Ami Faku Evokes Visceral Emotions in New Music Video Release.
Ami Faku Evokes Visceral Emotions in New Music Video for 'Imali'
Ami Faku releases an emotional music video for 'Imali', aptly capturing the despairing economic landscape of South Africa.
Ami Faku has recently premiered the raw music video for her hit single "Imali" which featured on her titular album of the same name. Fans of the soulful songstress have long anticipated the release and with good reason.
The music video begins with Faku dressed in a dull brown bathroom gown seated on a couch with a stony expression on her face. She moves her lips like a zombie, completely depleted of all energy. The camera then shifts to fellow musician Blaq Diamond who is dressed in blue work overalls. Leaning on the door frame, both his lyrics and physical stance seemingly express the sheer exhaustion of being Black in South Africa.
The gold-certified songstress' new video traces the economic divide between South Africans. The growing number of shacks in informal settlements (in addition to running sewage) is contrasted with the shiny high-rise buildings of the business district in the northern parts of the city.
Faku does not move from the couch in the entirety of the video, barefaced in her signature style. She instead remains in character, playing the role of the many emotionally shell-shocked Black South Africans who continue to live through gross inequality.
Faku's video speaks to a glaring reality in the country. The history of Apartheid positions white South Africans at an economic advantage that has them generally dominating land ownership and the economy. The South African government has yet to adequately find a solution for land ownership and economic equality.
Watch the video for "Imali" below:
Ami Faku, Blaq Diamond - Imali Visual Story (Official Video)www.youtube.com
The Nigerian superstar shares his first single of 2023.
Ahmed Ololade Asake, popularly known as Asake, drops a new single for 2023 called "Yoga." The "Mr. Money" crooner shared the single along with a vibrant music video which depicts a deep, spirited, message that is expertly interwoven into the the song, and is primarily sung in the Yoruba language. According to Asake, the song is about peace and zen.
“The song is about minding my business and guarding my peace so no one can disrupt it,” says Asake. The Nigerian artist, who has consistently been releasing hits ever since he became a mainstream sensation, took to social media in the early hours of January 30th, 2023, shared a snippet of the new record with his followers.
The music video, which was directed by celebrated cinematographer TG Omori, boasts of colorful imagery and was shot in Dakar, Senegal. Last year was a highly-successful year for the YBNL signee, with us claiming that 2022 Was the Year of Asake, and stating that the singer's "clear-cut domination of the year was without a doubt."
According to that previous OkayAfrica essay, the Nigerian megastar has historically drawn inspiration from street-hop sonic influencers like DaGrin, Lord Of Ajasa, and Olamide, who poured the hardships in their lives into their music. In "Yoga," Asake uses his signature sonic blend of Fuji music, merged with spiritual affirmations.
Following his debut album Mr. Money With The Vibe, Asake set the tone for a streak of musical success that has been celebrated by Okay Africa's curated music lists, including Best Nigerian Songs of 2022 and Best Afrobeats Songs of 2022.
Watch the scintillating music video for "Yoga" below.
Burna Boy's global smash "Last Last" is set to receive yet another accolade.
Burna Boy released a global anthem when he shared "Last Last" with the world.
The song, which samples Toni Braxton’s "He Wasn’t Man Enough," quickly became the biggest hit of The African Giant's career. And, according to Chart Data, the record has now surpassed onemillion units in sales in the United States. The record is now eligible to receive a Platinum certification from the Recording Industry Association of America (RIAA).
\u201c.@burnaboy's "Last Last" has now sold over 1 million units in the US.\u201d
The global superstar released "Last Last," in the summer of 2022, and it soon became one of the most memorable records off of his sixth studio album Love, Damini .
Asides from becoming a fan-favorite, the record also quickly became a global phenomenon, earning it multiple weeks on the Billboard 100, where it peaked at No. 44. This is not Burna Boy's first run at the rodeo with an RIAA certification. He also previously received a gold plaque for his 2018 smash hit 'YE,' which played a big role in helping him to amass a growing, loyal fan base.
