As I continue learning about feminist theory, I’ve become especially drawn to bell hooks and how she explores the connections between race, gender, capitalism, and media. For this essay, I decided to apply her ideas to the Glo Christmas advertisement titled “Feliz Navidad Nigeria!”—a bright, energetic commercial filled with dancing, music, fashion, and joyful celebration of Nigerian culture.
At first glance, the ad seems like a proud showcase of African identity. But bell hooks teaches us to look beyond what’s immediately visible. She often wrote about how Black culture is used in media to attract attention or sell products—while the real lives and struggles of the people behind that culture are left out. Using this lens, I tried to look beneath the surface of the ad to understand what’s really being represented—and what might be missing.
One of the first things I noticed was how the ad celebrates Nigerian culture through colorful visuals, traditional clothing, and synchronized dance. It feels vibrant and affirming. But hooks warns that companies often use cultural elements as a marketing tool—transforming culture into a backdrop rather than something meaningful or respected. In the Glo ad, culture becomes the setting for selling mobile data. While the visuals appear empowering, they can mask deeper issues of power and control. The people in the ad aren’t given a voice or a story—they’re just there to entertain.
The portrayal of women in the ad stood out to me too. They are confident, stylish, and full of energy. At first, this seemed like a strong, positive image. But again, hooks encourages us to ask deeper questions: Are these women shown as full individuals, or are they just symbols of beauty and joy? In the ad, the women don’t speak. They don’t engage in anything beyond performance. Their happiness is performative, created to please the viewer. hooks might call this a form of false empowerment—where women appear strong on the surface but are denied depth and complexity.
Another key idea from bell hooks is how class shapes representation. In the Glo ad, everything looks sleek, modern, and upper-class. The people are well-dressed, the setting is clean, and the atmosphere is carefree. But that’s not the everyday reality for many Nigerians, especially during the holidays. Economic hardship is a real issue—there are many people who can’t afford airtime or data. hooks reminds us that capitalism often masks inequality by selling dreams of joy and abundance. The phrase “Unlimited Joy” sounds appealing, but it’s really aimed at those who can afford it. The ad avoids the struggles of everyday life and presents a filtered version of Nigerian identity—one that’s polished and marketable.
Hooks also emphasizes that identity is shaped by many overlapping factors—race, gender, age, class, region, and more. But in the Glo ad, Nigerian culture is narrowed down to a single image: young, fashionable women dancing in perfect rhythm. It’s a neat, one-size-fits-all version of a much more complex and diverse reality.
Studying hooks helped me see how even a cheerful Christmas commercial can reflect deeper issues. The music and clothes may be authentic, but in the context of the ad, they’re used as tools for branding—not for telling real stories. According to hooks, when culture is used this way, it becomes a product. It’s no longer about honoring people or traditions—it’s about selling an experience. That kind of representation can feel exciting, but it doesn’t offer voice, history, or truth.
Watching Feliz Navidad Nigeria! through bell hooks’ oppositional gaze made me more aware of how media can both celebrate and flatten identity. Real empowerment goes beyond bright visuals—it means giving people space to speak, to be complex, and to be seen as more than just symbols of joy.
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