The growth of Africa’s creative economy is increasingly being driven not only by individual artists but also by companies building businesses around media, entertainment, talent and production.
This shift was highlighted after LIVE54+ founder and chief executive Julius Kyazze was recognised among Africa’s 100 Most Influential Persons at an awards ceremony held in Kigali, Rwanda, on September 25.
Kyazze was the only honouree representing the creative sector among the 100 individuals recognised across different areas. His recognition follows more than two decades of work across African creativity, entertainment, media and sport.
His businesses have operated across Uganda, Kenya, Tanzania, Ghana and Rwanda, creating connections between creative professionals, brands, audiences and production companies.
Through LIVE54+, his work brings together media, content, talent, production and brand experiences. This model reflects an important change in the African entertainment industry: the creative economy increasingly depends on businesses capable of connecting different parts of the industry rather than relying solely on individual performers.For musicians, filmmakers and other creatives, the commercial side of entertainment can be just as important as the creative process itself.
Production companies, talent managers, event organisers, distributors, marketers and technology platforms all form part of the value chain that turns creative work into economic activity.Cross-border businesses can also give African creatives access to larger markets.
A production company operating in several countries can connect talent from different markets, while regional partnerships can make it easier for brands and audiences to discover new creative work.Africa’s expanding digital economy is strengthening this trend.
Content can now be produced in one country, distributed from another and consumed by audiences across the continent and internationally.
However, the growth of the creative economy also raises questions about investment, intellectual-property ownership, skills development and the ability of African businesses to retain more of the value generated by African culture.
Kyazze’s recognition therefore offers a useful lens through which to examine a broader development in African entertainment: the emergence of creative businesses that operate across national borders.
The future of the industry will depend not only on discovering talented performers, but also on building the companies, infrastructure and professional networks capable of turning that talent into sustainable economic opportunities.
