In the vibrant tapestry of Africa’s narrative, a dialectical tripartite relationship has emerged, weaving together “the Africa we want” – the brand mantra of the African Union (AU) as eloquently enunciated in “Agenda 2063” strategy document, “the Africa they want” and the rich continuum of continental culture and behaviour exhibited by Africans both on the continent and in the diaspora. These intertwined threads represent not only brand mantras but also profound reflections of a collective identity in constant evolution. I have dedicated the whole chapter to this in my latest book, “De/constructing brand Africa: A Practitioner’s Perspective”.

“The Africa we want” is a mantra championed by the African Union, articulating a vision and identity forged by the diverse nations that comprise the continent. It is a call to action, a collective dream that envisions Africa as a continent of unity, prosperity, and self-determination. This mantra is deeply rooted in a commitment to reclaiming and shaping Africa’s narrative from within, asserting a narrative that is authentically African and reflective of the continent’s diverse cultures and histories.

On the flip side, “the Africa they want” serves as a compelling echo of the aspirations and perceptions held by external entities and global observers. It embodies the desire for a progressive, thriving Africa, one that defies stereotypes and misconceptions. This facet of the tripartite relationship is an intricate dance between the narratives projected onto the continent and the realities on the ground. It encapsulates the yearning for an Africa that is celebrated for its innovation, resilience, and cultural wealth, rather than burdened by historical misrepresentations.

In the heart of this dialectical tripartite relationship lies continental culture and behaviour — a dynamic force that shapes and is shaped by the reciprocal interplay between external perceptions and internal aspirations. African culture, with its myriad languages, traditions, and artistic expressions, stands as a testament to the richness of the continent. It becomes a bridge, a connector between “the Africa we want” and “the Africa they want.”

In the diaspora, the echoes of continental culture reverberate, creating a unique tapestry of identity that transcends borders. The diaspora becomes a living testament to the resilience and adaptability of African culture, influencing and being influenced by the external narratives. The vibrant expressions of African identity in the diaspora become a powerful counterpoint to external expectations, challenging stereotypes and fostering a deeper understanding of the complex and multifaceted nature of Africa’s identity.

As the dialectical tripartite relationship unfolds, it becomes evident that the narratives of “the Africa we want” and “the Africa they want” are not static, but rather dynamic and interconnected. The external gaze and internal aspirations are in a constant dialogue, shaping and reshaping the narrative of Africa. It is within this complex interplay that the true essence of Africa’s identity emerges — a tapestry woven by the hands of both external perceptions and internal dreams, grounded in the rich soil of continental culture and behaviour, and extending its roots across borders, oceans, and generations.

In the bustling streets of Lagos, the dichotomy between “the Africa we want” and “the Africa they want” becomes palpable. International media often fixates on narratives of poverty and conflict, perpetuating a one-dimensional image that fails to capture the entrepreneurial spirit thriving in the city – this is what Nigerian novelist, Chimamanda Ngozi Adichie, warned us about as “the danger of a single narrative”. Here, the vibrant tech hubs, fashion scenes, and bustling markets embody the aspirations of “the Africa we want” — an Africa of economic vitality, innovation, and cultural dynamism.

Contrastingly, a similar tension unfolds in the realm of wildlife conservation. External perceptions may romanticise a vision of Africa defined solely by its iconic savannas and majestic animals, perpetuating stereotypes that ignore the complex interactions between communities and ecosystems. “The Africa they want” might be a pristine wilderness untouched by human influence (which I believe strongly perpetuate the myth of Tarzanism), while “the Africa we want” recognises the intricate balance between conservation efforts and the livelihoods of local communities. In this context, the Maasai people’s coexistence with wildlife in Kenya stands as a testament to the harmonious relationship that can be achieved between humans and nature, challenging external narratives.

The pulse of African music, echoing from Lagos to Johannesburg, tells another tale of the dialectical relationship at play. External perceptions might focus on stereotypical genres, missing the kaleidoscope of musical expressions that define the continent. “The Africa they want” might seek a simplistic, monolithic representation, while “the Africa we want” champions the diversity of rhythms, languages, and stories embedded in each note. Artists like Burna Boy, Angelique Kidjo and Hugh Masekela embody this complexity, transcending global expectations and asserting a nuanced, authentic pan African voice that defies categorisation.

In the diaspora, the African identity takes on new dimensions, influenced by the historical experiences of displacement, colonisation, and the quest for belonging. The Afro-Caribbean carnival celebrations, for instance, fuse African traditions with the realities of the diasporic experience, creating a vibrant tapestry that both reflects and transforms continental culture. Here, the diaspora becomes a living testament to the resilience of African identity, echoing the sentiments of “the Africa we want” by reclaiming and reshaping narratives.

The dialectical tripartite relationship, thus, is woven into the very fabric of daily life across the continent and beyond. It is present in the juxtaposition of urban aspirations against rural traditions, in the fusion of ancient rituals with modern expressions, and in the negotiation between external perceptions and internal realities. Through these myriad examples, the intricate dance between “”the Africa we want”, “the Africa they want,” and the diverse cultural expressions of Africans illuminates a narrative that is ever-evolving, complex, and deeply rooted in the continent’s rich history and dynamic present.

Before signing out, let me share with you my personal journey as captured in my interview with Thando Maseko of Hope Live radio: https://youtu.be/yjMqJuJge-k

Do enjoy your weekend.

Tujenge Afrika Pamoja! Let’s Build Africa Together.

Saul Molobi (FCIM)

Publisher: Jambo Africa Online

Group Chief Executive Officer and Chairman
Brandhill Africa™
Tel: +27 11 483 1019
Mobile: +27 83 635 7773

eMailsaul.molobi@brandhillafrica.com 

Websitewww.brandhillafrica.com

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