Photo by Nacerdine ZEBAR/Gamma-Rapho via Getty Images.
Prominent Algerian Activist Amira Bouraoui Sentenced to Year in Prison.
Prominent Algerian Activist Amira Bouraoui Sentenced to Year in Prison
Active in the Hirak protests which forced former President Abdelaziz Bouteflika to resign, Amira Bouraoui has been sentenced to jail for 'insulting' current President Abdelmadjid Tebboune.
Prominent Algerian activist Amira Bouraoui has recently been sentenced to a year in prison by a court ruling, Aljazeera reports. Bouraoui was convicted on six different counts including "insulting President Abdelmadjid Tebboune", "insulting Islam" and "incitement to violate lockdown". Algeria, like several other African countries across the continent, has been on a national lockdown as part of continued efforts to curb the spread of COVID-19.
Commenting on her conviction, Bouraoui's lawyer Mustapha Bouchachi says, "These kind of lawsuits, which have been going on for months, won't calm the political situation." Bouchachi adds that, "It's not the best way to open up towards society, activists and this peaceful revolution."
Just last month, two other activists, Larbi Tahar and Boussif Mohamed Boudiaf, were handed 18-month prison sentences by a court following their posts on Facebook which were deemed "damaging to the national interest".
The political climate in Algeria continues to be repressive and antagonising of dissenting views despite the ousting of Bouteflika. The 2015 World Report on Algeria highlights the ongoing threats to freedom of assembly, association and speech in spite of the government's commitment to reform and improving human rights conditions.
In honor of pride month, we highlight eight African queer fashion designers and brands putting queer stories on the global map through fashion.
In the last decade, there have been an emergent of fashion designers who aren’t just queer but have aligned their fashion vision with their identity, creating demystifying collections and criss-crossing their concepts and ideologies to represent the inscape of non-conformity, fluidity, queerness and androgyny — whilst maintaining a quick balance with their cultural roots. Despite the numerous fabric experimentations and collections, these designers never forget to tell stories that align with them, especially those that resonate with queer people in queer unfriendly countries.
In honor of pride month, OkayAfrica highlights 8 African queer fashion designers and brands putting queer stories on the global map through fashion.
South African designer Rich Mnisi is part of a new wave of designers putting African stories on the global map. Founded in 2015, the brand Rich Mnisi is immersed at offering fluid expression to gender, celebrating youthful excellence and exploring extremist design elements with minimalist cultural tailoring. For pride month, the brand released a limited edition capsule titled “Out." The capsule visualizes a fine-line between elegance and fluidity whilst boldly emphasizing on the act of struggle and resilience as an outfit.
For a fashion brand like Udiahgebi, identity is very important. And offering that form of visibility to femme queer Nigerians is not just a form of visual activism but a detailed story of essence. The brand was founded by Emerie Udiahgebi, a gender non-forming fashion designer who wanted to give queer, non-binary and non-conforming individuals more options to express themselves fashionably. Udiahgebi’s fashion concept is extremely bold, fierce, and unconventional.
Designer Adeju Thompson fuses traditionalist concepts with genderless possibilities. Founded in 2018, Lagos Space Programme is a gender-neutral fashion brand that enveloped aesthetic designs using local craftsmanship. The brand appreciates West African unique fabric and communicates compelling stories of identity, gender and queerness — a ideology that has garnered them not just audience but earned them a spot at the LVMH prize.
Patrick Muyishime is a fashion innovator. Not only does he know how to source excellent fabrics but his designs are authentically vibrant. Founded in 2016, Muyishime is a Kenyan fashion label that introduces conversations surrounding androgynous and explores aesthetically fabric inventions that commands fluidity, feminine wiles and constructive elegance.
Bola Yahaya
Founded in 2019, Bola Taofeek Yahaya's fashion label aligns thought provoking pieces that elevate the discusses around queer representation, sexuality and feminity. The brands merges sustainability and explore eccentric fabric experimentations.
Founded by South African designer Nao Serati Mofammere in 2014, the fashion brand Nao Serati explores the versatility of gender and the fine margin of sexuality whilst finding its balance with their South African heritage. Mofammere wants his brand to explore masculinity and the different ways it takes to wear a fragile look.
Lolu Vangei has different recipes to gender fluidity and she has used fashion to express that. Founded in 2018, Vangei is a fashion label that unites modern ideology of afro-centricism to produce pieces that dismantle cliched ideas about gender.
There is no explaining the sort of talent Emmanuel Tobiloba possesses. Founded in 2020, Mayetobs' eccentric approach in reinstating androgynous norms is interesting. From oversized pants that speaks of fabric maximalism to fast flowing robes, the fashion brand is an ode to redefining modern masculinity.
The Mavin Records signee talks to us about his come-up, signing to Mavin Records and his debut self-titled EP.
