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| Creative Africa Nexus | |
|---|---|
| Name | Creative Africa Nexus |
| Formation | 2021 |
| Type | Initiative |
| Headquarters | Addis Ababa |
| Region served | Africa |
| Leader title | Director |
| Leader name | (see Governance and Organizational Structure) |
| Parent organization | African Union Development Agency (AUDA-NEPAD) |
Creative Africa Nexus
Creative Africa Nexus is a pan-African initiative that supports cultural industries, creative entrepreneurs, and audiovisual sectors across Africa. It operates through partnerships with continental institutions, multilateral agencies, national ministries, and private foundations to mobilize financing, capacity building, and market access for creative professionals. The initiative engages stakeholders ranging from film festivals, music labels, and art biennales to trade bodies, development banks, and sovereign agencies.
Creative Africa Nexus links institutions such as the African Union and African Development Bank with platforms including the Pan-African Film and Television Festival of Ouagadougou and the Cape Town International Film Market & Festival, targeting sectors represented by African Union Commission policy frameworks, UNESCO conventions, and WIPO protocols. Its scope intersects with events like the Durban International Film Festival, FESPACO, and the Marrakech Biennale, and with markets such as the Cannes Film Market and Berlin International Film Festival. The initiative draws on expertise from entities including the Ford Foundation, Rockefeller Foundation, and Open Society Foundations, and works alongside national agencies like Nigeria Film Corporation and Kenya Film Classification Board.
The Nexus was launched amid discussions at forums convened by African Union Development Agency (AUDA-NEPAD), African Union Commission, and summits such as the Tokyo International Conference on African Development and the AU Summit where cultural economy agendas were raised alongside the African Continental Free Trade Area. Early convenings referenced studies by the World Bank, International Monetary Fund, and UNCTAD on creative sector contributions. Founding partners included the African Export-Import Bank, African Development Bank Group, and philanthropic actors like the MacArthur Foundation. Milestones tracked collaborations with festivals such as the Pan African Film Festival (US), the Lagos Photo Festival, and industry gatherings like MIPTV and MIPCOM.
Programs include financing instruments modelled on guarantees used by the International Finance Corporation and guarantee schemes similar to the Africa Risk Capacity framework, capacity-building modules drawing on curricula from the University of Cape Town and Makerere University, and market-access strategies aligned with trade events like the South by Southwest showcase and the AfriMusic Pop conference. Initiative components work with film fund structures like the South African National Film and Video Foundation and distribution networks involving Canal+ and M-Net. Training partnerships have included institutes such as the Egyptian National Film Center, Nollywood Factory, and the Kenya National Theatre. Programs also reference award circuits like the Africa Movie Academy Awards and Africa Magic Viewers' Choice Awards.
Funding partners encompass multilateral financiers including the European Investment Bank, European Union, and bilateral agencies like USAID and DFID alongside private equity from groups similar to Helios Investment Partners and Nigerian Sovereign Investment Authority. Cultural partners include the British Council, Institut français, and Goethe-Institut. Collaboration extends to broadcasters such as BBC Studios, Al Jazeera, MultiChoice, and streaming platforms such as Netflix and Showmax for distribution experiments. Research collaborations have involved think tanks like the African Centre for Cities, Africa Policy Research Institute, and universities including University of Lagos, Stellenbosch University, and University of Nairobi.
Reported outcomes cite increased access to production financing resembling facilities offered by the African Export-Import Bank and improved market linkages demonstrated at markets like FESPACO and Durban FilmMart. Case studies reference partnerships that scaled projects from incubators such as iROKOtv-linked ventures and supported co-productions with partners in France, Germany, and South Africa under treaties similar to bilateral co-production agreements. Outcomes claim growth in festival programming for platforms like Shorts International and increased training outputs comparable to initiatives at the National Film and Television School in the UK. Evaluations have drawn on metrics used by UNESCO cultural statistics and trade analyses by UNCTAD.
The Nexus operates under a governing framework involving the African Union Development Agency (AUDA-NEPAD) and advisory boards with representatives from institutions such as the African Development Bank, European Investment Bank, UNESCO, WIPO, World Bank Group, and regional economic communities like the Economic Community of West African States and the Southern African Development Community. Leadership structures include a directorate hosting specialists from entities like AfriLabs, African Creative Economy Network, and national ministries such as the Ministry of Arts and Culture (South Africa). Implementation partners include national film bodies like the Ghana Film Authority and trade bodies such as the Federation of West African Chambers of Commerce and Industry.
Critics reference concerns similar to debates around the Cotonou Agreement and the AGOA regarding asymmetrical partnerships, citing power imbalances with partners like European Commission donors and multinational platforms including Netflix and Canal+. Challenges noted reflect issues faced by initiatives referenced in reports by Human Rights Watch and Transparency International on accountability and governance. Operational constraints echo logistics and visa issues discussed at events like the Cannes Film Festival and Berlin International Film Festival, while sector challenges parallel debates within Nollywood and South African Music Export Office on remuneration, intellectual property enforcement under WIPO norms, and market concentration involving companies such as MultiChoice and Vivendi.
Category:Pan-African organisations