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Tanzanian Artist Ommy Dimpoz Releases 'Dede' & Energetic Music Video

Tanzanian Artist Ommy Dimpoz Releases 'Dede' & Energetic Music Video

Tanzanian artist Ommy Dimpoz has dropped his latest track 'Dede' featuring DJ Tira, Dladla Mshunqisi and Prince Bulo in addition to an energetic music video.

Tanzanian artist Ommy Dimpoz has dropped his latest track "Dede" featuring South African musicians DJ Tira, gqom artist Dladla Mshunqisi and Prince Bulo. The vibrant track is an interesting mixture of a contemporary Tanzanian soundscape and a strong South African dance music flavour. The track is the official follow-up to several other bangers the artist has released in the past including his debut studio number titled "Nai Nai" and featuring Alikiba, "Mama" featuring Christian Bella as well as "Me N You" featuring Tanzanian songstress, Vanessa Mdeeamong several others.

READ: 14 Bongo Flava Classics You Need In Your Life

The music video for "Dede" is as vibrant and upbeat as the track itself with ebullient backdrops and energetic choreography at the fore. It will certainly have you wanting to get onto the dance floor and bust out a few moves. Streetwear meets luxurious fashion sensibilities in the seamless visuals with a particularly striking scene of pantsula dancers clad in eclectic outfits. Pantsula dance is one of South Africa's most popular dance genres and "originates in the Black townships of Johannesburg dating back to the 1950s," according to OkayAfrica's Sabelo Mkhabela.

This past September, Ommy Dimpoz signed a major deal with Sony Music Entertainment Africa with Managing Director of the record label, Sean Watson, saying in a press release, "It's a proud moment having an artist of Ommy's calibre make the decision to partner with us at Sony." Watson also went on to add that, "We're excited about joining forces with him to bring his amazing music to the ears of as many fans as we can."

We're certainly keeping an eye out on this artist and what promises to be an explosive music career.

Watch the music video for "Dede" below:

Ommy Dimpoz - Dede (Official Music Video) ft. DJ Tira, Dladla, Prince

Listen to "Dede" on Apple Music:

Listen to "Dede" on Spotify:


The Best East African Songs of 2022 So Far

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The first half of 2022 has seen many rising stars of the region cement their place in the charts with some exquisite bodies of art.

As the new generation of East African artists innovates their look and sound they’re gaining from the rest of the world every day. From the likes of Buruklyn Boyz, NJERI and Zuchu, we have seen some spectacular singles and projects so far this year. On the other hand, the heavyweights kept their fans happy with plausible releases that raised the bar for all artists from this side of the continent.

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Photo Credit: Nigel Glasgow

Sungi Mlengeya Uses Her Art to Celebrate Tanzanian and Ugandan Women

Sungi Mlengeya discusses stylistic choices in her art, women as her muse, and her exhibition in The Africa Centre, London.

Sungi Mlengeya has spent the better years of her artistic life refining her visual aesthetic. Opting for minimalism and monochromatic colors, the Dar es Salaam-born artist tries to celebrate the women in her life, exploring every lived moment she shared with them and illuminating the powerful roles of these women to the growth of their societies. Her work often features women in movement, capturing acrobatic poses.

A career in the arts wasn't always apparent for Mlengeya, who is self-taught. After studying finance in university and graduating from Catholic University of Eastern Africa in 2013, she started a career in banking, while selling pieces of her artwork on the side. In 2018, she started working with a gallery and she has been a full time artist ever since.

In her new exhibition, titled (Un)choreographed, Mlengeya explores the essence of dance and the several ways it serves not just as an expression for women but as a means for women’s liberation. Speaking to OkayAfrica, Mlengeya discusses stylistic choices in her art, women as her muse, and her exhibition in The Africa Centre, London, which opened earlier this month and runs until July 24th.

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You switched from working in the bank to an artist. What motivated you to pursue art as a career?

I have always wanted to be an artist but I didn’t know how and when. It was just a pipe dream. I chose to study finance because I thought it would be a general knowledge I could apply in my personal affairs whether it was an art related business or any business or I could either get employed with it. I just felt it was general because I didn’t want something specific like an account which would limit me to a certain career choice.

As a child, were you so drawn to art?

Yes. I remember in kindergarten, we were made to draw people in our homes, and I drew my mother and my Aunty who was living with us, and I rushed home to show them the painting and my mother jokingly said, “this isn’t me.” I remember having this feeling which was so warm and it made me think I captured their essence in a way, even though it didn’t completely look like them, I just felt like it would be a drawing I would always remember. Over the years, from Dar es Salaam, we relocated to Serengeti — which is one of the largest national parks in Tanzania — my parents were wildlife veterinarians so we lived in the park for about 10 years.

