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Listen to Sauti Sol's New Album 'Midnight Train'.

Listen to Sauti Sol's New Album 'Midnight Train'

The 13-track project by Kenyan Afro-pop sensation Sauti Sol is a vibrant and uplifting gem featuring India Arie, Sho Madjozi, Black Motion and more.

Kenyan Afro-pop sensation Sauti Sol recently released their highly-anticipated album Midnight Train. The 13-tack project features the likes of India Arie, Soweto Gospel Choir, Sho Madjozi and Black Motion. The album is a follow-up to their 2019 album Afrikan Sauce which featured collaborations with Tiwa Savage, Burna Boy, Vanessa Mdee, Nyashinski and several others.


"Midnight Train", the first track on the album, is a mid-tempo number which samples of Toto's 1982 track "Africa". "Brighter Days", which features the talented and prolific Soweto Gospel Choir, was the first track to drop in the run-up to releasing the full album. It's an uplifting song both in its musicality and lyricism. "My Everything" is a slower paced romantic jam which features India Arie, a musician who has not only inspired but influenced Sauti Sol. "Suzanna" is a an upbeat and cheeky number that is a sure-fire standout track on the album. "Disco Matanga (Yambakhana)" featuring Sho Madjozi and Black Motion was featured as the soundtrack to Netflix's Queen Sono.

Speaking to OkayAfrica about the inspiration behind their music, Polycarp Otieno says, "Our inspiration comes from where we're at in our lives and what we go through as human beings, as men, as husbands to our wives, as friends. It's about writing stories that relate with other people and things people would not normally speak about in song. We try to put that in song."

Midnight Train is the group's first album with Universal Music Africa after signing a major deal with them earlier this year.

Listen to Midnight Train on Apple Music:

Listen to Midnight Train on Spotify:

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Photo Credit: Amazon

Watch the Trailer for 'Gangs of Lagos,' Amazon's First African Movie

Amazon's Gangs of Lagos will premiere on April 7th.

Nollywood is coming to Prime Video.

On Monday, the conglomerate announced that it would be releasing Gangs of Lagos, its first original African movie, on April 7th. The project, which is directed by renowned filmmaker Jáde Osiberu, features Nigerian stars like Tobi Bakare, Adesua Etomi-Wellington, Chike Osebuka, Chioma Chukwuka, and Iyabo Ojo.

The movie will follow the lives of a group of friends as they navigate the bustling streets of Lagos.

In a press release, Wangi Mba-Uzoukwu, head of Nigerian Originals at Prime Video, described the movie as a story that highlights the importance of friendship and family.

"Gangs of Lagos is a unique story about family and friendship, against the action-packed backdrop and striking set pieces of the streets of Lagos,” Mba-Uzoukwu said. “As the first Nigerian Original to launch on Prime Video, Gangs of Lagos sets the tone and standard, with the authentically Nigerian storyline in a genre that is so popular around the globe, making it a movie for our audiences at home and abroad.”

Gangs of Lagos - Official Teaser | Prime Video Naijawww.youtube.com

Located on the country's southwest coast, Lagos is the largest city in Nigeria. Over the years, the vibrant city has become known for its bustling economy, eclectic culture, and rich history. The crime drama promises to showcase the nitty gritty rumble and tumble of Lagos, as well as the authentic elements that make it one of the most renowned cities in the world.

Ned Mitchell, head of African and Middle East Originals, Prime Video said that with the roll out, Prime Video was hoping to connect with original voices.

“At Prime Video, we are looking to work with original voices to create spectacular stories and events that audiences can connect with wherever they may be,”

Mitchell said. "Gangs of Lagos launching will truly be a global cultural moment that marks the beginning of a new era in storytelling, where audiences everywhere can see the full power of Nigerian and African voices and the depths of our continued commitment to the local TV and film industry.”
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Photo by Tim Nwachukwu/Getty Images

Rema Sends Solidarity Message to the Five Iranian Women Arrested for Dancing to His Music

Rema has spoken out in support of five Iranian girls who were arrested for dancing to his music.

Nigerian Afropop star Rema sent a message of solidarity to five young Iranian women who were reportedly arrested for releasing a video dancing to his music.

On International Women’s Day, the women created a buzz online after releasing a video showing them dancing to the global hit "Calm Down." In the video, the women wore no headscarves while slightly exposing their midriffs.

