Tyla’s recent win at the MTV Video Music Awards (VMAs) in the Afrobeats category has sparked some debate, especially given her reputation as the “Amapiano Princess.” This raises an important question: Why was she awarded in the Afrobeats category when she is primarily known for Amapiano? To fully unpack this, it’s essential to recognize the nuances that many western institutions may overlook when categorizing Black, African, and Caribbean music.
Western Institutions and African Music
First, it's important to acknowledge that these Western award institutions often don't have a comprehensive understanding of the rich diversity that exists within Black, African, Caribbean music and their diasporas. To expect them to grasp the intricacies of each genre is, quite frankly, unrealistic.
Let's consider a few key moments in recent award show history:
2022: The American Music Awards introduced Afrobeats as a new category for the first time.
2023: The Grammys established a "Best African Performance" category.
2023: The VMAs created an "Afrobeats" category.
These changes are relatively recent. Prior to these adjustments, African artists were often lumped into the vague “World Music” category, which was an umbrella term for any music that sounded even remotely "different" or "exotic." The new categories are, without question, a step in the right direction. However, they remain incomplete when it comes to capturing the full scope of African music, which includes but is not limited to Afrobeats, Amapiano, Highlife, Afrohouse, Afro Pop and many others.
Meanwhile, The All African Kora Awards—Africa’s own prestigious music awards—have been celebrating African musical diversity since 1997.
Tyla and the Disconnect Between Cultures
I don’t believe that Tyla's response to her VMA win was standoffish or rude. Rather, it highlights a disconnect between the African diasporic experience and the Black American cultural context.
For Black American artists and the broader community, being recognized by institutions like the VMAs, Grammys, or the American Music Awards carries significant weight. It represents a long-fought battle for visibility and respect in an industry that historically marginalized Black artists. If Tyla were based in the U.S., she might have a deeper understanding of these cultural codes and what such recognition means for Black artists in the U.S.
At the same time, Tyla’s reaction is also rooted in a legitimate desire for accuracy in representing African music. Amapiano, which originated in South Africa, has a distinct sound and cultural identity that sets it apart from Afrobeats. For an artist deeply connected to that genre, being mislabeled can feel like a disservice to the diversity and complexity of African music.
A Long Road to Recognition
However, we must remember that these changes, though small, are part of a much longer journey toward greater recognition of African music on the global stage. The fact that Afrobeats and African categories have even been introduced is significant progress. But it will take time for Western institutions to fully embrace the depth and variety within African and Caribbean music.
Ultimately, while Tyla’s concerns are valid, this is not the most pressing issue in a world facing much larger challenges. As we continue to celebrate African music’s growing global influence, we must also remain patient with the evolving ways in which it is understood and appreciated.
The conversation doesn't end here—it’s just beginning. And while these institutions may not get it right just yet, the progress we’ve seen signals that the world is slowly waking up to the richness of African music. Let’s give it time.
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