There were no electric poles because of conservation purposes so we only had generator power at night so the days were so long because we couldn’t watch TV. We had to come up with other ways to fulfill the days. My mother had these magazines and they had craft sections, so my sister and I will always make crafts from those magazines. Everyday we would make something new from paper or just from cutting and fixing things together and in the evening, we would try out recipes. Most of my childhood was about creating things and I think that has contributed a lot to me becoming an artist because I find so much joy in doing all those things.

Sungi Mlengeya artwork

Photo Credit: Nigel Glasgow

In your work, you’re always keen to document the lives of black and Tanzanian women? Tell me about it.

When I started painting, women were my first muse. I didn’t know why, it was a random decision. I decided to continue painting women as a way of celebrating the women in my life. I usually paint them with strong expressions because I want to inspire a feeling of strength, power and freedom to the women that I’m representing. These are Tanzanian and Ugandan women because these are the places I have a lived experience of and I’m so familiar with those around me which gives me the power to paint the women that I know.

When did you relocate to Uganda?

It was when my gallery invited me in mid 2019. In Uganda I decided to persist with using black and white color in my work. Back in Tanzania I also used the black and white color but I was also exploring other things. But in Uganda, I moved with consistency and my scale of work increased. I think that consistency could have happened anywhere. I’m not trying to insinuate that because of the change of environment. I mean it’s a journey, I keep experimenting with new directions and my art has progressed as well.

Is there any difference between the art scene in Tanzania and that of Uganda

I think it’s more vibrant in Uganda, the galleries here, like mine, are taking part in the global art scene, inviting artists and doing international exhibitions. For my country’s art scene, there is growth. It’s still budding and I’m keen on seeing the several amazing things they do.

Was your minimalist approach to monochromatic colors very intentional?

No, it was not. When I started I wanted to make a painting with a perfect background and I had no clue on what the background would be. So I started painting the face first and, when I finished, I really loved how it looked. There was a contrast of the dark skin against the white background and that was beautiful. It made the painting stand out. But overtime, I have come to attach meaning to it. For me, space means freedom because just deciding to continue to do that meant it was liberating to me as an artist. It helped me focus on what I cared about, which was the women in my art and I really didn’t care much about the background. I was just allowing myself to do what was liberating, and also the women I paint are also in a space where they are free to go about life doing things they want to do, be their true self without the limitations and cultural norms that hinder from pursuing a certain type of life they want.

Sungi Mlengeya event

Photo Credit: Nigel Glasgow

Tell me about your artistic process?

My process is quite explorative, it begins with taking photographs of models. I tell them to pose a certain way or sometimes we get random poses and then I use the photographs to reference. Sometimes I play around with the photograph to add some trick here and there, so that the process is sort of playful. Before it was just turning the photographs into painting but now I play around with the photos so I can put more of myself into the creative process. After that, I use manipulated images for the paintings. Yeah, I think I’m embracing more playfulness because I feel art should be fun. Most times, I don’t plan each painting, I don’t always get the theme but in the process I just relate more meanings to it.

Is your art keen on liberating women in Tanzania against social norms?

When I began, that wasn’t the motivation. It was just creating and expressing myself freely but I guess that is one of the things that adds on how people perceive my work. And that has a bit influenced me to continue focusing on women because I’m so keen on seeing a society where women are treated better. Being able to use my art to speak out that message is very apparent for women, it’s a lovely thing but it’s a secondary reason.

Sungi Mlengeya artwork

Photo Credit: Nigel Glasgow

Tell me about your exhibition ‘(Un)choreographed’

So I love to dance. I feel so good when I dance. I feel like I’m always dancing because when a good song comes up, I will be the first person to stand even though in nature I’m a bit shy and quiet. I have been doing several photoshoots for various works but in every shoot, I end up having some dance poses. I was looking for a theme and a friend of mine told me, “Why don’t you do something about dance, you are always dancing anyway” and it sounded like a good idea. So I brought together all those photographs from previous years and then did some shoot relating to dance and made several paintings from these photographs.

The exhibition is acknowledging the dance moments in my life and then hoping to inspire the viewers to take a moment to celebrate life with dance. I can also relate to dance in real life because my dancing take up spaces and in life we need space for ourselves, space for autonomy to make our decision and I think it’s a basic right. I also relate the movement in dance to a movement in life, taking actions in whatever that you think is important like being committed to your steps despite society. Yeah— so I think I relate those things to dance. Also, there is an idea that a super woman should take care of children, have a job, have a side hustle to make money, do domestic work and all these things but you know, we also need to relax, so it’s a reminder for women to be calm and enjoy life.

Photo courtesy of Nurdin Momodu

Spotlight: Nurdin Momodu Is Using Animation To Share African Ingenuity

We spoke with the 3D artist and animator about his company Lotusfly Animations, Black excellence, and Africa's relationship with technology.

