Picture this: Africa's vibrant creative industries poised to explode, potentially raking in over $20 billion each year by 2030 and sparking 20 million new jobs – but only if we invest wisely in the right policies, funding, and educational systems right now. It's an exciting vision, yet one that demands urgent action to turn potential into reality. And here's where it gets controversial: critics argue that pouring resources into 'soft' sectors like art and design might divert attention from more traditional industries, leaving some to wonder if this is just a trendy fad or a genuine path to prosperity. If you're curious about how this could reshape Africa's future, stick around – because the insights from a groundbreaking webinar reveal not just the opportunities, but the hidden hurdles that could derail it all.
In this lively context, Ananse Africa hosted a top-tier online event to dive deep into transforming Africa's creative landscape by rethinking how we cultivate and back talented creators. Held on October 23, 2025, this virtual gathering united influential figures from the industry, academia, business, and government to brainstorm ways to overhaul skills training to match the real-world challenges African young creatives encounter every day.
Kicking things off, Sam Mensah, the visionary behind Ananse Africa, shared his journey. What started as an online hub linking African fashion designers with buyers both locally and abroad quickly grew, exposing deeper issues. As Mensah put it, 'Once creatives gained market access and orders poured in, we spotted the chinks in their armor that hindered success.' These weren't minor glitches; they included struggles with maintaining high-quality products, mastering digital advertising, handling supply chains, and juggling finances.
He went further, pointing out that even straightforward tasks like wrapping goods, shipping internationally, and processing orders tripped up many small-scale designers. 'Many lacked a solid grasp of global logistics,' Mensah explained. This realization pushed for a comprehensive overhaul, creating a framework that blends skill-building, business guidance, equipment access, and mentoring.
This shift birthed the Ananse Center for Design in Lagos, Nigeria, in collaboration with the Mastercard Foundation. Today, Ananse Africa spans six nations – Nigeria, Ghana, Kenya, Senegal, Côte d’Ivoire, and South Africa – and is still growing. It's also a powerhouse for empowering women and boosting youth jobs. 'Seventy percent of our platform's creatives and training participants are women,' Mensah proudly noted, highlighting how this initiative is fostering inclusivity and opportunity.
Another key player weighing in was Botho Emerging Markets Group, a firm specializing in investments and strategies for developing regions across Africa, Asia, and the Middle East. Their expert, Mwanzia Muinde, described Africa's creative scene as buzzing with vitality yet brimming with unexplored possibilities.
'The field attracts a youthful crowd, with over 70% under 35 and more than 70% women,' Muinde observed. Valued at nearly $31 billion today, it could surge to $50 billion by 2030. But here's the part most people miss: 'Over 70% of these artists can't export; they're stuck selling to local markets, nearby communities, or their own villages.'
Digging deeper, he revealed that 75% have either basic or zero knowledge of e-commerce, and just 15% use online platforms. This stems from disjointed systems and a lack of unified national plans. 'Out of Africa's 55 countries, only 12 have a dedicated creative strategy,' Muinde said. 'Most creatives fly blind without official backing or inclusion in government blueprints.'
Training access is patchy too, mostly clustered in urban hubs like Lagos and Johannesburg, sidelining rural and smaller-town talents. Women bear the brunt, Muinde emphasized. 'Only 39% of women access the internet versus 50% of men, partly because data costs can eat up to 5% of monthly income, blocking online education and digital marketplaces.' Without swift fixes in digital know-how, market entry, and e-commerce tools, he warned, 'we could squander $200 billion in export potential by 2030.' For beginners wondering what this means, think of the creative economy as encompassing arts, fashion, media, and design – sectors that blend culture with commerce, but which need tech savvy and global connections to thrive.
Echoing these points, Lauren England, a senior lecturer in creative economics at King's College London, shared her team's research findings. 'Design students, especially in fashion, often struggle with the nitty-gritty of running a business – like budgeting, cash flow, and tax filing,' she clarified. This means bridging the gap between artistic flair and practical entrepreneurship is crucial for success.
Rita Ngenzi, head of the Africa Creative Alliance, pinpointed the core issue: a lack of organized frameworks for skills growth. 'Skills training only truly matters when it's tied to practical, market-driven systems,' she stated. The Alliance emphasizes intermediaries like creative hubs and incubators, which act as communal spaces for production and innovation – think shared studios where artists collaborate on everything from prototypes to marketing.
Bayo Omoboriowo of Tikera Africa championed teamwork and international ties, arguing that Africa's creative and cultural worlds are excluding too many. 'We're sidelining a lot of folks,' he said, blaming a 'quick win mentality' where short-term gains trump inclusive, sustainable progress. Through initiatives like their Madhouse incubator at the University of Lagos and the 'Weaving Futures' program, Tikera links urban innovators with rural craftspeople, particularly women artisans. 'These women possess raw skills and can pass them on, even without perfect English,' Omoboriowo explained. 'Our goal is to localize skill-building, making it accessible and tailored to local needs.'
Dr. Hakeem Onasanya from the Tony Elumelu Foundation echoed the sentiment that the creative economy is key to Africa's growth, empowering youth and generating employment. The foundation has supported over 21,000 entrepreneurs across all 54 African nations, investing more than $100 million and sparking 1.5 million jobs, while helping lift 2 million out of poverty. For context, this foundation acts like a lifeline, providing mentorship and funds to turn creative ideas into viable businesses.
Finally, Dr. Isa E. Omagu from Nigeria's Bank of Industry noted how creative fields like fashion, film, gaming, and digital media now outpace traditional manufacturing in employing youth and boosting GDP. Yet, he warned of roadblocks: 'Unstable skills networks, poor digital setups, scattered funding, and restricted global access.' To fix this, Africa needs to 'evolve casual, self-made creativity into structured, scalable, export-focused ventures' via innovation, education, and aligned policies. And this is the part most people miss: some argue that formalizing creativity might stifle the very artistic freedom that makes it special – is that a valid concern, or just resistance to change?
As we wrap up, it's clear that unlocking Africa's creative potential isn't just about money – it's about building a supportive ecosystem that includes everyone. But what do you think? Should governments make creative industries a top priority, even if it means shifting resources from established sectors? Do you believe in the power of hubs and incubators to democratize skills? Share your opinions in the comments – let's debate whether this boom is inevitable or just a pipe dream!
