit by poorly replicating the unique perspective or a culture, is not one that can be really discussed without discussing the inhuman conditions in which the average creative Nigerian is expected to operate. The odds are always stacked against them and every victory has to be fought for and earned with quadruple the energy and initiative their contemporaries need in more developed countries. This is why it is simultaneously unsurprising that Culture Vultures choose instead to lie in wait for someone else to come up with their ideas, and heartbreaking for the artist whose work is commodified without their permission so explicitly. But even then, it is never that simple.
Singer Runtown’s biggest hit “Mad Over You” spawned a movement of copycat songs. Late 2016 without much fanfare Runtown puts out “Mad Over You”; it is such clever appropriation of all the elements of contemporary hip-life and so identical to Ghanaian artists like Mr Eazi that it takes weeks, months in some cases before the audience realizes the song is made by a Nigerian. Tired of the current sound being flogged on the radio, the audience gravitates en-masse towards Runtown’s ‘new’ sound and before he reaches critical mass and commercial success, broaching the levels of fame normally reserved for Davido and Wizkid. By the end of the month there are dozens of identical sounding songs by artists seeking to cash in on the sound. Davido makes one, Wizkid too, even Psquare. By the third month, everyone is trying to replicate Runtown’s success with a hip-life inspired ‘hit’ of their own. We saw it happen with Tekno’s “Pana”, with Timaya’s “Sanko”, with Wizkid’s “Ojuelegba”. This is the vicious cycle in which many of Nigeria’s creative scenes operate.
Coming up with an original idea is hard, and culture vultures make the process even harder. For one, they reduce the shelf life of an original idea by accelerating it’s half life. If it takes a year for a slang to lose traction, the proliferation by culture vultures can cut down the time to four months. Culture vultures also force creatives creating from original ideas to rush the process and try to test out or capitalize on unrefined ideas. Finally they rob the creative of much needed financial compensation, reducing his financial mobility and by extension his ability to create.
Culture Vultures are however easily stopped. Their primary reason for co-opting the creative work of others is financial gain. If we vote with our wallets, we can dissuade them from trying to sell us diluted work. It is the only way.
Following a successful first campaign, Studio Monkey Shoulder returns to Nigeria for the second year in a...
Following a successful first campaign, Studio Monkey Shoulder returns to Nigeria for the second year in a row. A brainchild of the Scottish Whisky brand Monkey Shoulder and online radio station Worldwide FM, Studio Monkey Shoulder is a grassroots music initiative created to fund trailblazers who are pushing sonic boundaries while also fostering real-world connections across different regions. Last year, Jazzhole received the Nigerian grant to digitally remaster rare archival recordings that preserve and celebrate Nigeria’s rich musical heritage.
This year, the competition, in continued partnership with legendary DJ and Worldwide FM founder Gilles Peterson, once again invites the country’s most innovative and ambitious grassroots music communities – everything from from independent record stores to DIY music venues, online radio stations and collectives – to apply for a £10,000 grant (₦20 million) to bring their hugely imaginative music projects to life.
“I am thrilled to see Studio Monkey Shoulder grow in its second year in partnership with Worldwide FM. It’s been a privilege to work with the communities we supported in 2024, seeing their projects thrive and come to life,” Peterson stated in a press release. “I am excited to uncover more amazing community-driven projects in Nigeria and witness the talent that comes with it as the project evolves in year two.”
The winner of this year’s grant will join an international creative network that’s designed to elevate community voices and bring their stories to a global stage. Applications for Nigeria’s Studio Monkey Shoulder Fund open on April 28th and close on June 1st.
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the...
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the...
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the streets of Lagos Island alive with colour, music, and culture. With roots dating back to 1890, the Lagos Fanti Carnival is one of Nigeria’s oldest and most vibrant cultural traditions, celebrating the deep ties between Nigeria and Brazil through a dynamic fusion of Afro-Brazilian heritage and modern creativity.
This year’s edition is supported by the Lagos State Ministry of Tourism, Arts, and Culture, in partnership with Robert Taylor Media and the Brazilian Descendants Association of Lagos. Together, they aim to honour the legacy of the Afro-Brazilian community in Lagos — descendants of formerly enslaved returnees who shaped the city’s culture, religion, and architecture.
The carnival procession will kick off at 12:00 PM, starting from Old Defence Road and will end at the JK Randle Centre, with accreditation beginning at 10:00 AM. Attendees can expect a stunning showcase of traditional costumes, Afro-Brazilian drumming, dance, and performances from local creatives reinterpreting heritage for a new generation.
Whether you’re drawn to the dazzling pageantry, the live performances, or the chance to connect with a rich cultural history, the Fanti Carnival is an unmissable event this Easter.
Tickets are now available, and more information can be found via the official Fanti Carnival website or their social platforms.
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of...
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanyingmusic video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.
In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion.
In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said.
Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.