The Nigerian dream is changing and its booming creative scene is spearheading a paradigm shift for young Nigerians looking to explore alternative career paths. Nigeria’s music industry in particular has become one of its biggest exports, fondly called ‘Nigeria’s new crude oil,’ it represents escapism for young Nigerians finding ways to thriving lives where their passions are put first, and the unconventional is conventional.
This is a new age embraced by 23-year-old Mavin Records star, Magixx, who always knew he wanted to chase his dream of being an artist, writing his first song at the age of nine. Magixx consistently pursued music-making and performing at school competitions, from high school to his college years, when he started to get acquainted with recognition and fame.
“I’d say I used my school as my hustling tool, because I used to perform at every show in school. Literally, like every show in school, you’d definitely see me there. That was how I spread my tentacles, how I met people that really put me on to people that changed my life to where I’m right now.”
Using modern marketing tools like Instagram, Magixx credits his success to social media, which allowed him to share freestyles to his growing fan base through his journey, giving him a stage to show his talent at next to no cost. While having to balance school, he never let go of his main goal and eventually that paid off when his big break came with Mavin Records. “Getting a call iin my final year was everything,” Magixx says.
With one of the biggest labels in Africa behind his back, a hit single off his debut project, and a growing fan base, Magixx aptly represents this new Nigerian dream. He talks to OkayAfrica about his early days, what his music means to him and why he believes he’s destined for this.
Image courtesy of Magixx.
Let's take it back to the beginning, how did growing up influence the artist that you are now?
I think growing up for me was one of the best parts of my entire life. I remember living with my mom and subsequently my grandma and grandpa, so most of my childhood I always had music around me, even when I was in my dad’s house. I basically spent my childhood between my grandma’s and my parents’. My dad used to have a lot of music playing in the house, Fela Kuti, DMX, Lagbaja, Celine Dion, Whitney Houston and a lot of R&B influences. I would go to church with my grandma and that’s where I picked up singing full time.
What’s your earliest memory of falling in love with music, and recording professionally?
Actually, like when I was 6, teachers would ask what we’d like to be when we grow up and I never for once thought of doing any other thing. I wrote my first song when I was 9, and recorded for the first time when I was 13. People I played my music for at that time encouraged me a lot, and I’d say it gave me more confidence. Recording in a studio cost a lot of money to me then but it was everything to me.
Can you take us through the timeline of getting signed to Mavin Records?
I was in the University of Lagos, in year three. During this period, more people started recognizing me, you know. But I've been putting out music myself since secondary school, but when I got to university, I got more recognition. I won a talent competition in my first year, which was the first big thing that caught people’s attention. I remember how much it took to balance school and my music.
I did a lot of freestyles on my Instagram ‘cause I feel like I'm one of those Instagram discovery guys. I had this little community of followers who were supporting me. The big break actually happened at the end of my final year. So you can imagine the rate of struggle you know, all the hustle that I've been putting in from my year one.
I feel like I used my school as my hustling tool because I used to perform at every show in school. Literally, like every show in school, you would definitely see me there. That was how I spread my tentacles, how I met people that really put me on to people that changed my life to where I’m right now. I remember finishing, my rent was about to expire because I was staying off-campus, it was like God’s timing and it was the timing for me you know.
I knew that Mass Comm. was a very good department, they support music, it’s like Radio and TV out there in Mass Comm. It was at the back of my mind that all of these things are still going to lead to music at the end of the day for me, you get. So getting a call for me here in my final year was everything. It was an exciting time.
Image courtesy of Magixx.
Take us through your process of creating the EP.
I feel it was really spiritual. I think most of the songs on that EP were like divine songs. There was no overthinking, I didn't stress to make the songs that you hear on that EP at all and the recordings were done over like 6 to 7 months. You know, I didn't know the exact time they were going to put me out so I just kept working. It was in a pandemic. So me. I was just recording, inward, just going in back to back. I remember coming in and there was y Ayra Starr, there was Boy Spyce, and there was me. We were just working, we didn't know who wass going next. Everybody was just working. I remember trying to show who I truly am on that project. So that was like my first project and there was no pressure
Can you tell us about “Love Don’t Cost A Dime” and why you decided to do a refix with Ayra Starr?
The feature with Ayra Starr was done ultimately to revive and also to add beauty to a song that we felt like could reach a bigger potential because, we knew that song had great potential from the start. We knew this song could cause damage. In fact, when I put out the freestyle on my Instagram, a lot of people wanted the song already. But me adding Ayra Starr was me adding color to the song. Of course, I reached out to other people also but Ayraa Starr was like the person that was down for it. So it was not like because she was my label mate or anything, it was just her availability and what she can add to the song. And also that sound, sound preference. So, she did what she did.
How would you describe the music you make and what you want your fans to feel from it?
