By Emmanuel Mihiingo Kaija
The African entertainment industry, from Nollywood’s cinematic marvels, the rhythmic pulse of Afrobeats sweeping global charts, to the literary brilliance manifest in contemporary novels and spoken word, is a landscape that narrates the continent’s creativity and resilience, yet beneath the spectacle of international recognition and domestic admiration lies a structural quagmire of economic exploitation, systemic mismanagement, and legal neglect that threatens the sustainability of its most essential actors—its creators; musicians, filmmakers, dancers, writers, and visual artists labor tirelessly to produce content consumed by millions, yet numerous studies reveal a staggering imbalance between the wealth generated and the remuneration received, with economists calculating that African artists capture less than 10–15% of the revenues accrued from their works globally despite contributing over 25% of total content to the diaspora markets alone, while data from the International Confederation of Societies of Authors and Composers (CISAC) in 2024 notes that only 12% of royalties collected in Sub-Saharan Africa are efficiently distributed to the rightful owners, with the remainder swallowed by intermediaries, management agencies, or lost to bureaucratic inefficiencies, a phenomenon further exacerbated by the rapid digitization of the music and film industries where streaming platforms have democratized access to audiences but simultaneously cloaked revenue structures in opacity, creating an algorithm-driven economy where visibility is monetized, yet remuneration remains abstract and unverified, a reality particularly detrimental to emerging artists who, without substantial marketing budgets or established fan bases, see their intellectual property contribute to enormous streams—global streaming reached over 4 trillion plays in 2023 alone—while financial returns are negligible, as evidenced by the 2024 report from the African Creative Economy Initiative which found that the average revenue per stream for Nigerian artists was less than $0.004, a figure astronomically lower than the $0.014 per stream commonly earned by North American counterparts, a discrepancy reflecting structural inequities, colonial legacies of undervaluing African cultural labor, and the continued exploitation by local agents who, under the guise of contracts, withhold royalties, impose excessive management fees, or coerce unfavorable terms, leaving artists economically vulnerable, psychologically stressed, and culturally marginalized, all while the global appetite for African content skyrockets, with Afrobeat tracks appearing on Billboard charts, Nollywood films distributed in over 40 countries, and literary works being translated into multiple languages, yet the creators themselves remain on the periphery of the wealth they generate, underscoring the paradox of prominence without prosperity, a duality that resonates with the African proverb, “He who sings the song should not be denied the yams,” reminding us that cultural labor demands tangible acknowledgment in both material and symbolic terms.
Compounding this economic disparity are the legal and regulatory inadequacies that leave creators vulnerable; while many African countries possess copyright legislation on paper, enforcement is inconsistent, bureaucratically entangled, and often inaccessible to those without substantial legal resources, a challenge that is magnified in cross-border contexts where content streamed internationally generates revenue in multiple currencies yet fails to reach the African creators due to contractual loopholes, weak bilateral agreements, and the monopolization of collection societies by a few dominant players, as reported by WIPO in 2023, which revealed that only 3 out of 54 African countries have a fully functional and transparent royalty collection and distribution system, leaving artists in Ghana, Kenya, Uganda, and Mozambique, among others, in precarious positions where their creative output fuels global markets but contributes minimally to personal or national economic growth, a reality that intersects with sociological concerns, as the mismanagement of royalties perpetuates cycles of inequality, limits access to creative education and infrastructure, and erodes trust in local cultural institutions, while psychological studies indicate a rise in burnout, anxiety, and depression among artists who feel exploited, unseen, and undervalued, a situation that is particularly acute for female artists and marginalized groups who face intersectional exploitation that includes sexual coercion, inequitable pay, and limited negotiating power, a phenomenon highlighted in the African Women’s Development Fund 2023 report which notes that 68% of surveyed female musicians and filmmakers reported experiences of contract-based exploitation or coercion, a sobering statistic that reflects both gendered inequities and broader societal power imbalances, showing that the cultural economy is deeply intertwined with social hierarchies and historical patterns of marginalization.
Technological advancement, while opening new channels for distribution, has paradoxically amplified exploitation, as streaming services, social media algorithms, and digital marketplaces prioritize engagement and visibility over equitable compensation, a reality that has prompted scholars in media studies to argue for the adoption of blockchain-based rights management systems, enabling transparent tracking of revenue, automated royalty distribution, and immutable proof of ownership, yet these solutions face challenges of infrastructure, cost, and regulatory acceptance, highlighting a tension between innovation and practical accessibility; simultaneously, cultural theorists emphasize that African arts cannot be fully commoditized without acknowledging the symbolic and community-based value embedded within music, cinema, literature, and performance art, with works often serving as social commentary, historical record, and instruments of identity formation, a function that is undermined when creators are denied economic agency, as expressed in the proverb, “The river that forgets its source will dry up,” reinforcing that the sustainability of African culture depends upon honoring and materially supporting those who produce it.
