Being an artist in Africa is not only about creating. It also means fighting to be recognized, paid fairly, protecting your works, and finding your place in a society where art is sometimes still seen as a hobby rather than a job. Many creators move forward without a stable contract, without a clear framework, and with legitimacy they have to build every day.

This article is intentionally short. It serves as an introduction to our feature published in the Betfrika Magazine, already released, titled “To be or not to be an artist in Africa.” In the magazine, we go further with testimonies, real situations, and a deeper analysis. Here, we lay out the basics and key questions.

When we talk about “artist status,” we often mix three dimensions that do not always overlap. First, the definition, meaning who is considered an artist. Next, social recognition—how family, neighbors, institutions, or the market view this profession. Finally, legal recognition—the existence of laws, registries, contracts, rights, and minimal protection.

Social recognition is often the first wall. Many artists still hear “it’s nice, but it’s not a real job.” That sentence has direct consequences: it weakens self-esteem, but above all, it sometimes justifies low fees, unpaid performances, or vague collaborations. As long as art is not seen as a professional sector, working conditions stay unstable.

Legal recognition moves at different speeds depending on the country. When a state sets up a framework, even an imperfect one, it can change a lot: proving your profession, accessing certain schemes, signing contracts, defending your rights, and being considered an economic actor. Where that framework does not exist, the artist often remains in a grey area where everything depends on arrangements, promises, or occasional opportunities.

In this context, “building legitimacy” becomes a concrete process. Legitimacy is not only about an official stamp. It is built through proof of professionalism: a clear portfolio, documented works, traceable performances, the ability to present a file, quote a price, and put things in writing, even simply. That is often what makes the difference between visible passion and recognized profession.

The strength of the collective matters too. Networks, collectives, and cultural spaces help share references, create opportunities, and carry more weight in discussions with institutions and partners. Individual legitimacy becomes stronger when it fits into a collective dynamic.

Finally, there is a key topic: digital. Many artists gain visibility online without a protection or monetization strategy. Understanding what you give up when you sign, what you allow when you publish, and how you can be paid is part of professionalization. Without that, you can be known but not paid.

If this topic speaks to you, the full feature is available in our Betfrika Magazine, already released, “To be or not to be an artist in Africa.” You will find field stories, concrete realities, and clues to understand how artist status is built, defended, or blocked depending on the context.

You can also explore our vision for a better Africa.

To read the full feature, head to the resource page and download the issue. Join our international volunteer program to take action with Betfrika in the field.