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Kofoworola Odozi Afrobeats, a genre deeply rooted in West African rhythms and storytelling, has evolved into Nigeria’s most significant cultural export. Over the past decade, it has captivated audiences worldwide, with artists like Burna Boy, Wizkid, and Tems achieving unprecedented international acclaim. Burna Boy’s Grammy win for Twice as Tall, Wizkid and Tems’ Essence becoming a summer anthem, and the rise of Afrobeats-specific Billboard charts highlight its growing dominance.
But as the genre soars globally, a debate brews: Is Afrobeats being celebrated or appropriated?
Cultural Appropriation vs. Appreciation
The fear of cultural exploitation isn’t unfounded. Historically, African art forms have often been stripped of their origins, commodified by the West without due credit. Recently, Billboard attributed Afrobeats’ rise in the U.S. to artists like Beyoncé and Drake rather than pioneers like 2Baba and D’banj, sparking outrage among Nigerian fans. Similarly, collaborations like Fireboy DML’s remix of Peru with Ed Sheeran have raised concerns about foreign artists overshadowing their Nigerian counterparts.
For some, these instances signal a gradual gentrification of Afrobeats, where its authenticity risks dilution to suit a global audience. Nigerian singer Lady Donli echoed this sentiment, calling for gatekeeping in response to a Korean Afrobeats-inspired song.
