Yinka Abioye, Chairman of FESTAC Africa, shares insights into his passion for promoting African unity through arts and culture. He discusses the evolution of the FESTAC project, its impact on host cities, and the need for government support to sustain this Pan-African initiative.
Yinka Abioye, Chairman of FESTAC Africa, reflects on his longstanding passion for celebrating Africa through the arts and culture.
The idea of FESTAC had been simmering in his mind for years, but it wasn’t until after his corporate career that he felt compelled to act. “As Africans, we needed to work together better,” he states, noting the importance of cultural events in fostering unity.
Prior to the COVID-19 pandemic, Abioye initiated bilateral events, starting with the Mzanzi-Naija football programme in 2017, which aimed to foster connections between Nigeria and South Africa.
As the initiative expanded to include Ghana and Kenya, the arrival of the pandemic prompted a reevaluation of strategy, leading to the launch of the FESTAC project.
The first FESTAC took place in Zanzibar in 2022, followed by editions in Arusha, Tanzania, and Kisumu, Kenya, in subsequent years.
Abioye addresses concerns about FESTAC being managed by a private entity versus government oversight. He believes that sustainability is key, stating, “The most important thing is for FESTAC to be sustained; regardless of who is doing it.”
The festival, which originated in 1966, has seen long gaps in its execution. He is determined to revitalize it and garner support from both the African Union and various governments.
When asked why Kisumu was selected as the host city for the latest edition, Abioye highlights the cultural significance of the Lake Victoria region and the support from local leadership, particularly Governor Anyang Nyong’o, who has a vested interest in the arts.
Abioye also acknowledges the potential of intra-African travel and tourism, noting that many Africans are unaware of the attractions within their own countries.
“If we do more of those things, there will be more trade,” he insists, stressing the importance of cultivating a sense of exploration and discovery among Africans.
Reflecting on the festival’s impact, he states that Kisumu has benefited from significant exposure through the event, estimating a worth of around $25 million in publicity.
While some critics suggested the festival could have been condensed into three days, Abioye defends the week-long format as necessary to fully capture the breadth of cultural expression and discussion.
He calls for increased support from African governments to facilitate tourism, suggesting that a more flexible travel policy, similar to Rwanda’s approach, would enhance connectivity within the continent.
As for future editions of FESTAC, while no host city has been confirmed for 2025, Abioye expresses a desire to return to Senegal in 2026 to mark the 60th anniversary of the original FESTAC.
Despite efforts to engage Nigerian ministries and organizations for support, he notes that responses have been lacking. “Our objective is to make the continent a better place,” he says, inviting collaboration and dialogue to help further the cause.
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