Ultimately, I make music to actually change people’s lives. I feel like I'm a preacher, I feel I'm God sent. It's one thing to make music and it's one thing to make timeless music. And I think I'm part of the people that make timeless music. And I want my legacy to be that I actually impacted people's lives through my music you know, and
I want my music to speak for my whole generation and the people after it. Because music to me is like the record of the best times of our lives. I feel like music is attached to the best memories of our lives, so like remembering the timeline of our lives and you'll be like oh, so Chris Brown’s song was popular at the time. I want to create that with my music. I want a timeline with people's great memories.
How’s it been adjusting to fame. What's it been like being a mainstream artist going on the streets?
I think generally, it's positive and it also makes you see life differently. So when you are seeing life, you are not like an audience, you are like a giver. You are always taken from. So you tend to be like a tap for other people. So there is this re-adjustment. There is a way you have to position yourself you know. It has not been easy like being up to people’s expectations. Because now, whether you like it or not, people are expectant. So, some days I don't want to come outside, I have to sleep. Some nights I don't even want to go to the club. Adjusting to everything bit by bit, I won't say I'm there yet but I'm learning and I'm getting better in what I do.
Have you faced any challenges personally as you've been coming up and also do you feel any pressure as an up-anbd-coming artist rising in Africa’s global scene?
I think I've always anticipated it. I once feel the pressure to make international records. Like growing up I've always listened to Wizkid and Burna Boy, and I know the trajectory there must have going like ten years' time, like we would not have to think about making international records, it would just have to be a default thing. Do you understand? I think I'm prepared. I don’t feel there is any pressure to win any awards. The only thing that I would say is there is pressure to keep on making great music.
What can we expect from you moving forward?
Definitely great music. A lot of great music coming and the vision is clear, to leave an impact to make sure that my next man is eating fine and my brothers and sisters that are coming with me on this journey would have a good life at the end of the day. You understand it is family first.
Who would you like to work with? Anybody in Africa?
Magixx: Honestly, I've said Drake a lot of times. I think I would also like to work with Doja Cat, Future, this guy's inspired me a lot especially coming up as a young person. I feel like we share a lot, his R&B soul, he also raps and he likes to try a lot of things. My sound is diverse, a lot of people just know me and they think that's it. I think Nigerians are petty listeners. They don't really pay attention to the body of work. So people need to go back and listen to who Magixx is, and my trajectory to where I'm headed and to or headed from.Burna Boy and Wizkid. I would like to work with all these people.
Unlike the Kendrick Lamar-curated Black Panther: The Album or Beyoncé’s The Lion King: The Gift album which had hints of South African flavours on them, Honestly, Nevermind is imbued with them.
On the 16th of June, news that rap superstar Drakewas dropping a surprise album first hit the internet. As with any of his releases, the announcement sent people into a frenzy. Leading up to the drop, the OVO camp, as part of a subtle and timely album rollout, put out a track list. Included in it as one of the album’s executive producers was South African super producer, DJ and artist Black Coffee. His name was listed amongst Drake’s regular collaborators and business partners, Noah 40 Shebib, Oliver El-Khatib and Noel Cadastre.
The two artists have previously collaborated on the remake of Black Coffee’s seminal 2009 hit “Superman.” Drake’s take on the instrumental and composition, “Get It Together,” was released almost a decade later on his 2017 playlist More Life. When the song dropped, the reviews and public reactions were split because of the original vocalist Bucie being replaced by then-burgeoning British singer Jorja Smith.
Fast forward to 2022, Black Coffee has a ‘Best Dance/Electronic’ Grammy award for his 2021 album Subconsciously, and has played at the biggest stages across the globe. It then shouldn’t come as a surprise that when putting together his experimental dance album, Drake tapped the South African producer to oversee and shape the sonic and creative direction of the album.
For an influential artist and global icon of Drake’s stature to do that is a historic moment and, not by any chance a small feat, particularly for the explosive South African dance and house music scene. While it doesn’t originate here, dance and house music has always had a home in South Africa. The country has produced many great dance music artists, birthed multiple sub genres and has contributed to the global dance/house music landscape and industry.
Black Coffee is credited as a producer on the tracks “Texts Go Green,” “Currents,” and “Overdrive.”. His Midas touch can, however, be felt on most parts of the 11 dance songs included in the 14-track project. Even his biological son, Esona Tyolo (Sona) made his debut and secured himself a producing and songwriting credit on the song “Texts Go Green.” “Falling Back” and “A Keeper” are produced by &ME and Rampa — whose 2018 track “Muye” got treated to a Black Coffee remix, and became a prominent feature on the DJ’s live sets. Australian artist and producer RY X worked on “Sticky.” The artist made an appearance on Black Coffee's Subconsciously track “I’m Fallin’”.
