Despite Africa exporting some of the world’s most influential sounds, aesthetics, and stories, the global creative economy remains sidelined at top forums like the G20 and B20.
According to Thabang Skwambane, the CEO of the Nahana Communications Group, the omission is costing the world far more than it realises.
“Global leaders still treat creativity like something soft or symbolic, useful for speeches, but never for budgets,” Skwambane told Sunday World.
“The creative economy speaks in whispers in a loud marketplace. Without collective advocacy, we’re overlooked,” Skwambane says.
Skwambane argues that because the creative economy spans multiple industries, from fashion and music to advertising, design, gaming and film, global bodies often don’t know where to place it.
“It’s difficult to measure, so it’s often not counted, and when you’re not counted, you’re easily discounted,” he says.
On top of that, many world leaders still see creative work as entertainment, not a serious economic engine.
They imagine informality instead of innovation and assume Africa is merely a cultural consumer, not the powerhouse it is.
Shaping global culture
From amapiano to Afrobeat, from African fashion to contemporary art, the continent is shaping global culture at an unprecedented scale. However, economic investment rarely matches this influence.
“South Africa punches well above its weight. Our creativity is rooted in diversity, resilience and deep cultural insights.
“We produce ideas that resonate locally and travel globally, and that’s something the world underestimates,” Skwambane says.
South Africa’s creative economy contributes to the GDP at levels similar to agriculture and supports hundreds of thousands of jobs.
It fuels innovation across industries by helping brands launch products, design better user experiences, and expand into new markets.
Beyond the economy, the sector provides opportunity, crucial in a country where youth unemployment remains dangerously high.
“Creative studios, production houses, and small agencies—these are training grounds for young entrepreneurs. Creativity gives young people hope and a pathway to work.”
Globally, the future economy demands skills like problem-solving, digital fluency, collaboration, storytelling, and comfort with emerging tools, skills the creative sector builds naturally.
Next frontier is owning rights
Africa has already produced global giants such as Black Coffee, Burna Boy, Tyla, William Kentridge, Nelson Makamo, Hassan Hajjaj, and Esther Mahlangu. But Skwambane believes this is only the beginning.
“In music, African sounds dominate playlists, but the next frontier is owning the rights and the platforms,” he says.
In film, television, and animation, global streamers are hungry for African stories. In design, advertising, gaming and fashion, African studios can serve global clients from home, turning local stories into global assets.
Skwambane asserts that for creativity to thrive, the government must undertake fundamental measures such as accurately measuring the sector, incorporating it into national planning, and providing incentives and funding to small and medium enterprises.
Education systems must treat creativity as a core skill, not an extracurricular activity, according to Skwambane.
“Give creative leaders a seat at the strategy table, not at the end of the process. Creativity grows market share. It builds brands. It changes behavior. You water the tree that shades your yard.”
At Nahana, Skwambane says they see daily how creativity paired with data and media can unlock growth: “It drives market share, opens new categories and delivers commercial value. Deep African insight is a competitive advantage.”
Creativity is economic infrastructure
Some of South Africa’s biggest names in music, comedy and film began their journeys in creative ecosystems like theirs, a reminder of the sector’s power to incubate global talent.
“It’s not about how we did it,” he says. “It’s about how we contribute to the ecosystem that enables success.”
As the world gathers for high-level economic conversations, Skwambane offers a pointed reminder: “Creativity is economic infrastructure. It moves products, builds nations’ reputations, attracts tourism and investment, and drives innovation.
“Africa’s young people are one of the world’s greatest creative assets. Investing in them is smart growth policy.
“Every marginalized community knows what it feels like to be invited to the party but not asked to dance. And as Africans … you know how we feel about dancing.”