In our 'Spotlight' series, we highlight the work of photographers, visual artists, multimedia artists, and more who are producing vibrant, original work.

In our latest piece, we spotlight Nigerian animator and 3D artist Nurdin Momodu. The Founder of Lotusfly Animations, Lagos-based Momodu's work beautifully articulates his vision of a technologically advanced world where Black excellence shines brightly. The animator founded his animation company in 2015, and has since pushed the boundaries of how African stories are told and shared. Keen on developing how African children see themselves on screens, Momodu and his team of established 3D artists are currently working on a kids' show titled, "Time Tech Kids".

We spoke with Momodu about following your passions, expressing Black excellence, and the representation that matters.

Responses have been edited for length and clarity.

Describe your background as an artist and the journey you've taken to get it to where it is today.

I never dreamt of pursuing a career as an artist, however, I always had an artistic eye. Life and its circumstances forced me to look within and harness the gifts I was given. The lack of jobs after pursuing a degree in microbiology was a turning point, and eight years ago, I discovered 3D animation and taught myself everything I could.

What are the central themes in your work?

I like to explore themes related to Afro-futurism, technology, and science fiction. I also like to look into deep emotions, melancholy and Black excellence.

How did you decide on using a digital medium for your art?

The moment I discovered 3D animation, I knew it was the medium for me -- the possibilities were endless. It felt so natural, I always had a fondness for computers, so expressing my art with one was a no-brainer.

Can you describe your artistic relationship with ‘Afro-futurism’ and African technology?

I think we are inseparable. I produced my first proof of concept titled “Jagabaan” because I wanted to express Black excellence and its relationship with technology and the future.

I imagine a time, far into the future, where Black people -- our culture, technology, stories, struggles of the past and present, and how they shaped the future -- dominate. However, the realities of everyday struggles in Africa make it challenging to envision this future. If my portrayal of Afro-futurism can connect with people just enough to enable them to ponder and believe in a future dominated by Black excellence, I’ll find fulfillment.

Can you talk about your use of colors in your work?

Black and Red are my favorite colors, I find them to be a default palette in my arsenal of colors. However, I am drawn to orange and cyan when lighting a shot or an image, especially when I think on a cinematic scale. I love making darker-looking art, but with a stylized look.

Night shots are particularly my favorite, so I go for desaturated colors with the exception of the focus to enable it to stand out from the background. I have an unhealthy obsession with colored neon lights. LOL.

How has the pandemic affected you creatively?

With the exception of mass hysteria due to Covid, lockdowns, and the #EndSars movement that took place in Nigeria, not much of my lifestyle changed. I began working from home in early 2019, and have been since, so the lockdown didn’t affect me much. I had an influx of jobs, so I spent most of the year working and improving my craft.

Photo by LotusFly Animations courtesy of Nurdin Momodu

Photo Credit: Damilare Kuku

Damilare Kuku on How Real Life Inspired Her Hit Novel ‘Nearly All The Men in Lagos Are Mad’

OkayAfrica spoke to author Damilare Kuku about her salient breakout novel ‘Nearly All The Men in Lagos Are Mad.’

Damilare Kuku is new to Nigeria’s literary scene. But her short story collection, Nearly All The Men in Lagos Are Mad, came with a buzz. Released in October 2021, the book is a collection of twelve salient tales of young Nigerians in Lagos. Capturing the complexion of the city, it grapples with themes like love, sex, deceit, infidelity, companionship, and heartbreak.

The characters in Nearly All The Men in Lagos Are Mad are women. However, they are not just any kind of women. They are people with whom Kuku shares certain connections with.

Some of these women are friends, close acquaintances, and relatives. "One of the aims of my work as a creative artist is bringing human beings closer, especially women," Kuku told OkayAfrica. "Because women need to know that whatever they are going through, they are not alone. There are other people with the same thing happening to them."

Kuku, who loved reading books as a child, grew up between Lagos and Ile-Ife. Before her debut novel became a hit, Damilare played roles in movies. She’s made appearances in Africa Magic's television series Unbroken and Nollywood blockbusters like The Set-Up (2019), Chief Daddy (2018), and Love is War (2019). As her writing career enjoys attention and success, she landed her most important Nollywood role yet — in the Biodun Stephen-directed drama The Wildflower, released in May.

OkayAfrica caught up with Kuku on Zoom to talk about this anthology work, its inspiration, and her most important role in Nollywood yet.

Damilare Kuku book

How did you come up with the title?

The title of the novel came to me after a prayer session. I'm an unapologetic child of God, which means I rely heavily on God. I was actually in between projects and remembered I was in my one-room apartment in Yaba, Lagos — a very cute little place. I liked it, and I was so proud of the space.

