Catalyzing Global Change: The Role of Africa in Shaping the Creative Economy

Kiven Yefon
May 14
6 min read

Updated: Aug 4

Post-Event Editorial by Black Film Wire

From May 6 to 8, 2025, Los Angeles became a meeting point for visionary creatives, cultural diplomats, and media leaders as it hosted Catalyzing Global Change: The Role of Africa in Shaping the Creative Economy. Convened by communications strategist and USC Master of Public Diplomacy graduate Maliz Mahop, the three-day initiative brought a bold mission into focus: to connect Africa’s thriving creative industries with Hollywood’s global platforms, deepening cultural understanding while forging new strategic partnerships.

Presented in collaboration with USC’s Society of Public Diplomats and the Center for the Political Future, the program responded to a growing need in global affairs—renewing the strength and relevance of partnerships. At the heart of it all was a firm belief: that Africa’s creative sector, driven by digital infrastructure, youth talent, and centuries-old storytelling traditions, represents not just cultural value, but global opportunity.

DAY ONE — MAY 6

The program began with a series of high-level engagements that rooted the delegation’s visit in policy and strategy. Early in the day, the African Creative Economy Delegation met with Cameron Trimble, founder of Hip Politics and former White House Director of Digital Engagement. In a private session, they exchanged views on how cultural diplomacy can be used to shift perception, strengthen trade, and open new pipelines for intellectual property exchange between Africa and the U.S.

Later, the group met with Christine Peterson and members of the International Trade Team from the Office of Los Angeles Mayor Karen Bass. The dialogue explored how cities like LA can serve as gateways for African creatives to enter the U.S. market—not just as storytellers, but as economic contributors, brand builders, and entrepreneurs.

That evening, the delegation and wider community gathered at the prestigious USC School of Cinematic Arts for a film screening titled Six Resilient Women. Curated by Celestina Aleobua, the program showcased six short films by Nigerian filmmakers, each exploring womanhood, resistance, and the complexities of identity.

Hosted by cultural critic and filmmaker Nia Miranda, the screening drew in an eclectic audience—from students to seasoned directors—prompting deep reflection and conversation on the resilience of African women across generations. The screening included powerful works like Leaving Ikorodu in 1999 by Rashida Seriki and Tina, When Will You Marry? by Aleobua herself. Each film reflected a deeply personal yet universally resonant voice, reminding the audience of the emotional truths and cinematic artistry coming from the continent.

"It was such a joy to curate the second Resilient Women series at USC, where so many Nigerian women connected with the theme of defying cultural expectations. After touring my short film Tina, When Will You Marry?, I’m back in Toronto and excited to start planning the third edition here."

-Celestina Aleobua.

DAY TWO — MAY 7

With minds and hearts stirred by the previous night’s storytelling, the delegation shifted to business and strategy at the USC Annenberg School for Communication and Journalism, where the central panel of the symposium took place. Titled Africa’s Role in Shaping the Global Creative Economy, the conversation brought together leading figures from the creative sector to dissect challenges, spotlight opportunities, and map out actionable paths forward.

The panel tackled a wide range of issues—from content co-creation and equitable partnerships to licensing rights and the export of African talent into global markets. Participants didn’t shy away from discussing systemic gatekeeping or the nuanced tension between visibility and authenticity.

As the conversation around strengthening Africa’s creative economy deepened, several panelists emphasized the need for strategic, respectful collaboration. Omotola Jalade-Ekeinde, an Oscar-voting Academy member and Nollywood icon, passionately advocated for storytelling in traditional African languages. She pointed out that “some of the most impactful African films—critically and commercially—are those told in indigenous languages.” According to her, many outperform their English-language counterparts because they resonate more authentically with audiences at home and abroad.

Chike Nwoffiah underscored the need for Pan-African filmmakers to “understand our issues before trying to solve them.” He called on creatives to go beyond surface-level narratives, urging them to revisit history and explore the colonial conditioning that has shaped audience tastes and industry biases. “Only through understanding the roots of our limitations can we tell stories from a place of strength and truth,” he said. He also emphasized that collaboration with Africa’s creative sector must be approached with respect and humility—a principle often neglected in high-level international projects.

