African Specialist Comments on the Role of Social Media as a Stage for Dance and Other Cultural Expressions to Globalize Traditional Art Forms

A way to establish connections, spread knowledge through new expressions—until recently known only locally—and therefore a possible path to build stronger engagement with larger audiences. This is the route being taken by diverse cultures now facing the opportunities offered by new technological resources.

One of these prominent relationships involves dance and social media platforms, particularly Instagram and TikTok—perhaps the two most popular among younger audiences. Especially the latter has gained prominence in recent years due to short videos, mostly created by children and teenagers, based on dances, the so-called “dancinhas”, which quickly went “viral”—a term used to describe content that spreads and gains popularity rapidly.

“The landscape began to move with new trends—some fleeting, it’s true—but it built strong connections between audiences, especially the young, and many dancers who until then were known only locally. This interaction gave these cultural expressions the chance to break through the physical barriers of dance studios, of rehearsals often confined to small communities, and of limited exposure in mainstream media. Certain traditional movements from specific regions truly needed this technological advent to expand their presence not only physically but also in terms of recognition in some cases.”

This scenario is summarized by Ethiopian dancer and cultural interpreter Fasika Edget Balkew. Through dedication and refining his skills, and despite his young age, he has spared no effort in spreading his country’s culture internationally. In addition to representing Ethiopia at major cultural events, he has played a vital role in taking Ethiopian culture onto new platforms.

Growing Numbers

Research in recent years has shown the global growth of social media. It is estimated that five billion of the planet’s roughly seven billion inhabitants are connected in some way to social platforms. In other words, more than 60% of the global population is already engaged.

In Brazil, for example, the growth from 2023 to 2024 was nearly 2%. The country has a population of 220 million. For comparison, Ethiopia—Fasika Edget Balkew’s home country—has about 135 million inhabitants, according to the latest census. Brazil has nearly 150 million social media users, also representing more than 60% of the total population.

Focusing again on Brazil, the country has one of the largest economies in Latin America and, in recent years, has also been seeking to boost public policies related to cultural promotion. Both Brazil and Ethiopia enjoy vast cultural diversity, in part rooted in African influence—each to its own extent.

In Ethiopia, this scenario is shaped by the many tribes that make up today’s population, resilient throughout history, including during the more recent Italian colonization. In Brazil, in addition to indigenous roots, waves of immigrants from diverse cultures transformed the nation into a pluralistic society in cultural terms.

“When my first content went viral on TikTok and reached millions of views, I saw thousands of comments from people in the United States who had never seen Ethiopian dance before. Many expressed admiration, curiosity, and respect for a culture they knew very little about. By combining traditional dance with modern platforms, I make cultural heritage accessible to diverse audiences—from government leaders, such as when I was invited to perform and speak at the Governor’s Mansion, to ordinary people on the internet,” said the Ethiopian cultural specialist, reflecting on some of his successes in this context.

A Journey of Resilience

Fasika Edget Balkew was born in Korah, Ethiopia. Korah is a city that grew around a landfill site, located near the capital, Addis Ababa. He grew up scavenging for food and basic necessities from the dump. As he grew older, he developed a love for Ethiopian dance.

He became a self-taught dancer. Whenever possible, he watched YouTube or TikTok videos of famous Ethiopian dancers. He practiced in front of the mirror, critiquing himself until he mastered the movements. He became known in his village as an excellent cultural dancer, frequently invited to perform at weddings and other cultural events, never missing the chance to represent his culture.

Many of these weddings were formal events. To attend, he often had to borrow or find a suit from someone in the village. Sometimes he was paid, other times he performed for free, but he always appreciated being able to eat the wedding food—a big reward for someone used to living off scraps from the dump.

“One of the most meaningful contributions of my work is inspiring young people—both Ethiopian-Americans and those from other backgrounds—to connect with culture through dance. In the United States, where children of immigrants often feel pressured to assimilate, my work shows that cultural heritage is not only a source of pride but something that can be celebrated on a global scale.”

Fasika Edget Balkew has always dreamed of being a dancer. Today, he is able to share his skills and culture with millions of people through social platforms like TikTok and Instagram. His work stands out in the United States, as it brings a rare and authentic art form not commonly presented or taught there. While the U.S. has a rich and diverse artistic scene, there are very few specialists in traditional Ethiopian dance—and even fewer who have managed to reach a global audience through it.

Other skills of the young African include leadership and management—disciplines he continues to develop as part of his current path. Speaking of plans and mission, the dancer, cultural interpreter, and project manager cites ideals he has already laid out for a near future, building on contributions he is demonstrating today.

“One of the most meaningful contributions of my work is inspiring young people—both Ethiopian-Americans and those from other backgrounds—to connect with culture through dance. In the United States, where children of immigrants often feel pressured to assimilate, my work shows that cultural heritage is not only a source of pride but something that can be celebrated on a global scale.”