As the Olympic Cauldron completed its last descent after hovering over Paris all through the course of the 2024 Summer Olympics and the light put out on Sunday night, Nigeria found itself in an increasingly familiar position—yet another appearance at the global sporting spectacle without winning a single medal. While this lack of athletic success is a story in itself that one can expect several post-mortem analyses on in the coming days and weeks, a deeper and perhaps more startling missed opportunity stares at us starkly in the face: the absence of Nigeria’s vibrant pop culture on that global stage.
The modern Olympics has evolved far beyond its origins as a solely athletic gathering; today, it is a global cultural event where countries not only vie for medals but also project their cultural identity to the rest of the world. This unique intersection of sports and culture offers nations an unparalleled opportunity to engage in cultural diplomacy, promote tourism, and demonstrate the often talked about “soft power” that pop culture possesses.
Pop culture has stood Nigeria out in recent years. Afrobeats, Nollywood, and Nigerian fashion have garnered international acclaim, making them potent tools for cultural diplomacy and national branding. In recent years, these have been touted as key drivers of the 21st-century economy, which have the potential to attract foreign investment and elevate the country’s image. It is not uncommon to see public officeholders latch on when musicians win international awards or actors set box office records, using them to declare their support for the creative sector. However, such support and intentionality were conspicuously missing at the Paris Olympics.
Nigeria’s pop culture is more than entertainment; it is a powerful tool for national branding. The music, film, fashion, art, food, and associated industries are not merely expressions of creativity; they are a veritable means of driving economic growth, tourism, and international influence. However, at the 2024 Olympics, this cultural wealth was underutilized. The Nigeria Experience Area at the Africa Station fan zone, while a step in the right direction, was too modest to make any significant impact. Compare that with the imposing USA House that served as a central point for American athletes and fans, as well as tourists who descended on Paris for the month. Entry tickets started at $350 to eat, lounge, and watch the games. If that’s far-fetched, consider what the Republic of Korea was able to do: Jin, a member of the K-Pop group BTS, was one of the torchbearers at the opening ceremony. These are outside of what brands like Nike, Puma, Adidas, and Footlocker did with customer activations across Paris. Even otherwise simple things like commemorative coins acquire a new level of significance during the Olympics, with limited edition designs becoming highly sought after by collectors, many of whom travel precisely for that reason.
Need for collaboration
It is not enough to identify things that were not done and not highlight how they could be done in the future. Stakeholders across various fields must be prepared to take sports and sports tourism with the same seriousness they take the oil and gas sector. More specifically, the plan for Nigeria’s future appearances at global sporting events cannot be left alone to the Nigerian Olympic Committee and the Ministry of Sports; the Ministries of Tourism, and Art, Culture, and the Creative Economy have critical roles to play in ensuring success both on and off the track. It is incumbent on all four bodies to collaborate across the following areas:
One: Strategic cultural planning
A collaborative task force that develops a comprehensive strategy that integrates cultural promotion with sporting events. For instance, appointing cultural ambassadors—prominent Nigerian musicians, actors, and fashion designers—could elevate Nigeria’s presence beyond the sports arena. These cultural ambassadors could participate in Olympic events, fan zone activities, and social media campaigns, thereby enhancing Nigeria’s cultural footprint. The American rapper Snoop Dogg was a ubiquitous sight during the Paris Olympics. It wasn’t random; news reports have it that he was paid around $8 million by broadcast company NBC.
Two: Deliberate showcase of Nigerian culture
The Nigeria Experience Area was not a bad idea, but it was insufficient. Blending in with several other countries at the Africa Station could not have been enough to capture the essence of Nigeria, or showcase what we have to offer. There is no reason for a standalone Nigeria House to have been set up to create a more captivating experience for attendees and tourists. Imagine an immersive experience that includes live performances, film screenings, guest appearances, and even the customary jollof rice. These are showcases that ought to be on a grand scale.
Three: Tourism and merchandise
As the Olympics provide a platform to highlight one’s cultural heritage and attractions, tourism has a central role to play. For example, by creating interactive exhibits, virtual reality tours, and even pop-up events that simulate Nigerian cultural experiences, the Ministry of Tourism can attract potential visitors and promote Nigeria as a desirable travel destination. Additionally, the development of official Olympic merchandise that reflects Nigerian culture can serve as a powerful tool for both cultural promotion and economic benefit. Collaborating with Nigerian designers to create unique clothing, accessories, and souvenirs not only promotes Nigerian creativity but also generates revenue and enhances Nigeria’s cultural exports. This cannot be a one-shelf, one-room endeavour.
Four: Engaging the Nigerian diaspora
The global Nigerian diaspora is another valuable asset that can be leveraged during the Olympics. Collaborating with diaspora communities to organize cultural events in the host country could create a vibrant Nigerian presence. This approach would not only engage the diaspora but also introduce Nigerian culture to new audiences, fostering greater international recognition. In any case, the Nigerian Olympic contingent has a large representation from the diaspora.
Five: Private sector participation
There’s no denying that Nigeria’s pop culture and emerging soft power are directly connected to the participation and inclusion of the private sector. From music to film to art, the private sector has sat firmly in place to provide access and support to pop culture practitioners. For events such as the Olympics, the country must engage the private sector as partners in progress for the greater good. The US government does not fund its Olympic team; instead, the US Olympic and Paralympic Committee relies on donations, sponsorships, and merchandise sales.
Looking to the future
The benefits of integrating pop culture into Nigeria’s Olympic strategy are manifold. Beyond the immediate impact on tourism and merchandise, such efforts contribute to long-term national branding. When countries effectively showcase their culture on the global stage, they create lasting impressions that can influence international perceptions and open up new economic opportunities. Moreover, cultural integration at events like the Olympics can have a profound impact on national pride and unity. For young Nigerians, seeing their country’s culture celebrated on the world stage can be a source of inspiration and pride. That much was seen in the last three weeks when fans supported the athletes despite their animus towards sports administrators.
The next step is to ensure that these opportunities are fully realized, positioning Nigeria as sporting nation, and as a cultural powerhouse on the global stage. The missed opportunities of the past must serve as a wake-up call to seize future opportunities, ensuring that Nigeria’s presence at the Olympics is felt not just on the field but in the hearts, minds, and pockets of people around the world.
Taiwo is a writer, culture consultant, and founder of Verbally, a boutique storytelling agency based in Lagos, Nigeria.
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