The celebrated singer continues to make a mark both home and abroad, and in addition to his RIAA recognition, he was featured on Popcaan's latest album Greater Is He. Everything seems to be falling in line for Africa's Giant. He's also set to headline Burna Boy Afro Nation Miami, alongside Wizkid, in May.
Last year, we spoke to Chopstix about crafting the song. He told us:
“Bro, as soon as this song was done — as soon as I hit export — Burna and I had a moment where we looked at each other and we knew that we had caused trouble."
Featuring Kizz Daniel, Joeboy, Minz, Lojay, Spinall, Ajebutter22 and more.
Every month, artists around Nigeria, one of the continent's biggest musical exports, release new songs in hopes of momentarily owning the hearts and ears of current and new fans amidst a barrage of new releases.
Here’s a list of the best new songs and music videos that have come out of Nigeria this month for your viewing and listening pleasure.
Minz "WO WO (Remix)" feat. BNXN (Buju) & Blaqbonez
Rising artist Minz finally got his big break late last year when his single “Wo Wo” started gaining traction, bringing him more mainstream popularity. Minz hasn’t stopped there, at the start of the year he released a remix of his stellar track “Wo Wo” featuring breakout stars BNXN (Buju), and Blaqbonez earning him his first entry into the top 10 of Apple Music’s Top 100 songs in Nigeria.
Kizz Daniel "RTID (Rich Till I Die)"
Kizz Daniel continues his chart dominance with his new track “Rich Till I Die," a follow-up to smash records "Buga" and "Cough (Odo)." The brewing hit sees Kizz Daniel celebrate his wins, proclaiming ‘he’ll be rich till he dies’, accompanied by a stunning TG Omori-directed video.
Joeboy "Body & Soul"
Joeboy hopes to be the soundtrack of your love life with his new track ‘Body & Soul’. Following the success of recent singles like 'Contour' and ‘Likkle Riddim’, Joeboy releases an Amapiano-layered love-themed single from his upcoming album slated for the first quarter of 2023.
Lojay & Smallgod "Automatic"
Lojay connects with Ghana’s storied Smallgod to make a charged percussion-heavy afrobeats record “Automatic.” The duo delivers something noteworthy, further cementing Smallgod’s ability to curate memorable African songs and Lojay’s remarkable lyrical ability.
Seyi Vibez "Alaska"
Seyi Vibez took to mainstream fame at the start of last year with the release of his highly acclaimed Billion Dollar Baby which featured the standout track "Chance." Following the success of his last project, Seyi Vibez started the new year with the release of his mixtape “Memory Card.”
SPINALL "Bunda" ft. Olamide & Kemuel
Top Nigerian DJ Spinall is back with a new track "Bunda" featuring Olamide and Kemuel. With a new album in the pipeline, Bunda serves as the first single off his forthcoming project. The afropop track introduces Kemuel’s sweet vocals in a smooth fashion along with a stellar verse from YBNL boss Olamide.
Ajebutter22 “Soft Life” ft. Ladipoe
After taking a hiatus from releasing projects, Ajebutter is back with his third body of work Soundtrack To The Good Life. The 15-track album features artists such as Ladipoe, Kida Kudz, Toby Shang, Not3s and sees production credits from record producers such as Twitch Papii, Johnson IP, Chillz, Ransom Beatz, and more.
Nonso Amadi "Ease Up"
Nonso Amadi releases his first record of the year, "Ease Up." The new track sees him experimenting even more with his R&B style, infusing new elements in his production and writing style. Nonso starts with a Malian chant and goes on to explore a sequence of exciting production elements.
Kel-P "One More Night"
Kel-P joins the growing list of producers stepping out from behind the scenes and taking center stage on their own songs with his debut single as an artist "One More Night." The Grammy Award-winning producer shows his range on the summery dancehall track.