Eso Dike echoed this concern, particularly around casting decisions in international productions set in Africa. “It’s frustrating to see films like Children of Blood and Bone, deeply inspired by Nigerian culture and written by a Nigerian, feature so few local actors in principal roles,” he said. “

With the global spotlight on the need for deeper, more authentic representation, the minimal inclusion of local Nigerian actors in high-profile, Nigeria-inspired productions remains a frustrating contradiction—especially when those very projects are rooted in the culture and stories of the region.

Moderating the panel, Sahndra Fon Dufe, founder of Black Film Wire, steered the discussion toward the power of strategic storytelling and the need to scale African cinema just as Afrobeats has become a global cultural export—now worth over $600 million. Her focus was clear: help the global audience understand that Africa’s creative industries are not just emerging—they’re essential, dynamic forces shaping global culture.

For many in attendance, this wasn’t just another discussion. It was a long-overdue acknowledgement of Africa’s rightful place in the global storytelling ecosystem—and a clarion call for Hollywood to move from performative interest to meaningful engagement.

The room was filled with heavyweight attendees from across diplomacy, academia, entertainment, and international affairs. Notable guests included Dean Willow Bay of the USC Annenberg School for Communication and Journalism; Ambassador Diane Watson; S. Bayo Akinfemi, acclaimed director, actor on Bob Hearts Abishola, and USC professor; Terry Batch, CEO of Global LA; Joshua Shen, Diplomat in Residence at the Center on Public Diplomacy; Venita Smit, Acting Consul General of South Africa; Desirae Lantry, Director of Alumni Relations at USC Annenberg; Glenn Osaki, Director of International Affairs at USC Annenberg; Olamiposi Somoye, professor at the USC Iovine and Young Academy; Kambiz Akhavan, Managing Director of the USC Dornsife Center for the Political Future; Chef Opportune Akendeu of African Food Chops; Nick Cull, historian, Professor of Public Diplomacy, and Founding Director of the Master’s Program in Public Diplomacy; Julie Duhaut-Bedos, former Consul General of France in Los Angeles and Interim Director of the USC Center on Public Diplomacy; Faithe Clary, Associate Director of the USC Black Alumni Association; Stacy Ingber, Special Assistant to Dean Willow Bay and Associate Director for Programming and Administration; and Cesar Corona, Director of Engagement at the Center on Public Diplomacy.

DAY THREE — MAY 8

The final day of the program culminated in a private, invitation-only reception hosted by Women In Film LA. Co-curated by Maliz Mahop and The Chanah Group, the evening brought together some of the most influential women (and allies) working across film, media, policy, and philanthropy.

Set in an elegant but intimate space, the gathering was less about speeches and more about conversation. Guests included Dr. Obii Pax-Harry, Omotola Jalade-Ekeinde, Eso Dike, Ahmadou Seck, Syrinthia Studer, Datari Turner Ladejo, Celestina Aleobua, Sahndra Fon Dufe, Pauline Fischer, and Meesha Brown, among others. Senior Women In Film leadership were also present, including Kirsten Schaffer, Andria Wilson Mirza, CC W’emedi, and Muhyi Ali.

Together, these changemakers explored the roles they play in shaping inclusive narratives, mentoring emerging talent, and scaling global projects rooted in cultural truth. It was a celebration of what’s possible when Black and African voices are at the center of their own stories—and when global allies listen, invest, and collaborate with intention.

"There's an urgent need to amplify the incredible work happening across Africa. But the real question is: who are the right partners? Who should we be working with, and who are the people we can truly build with? That's exactly why this meeting was convened."

-Maliz Mahop

Why It Matters

This three-day initiative did more than showcase talent. It designed a new blueprint for creative diplomacy. Marrying high-level engagement with grassroots storytelling, it made the case that Africa’s creative industries are investable, exportable, and globally scalable.

Whether through licensing deals, co-production arrangements, or direct capital investments, the African creative economy represents a frontier that is both culturally rich and economically vital. And this program, led by a passionate graduate student and cultural architect, reminded everyone in the room—and far beyond—that Africa is not “emerging.” Africa is here.

As Mahop noted in her original briefing:

“In today’s global climate, partnerships are under pressure and in need of renewal. This initiative offers a timely opportunity to strengthen collaboration, foster cross-cultural exchange, and spotlight stories that reflect the communities we come from and the world we share.”