Congolese-born, South African-based singer/songwriter Tresor also has a significant contribution on the album, providing his songwriting abilities and backing/additional vocals on a total of six songs (“Currents,” “Massive,” “Flights Booked,” “Overdrive,” “Down Hill,” and “Tie That Binds”). The pop star made an impression on the OVO camp through his 2021 genre-blending, joint album with the Scorpion Kings, Rumble In The Jungle. The project got major support from Oliver El-Khatib via multiple spins on OVO Sound Radio (Sound 42, SiriusXM) and Tresor would end up writing and producing Drake’s Tems-assisted song, “Fountains.”
Not to be exaggerated or be made to be seen bigger than it actually is, however, the involvement of Black Coffee and Tresor on the album holds weight. Unlike the Kendrick Lamar-curated Black Panther: The Album, or Beyoncé’s The Lion King: The Gift album which had hints of South African flavours on them and small contributions by South African artists, Honestly, Nevermind is imbued with South Africa. Yes, there’s no obviously-sounding, expected and uniquely SA dance music genre on it (i.e. Amapiano, gqom, or even Afrohouse/tech), but home brewed talent extensively graced Drake’s seventh studio album (not a “playlist” or a soundtrack-driven project), and that speaks to our brilliance and what we can offer to the world.
The single mother and former cleaner captured many as they voted her and President-elect Gustavo Petro in to redirect the South American nation's path.
In what could arguably be the greatest rags to freedom story in some time, Colombia has voted in their first-ever Black woman Vice President. The historic vote saw leftist Afro-Colombian lawyer and activist Francia Márquez win alongside President-elect Gustavo Petro in Sunday's election. The pair won by 50.4%, just making it as Colombia's first elected government to follow leftist ideologies. Naturally, racists are upset, but for so many Colombians, seeing a Black woman in power was considered a thing of fantasy.
Márquez is a single mother, and worked as a housekeeper for many years, before going on to become a lawyer and longtime activist. In 2018, the VP was awarded a prestigious Goldman Environmental Prize for her celebrated work as an environmental activist, and her opposition to gold mining in her hometown, Suarez. The politician ran with communities in Cauca province rallying behind her as the promise for assistance in areas plagued by violence and poverty provided the necessary momentum to get voting. Roughly 80% of Suarez, Cauca's lives in poverty of some kind.
Márquez and current senator Petro were seen celebrating in front of a backdrop reading "Change Is Unstoppable," and Sunday's historical election made the victorious quote seem that much more believable. Márquez thanked voters from every corner of Colombia for supporting her and Petro's campaign. "After 214 years we have achieved a government of the people, a popular government, a government of people with calloused hands ... the government of the nobodies of Colombia," she said.
Márquez is ready to make a change as she has signed on to lead a new ministry dedicated to equality, and building on her central themes of improving women's rights and making healthcare and education accessible to poor communities -- all while serving as Petro's vice president.
Colombia's Afro-Colombian population is large and largely underrepresented and disenfranchised. Márquez joins Colombian politician Juan José Nieto Gil (the country only acknowledged his 1861 presidency in 2018 ... sigh) as one of the first Afro-Colombian people to lead.
Gustavo officially takes office on August 7, and we can only hope that Sam Smith's 'A Change Is Gonna Come' makes it as the song to represent their time in charge.
Supporters from all over the world shared messages of congratulations and hope for the newly elected Vice President.
\u201cColombia electing first Black Woman as Vice President is all the motivation I needed for the rest of the year. Wow! Congratulations @FranciaMarquezM\u201d
\u201cMy favorite part of how Black people welcomed Colombia\u2019s vice president-elect Francia M\u00e1rquez are tweets saying she look like everybody auntie. Nigerians calling her Nkechi and Iyabo, Kenyans calling her Khakasa, and US folks calling her Kimberly\ud83d\ude02\ud83d\ude02 We all the same blood\ud83e\udd0e\ud83e\udd0e\ud83e\udd0e\ud83e\udd0e\u201d
\u201cAfro-Latinos experience erasure & anti-Black racism routinely. As an Afro-Latino, I can\u2019t begin to tell you how much it means to see @FranciaMarquezM win the vice presidency of #Colombia . Felicidades y solidaridad! \ud83d\udda4\u270a\ud83c\udffe #Latinidad\u201d
— Del. Gabriel Acevero (@Del. Gabriel Acevero)
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\u201cFrancia M\u00e1rquez the vice president-elect of Colombia; Notice the African map patch on her jacket \ud83d\udda4 \n\u201cA people without the knowledge of their past history, origin and culture is like a tree without roots.\u201d Marcus Mosiah Garvey\u201d
We talk to the Nigerian star about his upcoming debut album, his engagement to Temi Otedola and why he thinks the Afrobeats wave is only the start for African music's global popularity.