Ric Hassani "My Only Baby"
Ric Hassani kicks off the new year with his latest record "My Only Baby." The video follows the singer as he charms his way into the heart of his muse, making his intentions clear as he sings “anything you want I’ll do, I’ll be your lover and your fool/because I want to marry you.”
The Nigerian director saw a vision of Mami Wata, then made a film that became the toast of Sundance and won the World Cinema Dramatic Special Jury Award for Cinematography.
C.J. Obasi’s third feature length film MamiWata has taken Sundance by storm. The mesmerizing fable, which marks the first time a home-grown Nigerian film scores a competition prize at the Sundance Film Festival, delves into the myth of the Mami Wata folklore, a terrifying mermaid goddess popular across West Africa. Obasi’s MamiWata tells a simple enough story of good versus evil, and the importance of maintaining balance while hurtling towards societal change. But Obasi is not your basic filmmaker, and his interpretation of this well-known folklore is a startling cinematic achievement that advances his singular vision.
Shot in dazzling black and white, and envisioned as an expressionist exercise, MamiWata tells the story of a beach-side community that must interrogate previously held beliefs when a stranger washes up ashore and forces a reckoning. At Sundance, Mami Wata impressed jury, critics and audiences alike. The film won the special jury award for cinematography for Brazilian DOP Lílis Soares’ striking work.
OkayAfrica spoke with Obasi from Park City, Utah about the seven-year process that brought Mami Wata to life.
Interview has been edited for length and clarity.
C.J. "Fiery" Obasi took seven years to make 'Mami Wata,' which he started writing in January 2016.
Photo: The Sundance Institute
You really saw a vision of Mami Wata and lived to tell the tale?
After the lackluster reception of my 2015 film, O-Town, I was at a place where I was worrying about what to do next. I have had three or four encounters all through my life where even though I am awake, I kind of zone out and recall no presence of time. I went to this beach where I saw this vision of a goddess whom I believe to be Mami Wata. If you see a giantess standing in the ocean with red glowing eyes staring at you, you kind of assume she is Mami Wata. She was beckoning on this young woman who was walking into the ocean. I said to myself that I am going to make MamiWata as my next project. That began a process of figuring out what kind of Mami Wata movie I wanted. I envisaged an emotional narrative that speaks to individuality and our identity as (West) Africans. Instinctively I realized that to go on that path I would need to follow the journey of the young woman and not necessarily Mami Wata. Who was this woman? Where was she coming from? If I could find the journey of the young woman, then that would lead me to Mami Wata.
Guitar Boy, the classic song by Sir Victor Uwaifo about his encounter with a Mami Wata readily comes to mind.
Of course. And to my credit when I saw Mami Wata I did not run away…
Sir Victor Uwaifo’s music appears in the film also. This was deliberate?
Absolutely, those who know, know. I did not want to use Guitar Boy because that would be too on the nose, but I also feel that Victor Uwaifo’s style of music imbibes the style and aesthetic of the film. And if you notice the scene at the bar, we call the bar Joroma but it is obviously a node to this Joromi genre which he created.
Pidgin language, which is native to various communities in Africa, and the diaspora even, is central to the film’s narrative.
For me it is about the history of Pidgin and how the language came to the West African region. Before even the slave trade, the West African coast was a commercial hub and people had to find a common language. Then we had the Europeans colonizing this region for hundreds of years. There had to be a common language and Pidgin morphed out of that necessity. There is a misconception that Pidgin is derived from English - and there is Pidgin English - but Pidgin is not necessarily a broken form of English. It is a mash up of several local languages including English. If you go to Delta state in Nigeria, the Pidgin is different from that spoken in say Ghana or Liberia. The idea of Pidgin as culture is what I wanted to reflect in the film, which is why as a Nigerian you will understand the Pidgin but will not necessarily call it Nigerian Pidgin.
Even when the film is specific to the West African region, it travels because there are versions of Mami Wata in several cultures that people can connect to.
