(Featured artist: From the recent Royal College of Arts Africa Society exhibition at The Africa Centre )


Pan-Africanism 3.0: The World Cup, the Global African and the Future of African Unity 

Picture: Reuters 


When you have had a month such as the one we have just been through, writing this blog becomes a challenge, as there are several threads that require sewing into a cohesive narrative. And sometimes, things just come together…  

As the 2026 FIFA World Cup unfolded, I found myself reflecting on something much bigger than football. Lamine Yamal. Jude Bellingham. Folarin Balogun. Zion Suzuki. Kylian Mbappe. Vizinho. Across almost every major national team, African-descended players were among the tournament's defining figures, and central to some of the competition's most memorable moments. The World Cup offered a vivid illustration of a reality that is increasingly impossible to ignore: Africa is no longer simply a continent, but a global people. When even Japan’s key player was of mixed African descent, you know that we are living in a key change moment that finally found visibility on sport’s largest stage.  

For many Africans, this made the calculus of who to support very interesting and the choices not as stark as simple allegiance to countries. Where previously it was guaranteed that all other Africans would support any African teams at the World Cup, things were not quite as simple this time. Now in addition to that automatic African solidarity, we saw loyalties being extended to individuals within teams that would not normally elicit any support, because they featured players of African descent. I believe that we witnessed was not merely sporting excellence but evidence that Pan-Africanism is entering a new phase. 

There have been two other waves of PanAfricanism as both intellectual and socio-political mobilising platforms. The first phase of Pan-Africanism emerged largely from the diaspora, and was the child of visionaries such as W.E.B. Du Bois, Marcus Garvey, Amy Ashwood Garvey and George Padmore, who sought to awaken a sense of common identity among people of African descent across the world. Confronting colonialism, racism and exclusion, they argued that Africans and their descendants shared a common history and a common destiny. Pan-Africanism 1.0 was therefore fundamentally about consciousness, and its central question was: How do we become aware of ourselves as one people? Its answer was identity, and the movement concluded that before political unity could be imagined, a shared sense of belonging had to be created. This was reaffirmed in the first five PanAfrican Congresses that were held between 1919 and 1945.



The second phase of PanAfricanism belonged to Kwame Nkrumah and the generation of African independence leaders who transformed Pan-Africanism from a philosophy into a political project. Where Du Bois and Garvey gave Pan-Africanism its consciousness, Nkrumah sought to give it institutional expression. Ghana's independence on 6 March 1957 became a symbol of possibility for anti-colonial movements across the continent. Nkrumah famously declared that Ghana's independence was meaningless unless linked to the total liberation of Africa. Ghana subsequently became a centre of Pan-African thought and organising, inspiring liberation struggles throughout the continent. Pan-Africanism 2.0 asked: How do we liberate and unite Africa? Its answer was sovereignty and institutional alignment. That this phase was of significance is manifest in what happened to its leaders, deposed in coups or eliminated with the direct and indirect prompting of Western intelligence agencies. The dream of continental unity frequently encountered the practical realities of harsh global politics and economic hijacking by the Bretton Woods institutions.



Today, a third phase of PanAfricanism is emerging. This is being shaped not by anti-colonial struggle but by global interconnectedness. Migration routes influenced largely by postcolonial ties, economic realities and extant soft power have resulted in people of African descent settling in almost every corner of the Earth, influencing every major field of human endeavour. This is what The Africa Centre describes as the Global African: a recognition that Africa's future is inseparable from the futures of its diasporas, and that stronger cultural and economic connections between the continent and its global descendants are essential to our collective advancement. Pan-Africanism 3.0 therefore asks a different question: How do we transform a globally dispersed African people into a connected global community? The answer is belonging. 



The 2026 World Cup offered a powerful glimpse of this new reality. Many players embodied multiple hyphenated identities simultaneously and proudly, normalised to the point of barely raising an eyebrow that almost all 48 countries featured players of African descent. Far from weakening Pan-Africanism, these layered identities demonstrate its evolution. 



The Global African is psychologically borderless and comfortable inhabiting multiple worlds. The future of Pan-Africanism is not about asking people to choose between identities but creating meaningful connections across them. And in the way there was a united outpouring of disaffection with South Africa due to ongoing concerns about Afrophobia, it also revealed how accountability is being placed at the heart of African solidarity. The difficult question being asked was ‘How can we celebrate African unity globally if Africans do not always embrace one another locally?’ How do we forge that sense of belonging that will power PanAfricanism 3.0? 

In this emerging phase, the diaspora is one of the principal engines of Pan-Africanism. Diasporic communities contribute economically, socially and culturally in increasingly multiple flows. The future of Pan-Africanism will be determined as much by relationships between Accra and Atlanta, Lagos and London, Johannesburg and Jamaica, as by relationships between African capitals themselves. The Global African is 21st-century Africa. 


Last weekend at The Africa Centre, Wole Soyinka offered an observation that has stayed with me. Reflecting on the prospects of this new phase of Pan-Africanism, he suggested that culture increasingly has to do the heavy lifting because politics and economics face challenges that often limit their effectiveness. He is right. Culture often succeeds where these other forces struggle, because it fosters a sense of belonging through which trust and recognition are developed. From the Negritude movement to today's generation of global African creatives, artists have helped Africans and people of African descent imagine themselves into community long before institutions could organise that community. Diasporic artists are particularly important because they inhabit multiple worlds simultaneously, producing connection and helping to shape a shared African memory and a shared African future.

In March 2027, Ghana will be celebrating its 70th anniversary. This will give us an opportunity to reflect on how far the Pan-African project has travelled. The defining Pan-African achievement of the twenty-first century may be the creation of a truly interconnected Global African community, bound together by culture, creativity, exchange, mutual respect and shared purpose. 

The 2026 World Cup revealed that such a community already exists. The role of institutions such as The Africa Centre is to continue to be a crucible in which the connections find manifestation, shape and purpose. We invite you to support us in this critical work.  

Have a Great Month 

Olu Alake.


Coming Up at The Africa Centre

The Steve Rhodes Centenary Celebration


Immersive Arts Journey - Summer Edition: Revealing Unseen Layers


The Africa Centre and Blending With Arts Present :
"Immersive Arts Journey: Revealing Unseen Layers"

A New Dimension of Art Exploration

Featuring Artists: Gino, Incogni-Ko, Misoko, SoloniA, Zoum

Join us for a vibrant and family-friendly experience. Get ready for an unparalleled artistic adventure where art transcends its traditional boundaries and invites you into its very essence. This isn't just an exhibition; it's an interactive and dynamic exploration designed to ignite your senses and challenge your perceptions.


Dear Kaffy: Diary of a Single Woman — London Debut

A stage production by Bolanle Austen-Peters Productions,
in partnership with The Africa Centre


After captivating over 20,000 audience members across sold-out runs in Lagos, Nigeria and Pretoria, South Africa, one of Nigeria's most successful contemporary theatre productions arrives in London.

Dear Kaffy: Diary of a Single Woman is a compelling exploration of modern womanhood — the pressures of marriage, family expectation, and societal judgement, and the courage it takes to choose oneself. Told with humour, heart, and emotional depth, it's a story of self-discovery and resilience that celebrates the complexities and triumphs of contemporary African womanhood.

Presented with the acclaimed storytelling and theatrical excellence BAP Productions is known for, this is a rare chance to experience world-class Nigerian theatre on the London stage.

📍 Venue: Shaw Theatre, London
📅 Dates: 7–9 August 2026


Press Launch
📍 The Africa Centre, London
📅 30 July 2026
🕡 6:30 pm – 9:00 pm