Feliz Navidad, Nigeria! Ad by GLO

 Bell hooks pushes the critique further by emphasizing how race, class, and gender intersect to shape the way Black women are represented—or excluded—in media. hooks argues that simply showing Black women on screen is not enough; representation must be meaningful, complex, and reflective of their realities. From this perspective, the Glo Feliz Navidad Nigeria ad falls short, despite its colorful portrayal of Nigerian women and culture.

At first glance, the ad appears culturally inclusive. Women are dressed in traditional Nigerian attire—vibrant Ankara fabrics, elaborate geles, and detailed beadwork. These visual cues suggest a celebration of heritage and identity. However, hooks would caution against equating cultural aesthetics with empowerment. Although these women are seen, they are not heard. None of the female figures deliver any form of dialogue, nor are they given space to express opinions, emotions, or stories. Their presence is limited to non-verbal celebration: dancing, laughing, and looking beautiful.

Hooks would argue that this type of representation risks reducing Nigerian women to symbols of cultural capital. Rather than portraying them as active participants in society, with intellect, struggle, and agency, the ad uses their image to sell a lifestyle. The women become part of the brand’s message about connectivity, joy, and holiday spirit, but they do not shape that message. Their culture is put on display, but their individuality is not.

Another major concern from hooks’ lens is the issue of class. The party depicted in the ad is lavish—set in a decorated, upscale environment with flowing drinks, catered food, and expensive clothing. This image of Christmas speaks to a specific socioeconomic class: the urban, upper-middle-class Nigerian. Women shown in the ad fit into this aspirational identity—they are well-groomed, stylish, and clearly part of an elite social circle. Yet this portrayal ignores the realities of many Nigerian women who may not have access to such luxuries during the holiday season.

By showcasing only one version of Nigerian femininity—affluent, glamorous, and celebratory—the ad excludes women from rural or working-class backgrounds. hooks emphasizes the importance of representing marginalized women, those whose lives do not align with dominant capitalist ideals. In this ad, the idea of “Christmas in Nigeria” is flattened into a consumer-friendly fantasy, one that prioritizes aesthetics over authenticity. Even though the visuals are rich and enjoyable, the deeper narrative is one of exclusion. hooks would also critique the ad for its failure to challenge patriarchal norms. Women in the ad are shown in relation to men or group activities—they are not depicted as independent agents. No scene shows a woman leading, organizing, or speaking for herself. This silence reflects the broader issue hooks identifies: the erasure of Black women’s voices from spaces where they should be central. Instead of being storytellers or leaders, they are accessories to the festive image Glo is promoting.

 In conclusion, hooks’ theory calls for a more radical and inclusive approach to media representation. While the Glo ad tries to showcase culture and celebration, it does so in a way that glosses over the complexity of Nigerian women’s lives. Real empowerment, according to hooks, means showing women not just as beautiful but as whole—speaking, leading, struggling, and resisting. Without this, representation remains shallow and ultimately serves the interests of capitalism and patriarchy.