Whenever I am not working, I pray. Somehow, somewhere, I was praying, inspiration came and was like, "how about you write a novel titled Nearly All The Men in Lagos Are Mad?" It wasn't even the inspiration for the stories; it was only the title. So immediately, I sent the title to a very well-known Nollywood actor's assistant. I never got a response, which discouraged me a bit, but I thought maybe it wasn't the right time, so I let it go. This was in 2019. A year later, I submitted a book to my publisher. This was the publisher who later published Nearly All The Men in Lagos Are Mad, and they were like we see potential, and we'd love you to come in for a meeting. So I went in for a meeting and they wanted to sign me on the spot.

Your book deals with themes like deceit, companionship, infidelity, social class, friendship, and heartbreak. Was there any of these themes you wanted readers to pay more attention to?

All stories in the novel are as personal as they can be. I don't have a story in the book, but each story was carefully written, which is interesting because I had all of these things written out, hoping anybody reading the book would get the message. When the message was clear, it was pretty comforting. Every particular story was of clear intention. The same thing with any of my work has always been clear. I'm always delighted when people see my message's clarity. Each story is a love letter to some woman I know.

In the story “Beard Gang” from Nearly All The Men in Lagos Are Mad, you explored how Gay men use marriage to straight women to conceal and hide their sexual orientation. Do you think Nearly All The Men in Lagos helped in any way to pinpoint how this is problematic?

Firstly LGBTQ+ community is very precious, and I'm cautious with what I say. I believe my work mirrors what is going on in the society. Take from it what you will. I tell most people I'm not here to educate you, and I'm more of a timekeeper. That's what I am as a writer. I'm saying this is what is happening. As Damilare, I believe people should be who they want to be. People should learn to accept people for who they are. That's my phenomenon; that is my theory about life. When a person shows you who they are, accept them, but on the other hand, I'm not doing that in this book. I'm simply saying that this is where our society is. Read it and then take from it what you will.

Because it would be foolhardy of me to say this is wrong or right. I'm not here to teach anybody, I'm just here to mirror the society and say how it is. I've had many reporters ask me what my view on queer people is. I don't have an opinion, and that's not because I'm trying to play it safe, but this is what society is.

Damilare Kuku green shirt

"I'm very intentional with my work, and I feel like, as a woman, I can only share stories about what it feels like to be a woman," Damilare Kuku said.

Photo Credit: Damilare Kuku

Let’s talk about the theme of sex. Why was it so essential to the stories being told in your novel?

For me, it was the characters telling their stories, and I can remember older people who had read the book who called me and said, "Is this what is happening now?" and I said yes. I told them it was different from their time when women were very conservative about their sexual life and sexuality. Nowadays, if a woman consents to sex, she's doing it of her own free will. So is that necessarily a good or a bad thing? Then again, it is not my place because if I pass judgment as a writer, I'm not doing my job telling the story. It is left to the readers to make with it what they will. I remember I did an interview a while ago and the interviewer and critic called NALMILAM not too far from pornography, and I laughed. Similarly, the book is dedicated to my mom Oluremi Abake. She started reading the book, but she also says the sex talk is a bit too much for her. But I feel like it's a normal phenomenon; young people living in Lagos are having sex, so why sugar coat it?

Was there any story in Nearly All The Men in Lagos Are Mad that was tedious or mentally draining to write?

The only thing that was quite tedious was emotions. So when my friends — the inspirations behind the stories — went through what they went through, I related as a listener. To write about their experiences, you have to become them. So I found myself being them. Sometimes I would even cry. In the story "Ode-plus complex," the main character (Jide) was a family member's experience. I became the character to understand what they went through, which helped me as an actor. It was very therapeutic.

Let's talk about your latest role in The Wildflower. Share with me what it was like to play the role

As I said, I'm very intentional with my work, and I feel like, as a woman, I can only share stories about what it feels like to be a woman, either through what friends have been through or what I know someone else has gone through. I can tell what other women go through because I am one myself, so when I got the role in The Wildflower, after several auditions, I was very excited. I wanted to tell the story of women and what they go through, abuse in the workplace and many girls go through that. They are being marginalized. Women go through a lot, and most times, some people who do these things to us don't think they've abused the woman.

In The Wildflower, my character was abused by her boss, and there was a scene after the abuse where he said to her, "If only you've been a little bit more cooperative..." and I believe most men think like this. They think, "I didn't rape you — we had sex." But no, it's rape. I told you "no." You didn't listen and went ahead to do what you wanted. When someone says "no," no should mean no. I have often heard some ridiculous views like, "when an African woman says no, she means maybe."

We are here in a society where men don't respect boundaries. They don't respect personal space, and they think it's okay to touch a girl because she's wearing a short skirt. I read a review about The Wildflower from a popular site, and the reviewer said, "absolutely not recommended because abuse has been talked about," and I actually wish I could talk to the person and say, "just because abuse has been talked about many times, doesn't mean it shouldn't be explored."

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