In Disrupting Africa, Olufunmilayo B. Arewa examines this intersection and shows how it encompasses existing and new zones of contestation based on ethnicity, religion, region, age and other sources of division. Arewa highlights specific collisions between the old and the new, including in the 2020 #EndSARS protests in Nigeria, which involved young people engaging with varied digital era technologies who provoked a violent response from rulers threatened by the prospect of political change.
Multi-sided music platforms are part of the digital creative economy consisting of the various aspects and processes through which creative works are made/produced, distributed and used. In this reflective post, I will discuss the questions posed in the book talk and panel discussion I organised titled “The Digital Creative Economy in Africa: Copyright, Law and Policy”.
As we approach the expiration of the Cotonou Agreement in early 2020, the time is now for the Caribbean to enter into the negotiating arena with our loins girded with belts of truth about our reality. A reality that is characterized by simultaneous integration and fragmentation; a reality in which we are physically small but geopolitically large; a reality where our small size must be seen as buoyant, agile, proficient strength as we navigate the global arena. A reality where our mature and battered regional institutions must now be renovated and become fit for our future purposes.