Critique using bell hooks’ Intersectional Feminist Lens

 

The Feliz Navidad Nigeria ad presents a cheerful view of the holidays. It’s lively, enjoyable, and well-crafted. However, when examined through bell hooks' perspective, it becomes more complex. bell hooks urged us to consider representation: who gets seen, who gets heard, and who is left out. In this advertisement, the spotlight is on one stylish, happy woman in a sleek, modern environment. She seems to embody celebration itself. Yet, this polished image of joy overlooks much of Nigeria’s social reality. It depicts a narrow version of success—young, light-skinned, fashionable, and wealthy. This limited portrayal can feel detached from the daily lives of many Nigerians who do not share that lifestyle.

Additionally, the ad does more than show joy; it sells it. The entire experience of Christmas is linked to appearances: the bright lights, the neat outfits, and the fancy setting. For bell hooks, this illustrates how consumerism shapes culture. The ad suggests that to be happy at Christmas, you must look a certain way, be in specific places, and likely spend money to create that image. This shifts the focus from celebration to selling a lifestyle. hooks often highlighted how media turns true emotions like love and joy into products, and this ad, while upbeat, risks transforming a significant cultural moment into a shiny commercial fantasy.

Another concern hooks might raise is the portrayal of gender. The woman in the ad is lively and clearly intended to be the focal point. She dances, she smiles, and everything centers on her, yet we never really hear her speak. She doesn’t express herself beyond her performance. While she may appear powerful at first glance, her role is quite traditional. She is there to brighten the room, lift the mood, and make others feel good. hooks cautioned us about this kind of false empowerment, where women are visually central but lack real opportunities to be complex or commanding. Without a voice or background, her presence becomes more symbolic than significant.

Additionally, the lack of community in the ad weakens its emotional impact. Hooks always emphasized love as a shared act—not just romantic love but also community care, family support, and social connection. In this ad, joy mainly comes from one woman's appearance and energy. We see quick shots of others around her, but we don't feel the depth of those connections. There's no sense of everyday people, small joys, or shared traditions. Instead, we get a clean, curated moment that feels more like a fashion shoot than a genuine Christmas celebration. For hooks, this type of storytelling misses the deeper point: true joy isn’t about how we look; it’s about how we live and connect.

Finally, the concept of “celebration” in the ad seems disconnected from Nigeria’s cultural and economic complexity. The woman’s celebration occurs in a perfect setting that could be in Lagos, Paris, or any modern city. There’s little indication of Nigerian culture beyond the greeting. bell hooks often reminded us that global capitalism tends to erase differences. In this case, the ad takes a festive idea and packages it for a polished, global look. It doesn’t encourage viewers to reflect on the richness of Nigerian life or how real people find meaning in the holidays. Instead, it promotes a simple message: look good, feel good. But for hooks, true beauty exists in honesty—not just surface appeal.

Overall, the ad is warm, stylish, and likely to boost people’s spirits; however, it also plays it safe. Through bell hooks’ lens, it becomes evident that the ad prioritizes appearance over authenticity. It highlights one version of beauty and success and avoids showcasing the diversity of Nigerian life: from rural to urban, from the wealthy to the working class, from elders to children. A truly inclusive celebration would feature various people coming together—not just one ideal. For hooks, true joy comes from connection, care, and shared humanity—not just from shiny surfaces. That’s the deeper message this ad could have conveyed.