Joke Silva: A Legacy of Creativity, Advocacy, and Cultural Diplomacy
In the constellation of African entertainment, Joke Silva (MFR) shines as one of its most enduring and versatile stars. For over four decades, she has moved fluidly between stage and screen, bridging worlds through performance, mentorship, and advocacy. Today, as President of the Forum for Women in Film and Television (FWIFT) Nigeria and a key stakeholder of Africa Creative Market (ACM 2025), her influence extends far beyond her artistry. She embodies the intersection of creativity, leadership, and cultural diplomacy that defines Africa’s new creative economy.
Defining Moments in a Storied Career
Her journey is punctuated by milestones that mirror the evolution of Nigerian theatre and film. She recalls early acclaim from her performance as Queen Odosun in The King Must Dance Naked at the National Theatre in the 1990s, a role that announced her as a formidable talent to directors, critics, and audiences alike. Soon after, her company, Lufodo Productions, helped pioneer corporate backed theatre with performances supported by GTBank, setting a precedent for private sector investment in the arts.
Her film career is equally trailblazing, with roles in projects that addressed pressing political and social issues, such as The Kingmaker. Each phase underscored her ability not just to perform but to shape narratives that reflect society’s complexities. Becoming the founding president of FWIFT Nigeria marked another pivotal chapter, expanding her role from artist to advocate.
From Art to Advocacy
For the veteran performer, one of the most profound shifts has been recognizing the creative sector not simply as entertainment but as an economy. “In the early years, you think only of performance. Over time, you realize it’s an industry that requires structure, funding, and policy,” she reflects. The recent creation of Nigeria’s Ministry of Creative Economy validates this perspective, but she is quick to emphasize that much work remains, particularly in building financial institutions’ understanding of how to fund creative industries.
At the heart of her advocacy is FWIFT. In 2022, the organization hosted the first ever pan-African summit for women in film and television. The event convened voices from Brazil, Germany, the UK, and the U.S., alongside African creatives, building networks across borders. Silva stresses the importance of capacity building and mentorship, encouraging new entrants to approach these opportunities with humility and curiosity: “Come with questions, come ready to learn, and come willing to be mentored,” she advises.
She is candid about the systemic barriers women face, especially in accessing finance. Yet she is equally passionate about the opportunities women are creating across performance, content, and festivals. For her, collaboration remains the key to overcoming structural inequities.
Why ACM Matters Now
Her alignment with Africa Creative Market is natural. She sees ACM’s continent wide scope as essential: “For Africa to sit at the table of nations, we must create markets among ourselves. Entertainment travels quickly; we can connect the continent faster than infrastructure can.” By positioning creatives as cultural ambassadors, ACM offers a model for how Africa can strengthen its internal ties while reaching global audiences.
Her vision of collaboration stretches across industries. She imagines films where scripts are written in Kenya, art design comes from Senegal, music fuses East and West African instruments, and costumes are sourced from across the continent. “Diversity always brings enrichment,” she says, a conviction that aligns with ACM’s mission to bridge creative sectors.
Fashion, Storytelling and Mentorship
For the actress, fashion is inseparable from storytelling. Costumes, she notes, shape how audiences perceive characters: “Design tells a story, giving a better understanding of who the character is. When it’s misaligned, it jars the audience.” She is excited by the vibrancy of African fashion and sees its innovation as something even the entertainment industry can learn from. Stronger collaborations between designers and filmmakers, she argues, could expand audiences and amplify African creativity globally.
Through the Lufodo Academy, Silva has cultivated spaces for young creatives to learn, fail safely, and build resilience. She stresses the importance of soft skills, such as discipline, humility, and respect for elders in the profession, alongside technical training. “Excellence is different from perfection,” she reminds emerging talent, urging them to focus on consistency and strategic relationships.
A Voice of Legacy and Possibility
She is both pragmatic and optimistic about Africa’s creative future. If governments deliver on their promises to strategically fund the sector, she believes the continent will become a formidable force in the global economy. For women in particular, resilience and excellence remain the foundation for changing how African creatives are perceived internationally.
“I believe we will continue to evolve, to celebrate and elevate our people, and to expand what is possible for us as a continent,” she says.
Joke Silva’s career is a testament to how art, leadership, and advocacy can merge into a powerful force for change. As ACM 2025 approaches, her presence underscores the event’s commitment to building bridges across borders, across sectors, and across generations. Her story is not only one of personal triumph but of collective possibility, where creativity becomes both an economic engine and a cultural compass.
Africa Creative Market 2025 runs from September 16 to 19 at the Landmark Event Centre, Victoria Island, Lagos. Don’t miss this opportunity to connect with leaders shaping the continent’s creative future. Register now at www.africacreativemarketglobal.com.