The Paradox of Growth: Expanding Revenues Amidst Stagnant Artist Compensation
The African entertainment industry, encompassing music, film, and digital content, has witnessed significant growth over the past decade. For instance, Nigeria’s Nollywood is projected to reach an estimated $14.82 billion in revenue by 2025 . Similarly, Spotify’s royalty payouts to Nigerian and South African artists surged to approximately $59 million in 2024, more than doubling the previous year’s earnings . Despite these impressive figures, the financial benefits for the artists—the creators of this content—remain disproportionately low.
In South Africa, for example, of the R200 million in royalties collected by the Southern African Music Rights Organisation (SAMRO) in 2020, a staggering R41 million was allocated to administrative costs, leaving a minimal amount for the artists themselves . This misallocation of funds underscores a systemic issue where the entities responsible for managing royalties prioritize operational expenses over the fair compensation of artists.
Legal Frameworks: Inadequate Protection for Artists’ Intellectual Property
The legal infrastructure governing artists’ rights in Africa is often outdated and ill-equipped to address the complexities of the modern entertainment landscape. In Kenya, for instance, existing laws fail to adequately address how royalties are calculated and distributed from streaming services, leaving artists with low earnings from platforms . Moreover, the lack of clear regulations regarding data ownership and privacy further exposes artists to exploitation through the misuse of their data on distribution channels.
This legal ambiguity is not confined to Kenya. Across the continent, many countries lack robust copyright enforcement mechanisms, allowing for widespread piracy and unauthorized use of artists’ works. In Nigeria, for example, the government loses an estimated N10 billion to N15 billion (approximately $6 million to $9 million) annually due to piracy in the Nollywood sector . This rampant infringement not only deprives artists of rightful earnings but also discourages investment in the creative sector.
Cultural Implications: Undervaluation of African Creative Labor
The persistent undervaluation of African artists’ work is deeply rooted in historical and cultural contexts. The colonial legacy of devaluing African culture continues to manifest in contemporary times, where African creative labor is often seen as less valuable compared to Western counterparts. This cultural bias is reflected in the disproportionate earnings of African artists relative to the global success of their works.
For example, while African music genres like Afrobeats have gained international acclaim, the artists behind these genres receive a fraction of the revenue generated. In 2024, Nigerian artists earned over ₦58 billion ($38 million) in royalties, more than double the 2023 figure. However, this amount remains a small percentage of the total revenue generated from their music . This disparity highlights a systemic issue where African artists are not adequately compensated for their contributions to the global entertainment industry.
Psychosocial Impact: Mental Health Challenges Among Artists
The financial and systemic challenges faced by African artists have significant psychosocial implications. The constant struggle for fair compensation, coupled with the lack of recognition and support, contributes to mental health issues among artists. Studies have shown that artists in Africa experience higher rates of anxiety, depression, and burnout compared to other professions.
The pressure to produce content without adequate financial backing or institutional support leads to creative fatigue and a sense of disillusionment. Many artists report feeling exploited and undervalued, which can erode their passion and commitment to their craft. This mental health crisis is further exacerbated by the lack of accessible mental health services tailored to the unique needs of artists.
Digital Disruption: The Double-Edged Sword of Streaming Platforms
The advent of digital platforms like Spotify, Apple Music, and YouTube has revolutionized the distribution of African music. These platforms have provided artists with unprecedented access to global audiences, facilitating the international success of artists like Burna Boy and Wizkid. However, this digital revolution has also introduced new challenges.
While streaming platforms offer a vast audience reach, they often provide minimal financial returns to artists. The revenue per stream is significantly low, and the distribution algorithms tend to favor established artists, making it difficult for emerging talents to gain visibility and earnings. Additionally, the lack of transparency in how royalties are calculated and distributed further complicates the financial landscape for artists.
Recommendations for Reform: Towards a Sustainable and Equitable Future
To address the systemic issues plaguing Africa’s entertainment industry, several reforms are necessary:
1.Strengthening Legal Frameworks: Governments should update and enforce copyright laws to protect artists’ intellectual property rights effectively. This includes establishing clear regulations for digital platforms and addressing issues related to data ownership and privacy.
2.Improving Royalty Collection and Distribution: Transparent and efficient systems for collecting and distributing royalties should be implemented. This involves reducing administrative costs and ensuring that a larger share of collected royalties reaches the artists.
3.Investing in Mental Health Support: Establishing accessible mental health services for artists can help address the psychosocial challenges they face. These services should be tailored to the unique needs of artists and provide support for issues like burnout and anxiety.
4.Promoting Fair Compensation: Efforts should be made to ensure that artists are fairly compensated for their work. This includes negotiating better terms with digital platforms and ensuring that artists receive a fair share of the revenue generated from their content.
5.Encouraging Local Investment: Governments and private sectors should invest in the local entertainment industry to build infrastructure, provide training, and create opportunities for artists to thrive within their own countries.
Conclusion: A Call to Action
The exploitation and mismanagement of artists’ rights and royalties in Africa’s entertainment industry is a multifaceted issue that requires concerted efforts from all stakeholders. By addressing the legal, financial, cultural, and psychosocial challenges faced by artists, Africa can create a more equitable and sustainable entertainment industry. This transformation will not only benefit artists but also contribute to the cultural and economic development of the continent.
References
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