We hope that it translates. You start from Nigeria, Benin Republic, rest of West Africa, Africa, the diaspora and beyond, because, like you observed, even non-Africans have a mermaid story. But they also have stories about their folklore, about spirituality and tradition. So, whether the mythology is Greek or Nordic or Celtic, you will find common themes.
You mentioned spending five years on this project…
That was just for the writing process. It took seven years to complete the film. I started writing in January 2016, and we premiered at Sundance in January 2023. I wrote about eight or nine drafts, maybe even 10. It started as a traditional genre film because I am a fan of genre and that was easy for me to do. But I soon realized I had put myself in a box. Looking back, I guess this maybe could have worked but that isn’t the direction I was going for. I wanted to do something that had more layers of meaning. After trying and failing multiple times, I decided to destroy all those drafts and start from scratch. And this led me to the development labs like Ouaga film lab and Less is More.
The setting is such that the film appears timeless and could be happening anytime in the past, present or future.
This was always there from the beginning, even when it was still in the genre drafts. We had this line in the script where the description was, “set in a West African village frozen in time.” I did not keep that line but that allowed me get into that world, and I think that is intricate to the story. I love period pieces, but I did not want to make one because I think there is something about them that can put up a chasm, and prevent the audience from going fully into the experience. The mind engages with stuff it finds relatable. We didn’t want that for this film, and one way we went about this was with the symbols that are related to the present. And also, with conversations around modernity, such as wanting schools and hospitals, that are present in the film.
The performances are great but also framed and delivered in a certain stylized way. The lead, Evelyne Ily Juhen, is a revelation, and Rita Edochie who is a Nollywood veteran has such a strong presence.
I have always been a huge fan of Rita Edochie, from just watching her in stuff. She is someone who elevates whatever she is in. But I always felt like she could do a whole lot more. When MamiWata presented itself, and she agreed to do it, I was excited to try. It is actually the first time she is doing a project that is cinema and she is very proud of that, which makes me very proud. I remember when she first came on set for her costume and makeup test. She put them on and everyone on set went crazy, and this was just the screen test. In terms of the framing and the stylistic choices, these are things that were already rudimentary to the storytelling. How do you capture the intermediary between the people and the water goddess? How do you capture the people themselves? This is all rooted in the cinematography and the conversations I had with DOP Lílis Soares. We wanted a specific gaze to capture Africans, one that is more empathetic rather than sympathetic, which is usually the go to style whenever rural Africa is represented on film.
Not only is the cinematography amazing, but also, everything from production design to costumes, hair and makeup is stunning.
I am glad you said this because the cinematography is great, but it works because of all these other elements. They had to come together to make it work.
What were your influences for Mami Wata?
We watched a lot of stuff, I must say, but mostly to understand what not to do for our film. We did not have a lot of direct references for what we were trying to do so we were watching things and consciously eliminating them. On the other hand, we watched things that inspired us in terms of innovation, but even those were not directly related. We would watch western genre films and classics from Asia. There are a lot of African filmmakers that inspire me, and my favorite film of all time will always be Yeelen. It is a very different film from MamiWata but the thing I love about it is Souleymane Cissé’s unabashed way of telling African folklore. That kind of audacity will always be influential to me.
You mentioned at the premiere that it was tough convincing people to back a MamiWata story because of the spiritual dimensions.
It was hard convincing investors. We actually had one who was interested in investing in my film but as soon as we said MamiWata, she actually said, “Holy Ghost fire,” and sent us packing. This is not a joke. But with the actors, there was no push back. They had questions certainly, concerning what I was doing but they were mostly excited. The job as a director is to constantly reassure your collaborators that they are in good hands, and I am pretty good at that.
The Nigerian American director has long used the tools of his multi-hyphenate trade to expand the ways Africans are seen. Premiering at the Sundance Film Festival, 'Bravo, Burkina!' gives him a larger canvas on which to paint.
