Cultural appreciation becomes appropriation at the point where admiration turns into erasure, entitlement, or misrepresentation. It is the thin but important line between saying “I love this culture and want to honour it” and saying “I like this aesthetic and I will use it however I want, regardless of its meaning or origin.”
A trending TikTok sound captures this moment perfectly. “I am going to marry a Nigerian and you are going to wear a gele to my wedding.” What is meant to be playful has also become symbolic of a wider global fascination with Nigerian culture, especially Nigerian weddings. From across Africa, the diaspora, and even beyond the continent, people are increasingly drawn to the colour, energy, fashion, music and ritual of Nigerian celebrations. Nigerian weddings have become cultural exports, widely admired and imitated.
On the surface, this admiration is flattering. It reflects the global visibility and influence Nigerian culture has attained, particularly through social media, music, film and fashion. Many people genuinely want to participate out of respect, joy and curiosity. They want to dance to Nigerian songs, wear Nigerian attire, and experience the richness of the culture. That, in itself, is not a problem.
The tension begins when participation loses context.
One of the clearest examples is the gele. It is no secret that head wraps exist across Africa and have done so for centuries. Women from different regions have always covered, tied or adorned their heads in ways that reflect identity, status, spirituality or practicality. What distinguishes the gele is not the idea of a head tie itself, but its form, scale and cultural meaning.
The gele is a Yoruba invention. It is elaborate, structured, bold and often dramatic in size. Unlike simpler head wraps worn for utility, the gele is ceremonial. It is carefully tied, often stiffened, sculpted and designed to command attention. In Yoruba culture, it is not an afterthought. It is frequently the centrepiece of the entire outfit. There is a long-held belief that a woman is not fully dressed without her gele. It signifies dignity, celebration, maturity, pride and presence.
As the global obsession with Nigerian weddings has grown, so has the spread of the gele. Today, many Africans from other regions, people in the diaspora and even non-Africans wear it. Again, wearing it is not the issue. The problem arises when the gele is treated like a costume rather than a cultural symbol. When it is worn with no understanding, no acknowledgement and no respect for its origins. When it becomes just another exotic accessory to be tried on for aesthetics, social media content or trend participation.
More troubling is when appropriation goes beyond misuse into outright claims. In some cases, individuals or groups begin to detach the gele from its Yoruba roots, presenting it as generic African wear or even claiming it as part of their own culture. That is where appreciation clearly crosses the line. Appreciation gives credit. Appropriation rewrites history.
It is important to be clear. No one is saying the gele should be gatekept or restricted. Cultures grow by being shared. Influence is not theft by default. But sharing requires honesty. It requires naming origins. It requires humility. It requires understanding that cultural items are not empty visuals but carry history, values and meaning.
When someone wears a gele and acknowledges that it comes from the Yoruba people of Nigeria, that is appreciation. When someone learns how and why it is worn, that is respect. When someone treats it as a playful costume, strips it of meaning, or claims ownership over it, that is appropriation.
The growing fascination with Nigerian culture is a testament to its power. Nigerian weddings, fashion and traditions resonate because they are expressive, confident and unapologetic. But with visibility comes responsibility. Respect must grow alongside influence.
Appreciation should amplify the culture and the people who created it. Appropriation silences them. The difference lies not in the act of wearing a gele, but in the intention, the knowledge and the acknowledgement behind it.
Culture Beyond the Mainstream 