According to reports, the Iranian government soon caught wind of the video and began looking for the girls. On March 9th, the Shahrak Ekbatan Twitter account—an account belonging to Ekbatan area activists—first alerted the general public by posting the dancing video online and stating that authorities had been asking residents in the area if they knew the women.

"They looked for CCTV footage of Block 13 to identify the girls who were only dancing and were not involved in any political activity. Police were seen checking the footage and questioning the guards," the account said.

Earlier this week, the Ekbatan-based activists reported that the women had been detained and forced to make an apology video, dressed in regalia that covered them from head to toe. The news soon caught the attention of Rema, who tweeted a solidarity message supporting the women earlier this week.

Although it is unclear how long the Iranian women were detained for, the Shahrak Ekbatan Twitter commented under the Twitter thread, stating that the girls were apprehended for about two days.

Historically, Iran girls have faced a number of restrictions that have limited their freedom. Some of these restrictions include legalities that require them to cover their hair and dress modestly in public.

Although there have been demands to abolish the compulsory headscarf rule, no progress has been made in that regard, and the rule is still in effect.

Art
Image courtesy of Oyinkansola Dada/Okra Agency

Oyinkansola Dada Is Mastering The Art of Discussing Art

OkayAfrica sat down with the Nigerian lawyer and gallerist to discuss the blossoming African art scene and the ingenuity it offers the world at large.

At just 26 years old, Oyinkansola Dada is creating the art world of her dreams.

Named one of Forbes’s 30 under 30 in its 2023 Arts & Culture category, the young Nigerian gallerist is stoking the flames of the international art world as she spotlights African artists, and marches the continent’s blossoming creative scene to center stage. Dada is a full-time solicitor, and part-time gallerist living in London after having moved there from Lagos, Nigeria to pursue a law degree at King’s College London. While waiting to convert to training as a Solicitor, Dada moved back to Nigeria to surrender to the energy of homecoming and explore Nigeria’s emerging art scene.

Now, the emerging art mover and shaker is connecting continents, both in person and through her online art publication, DADA Magazine, an art collector’s dream dedicated to highlighting the unfathomable talent found in the motherland.

A woman holds a copy of DADA Magazine and stands in front of a painting in a gallery. Image courtesy of Oyinkansola Dada/Okra Agency

POLARTICS and a London law degree

Dada began her ascent into the art world in 2015, when she started her online art blog POLARTICS, while in her second year of law school. “It became a very fundamental part of how things grew into what they’ve become,” she told OkayAfrica. “I wrote about art, politics, and the literature that I was reading and just sort of shared my thoughts on the things that I liked. And then I’d post it." The exposure saw Dada seek out more opportunities to engage with the art world by attending exhibitions, shows, and museums to get a keener understanding of the people behind the creations. Perhaps one of the most underrated gifts that exploring art can give is the tendency to trigger a rediscovering of self — something that Dada can speak to. “It was also a very important time in my life because I started to understand Blackness and my identity,” she said. “Moving to London after living in Nigeria, and what that felt like, and really understanding my place in the world. That was the beginning of everything.”

This introduction was enough to inspire Dada to use her experience to carve out physical space for all of the Black and African creators she connects with along the way. Presently, DADA Museum’s first manifestation sits in London on a temporary basis. “We don’t have to hold the space all year long. So, it’s not quite permanent, but it’s still a physical space,” the gallerist said. Next on the agenda is carving out a permanent gallery in Lagos to fully embrace and house Nigeria’s buzzing art scene. The benefits of an online gallery are great, but, as Dada puts it, “With art, a lot is lost by looking at images”. The young solicitor’s recipe for prioritizing community engagement and support seems to be one made for success. Dada’s bi-continental experiences have given her a certain advantage— assimilating to the needs of two markets and cultures that undeniably bleed into one another.

Spending time between the two bustling cities guided and championed Dada’s decision to create a physical space in Lagos, hopefully opening up later this year. The city is home to a community of artists that has galvanized Dada’s desire to emerge fully into developing and nurturing the talent that is so often overlooked. “It just feels like home to me,” she says, “It’s more personal.” And the importance of community sits at the heart of Dada’s “why”, as the gallery owner explains, “Apart from selling art or finding collectors, physical spaces and exhibitions are sites of engagement and for building community. I think for an artist to grow, both in their practice and in their career, it's very important for them to engage with people in person and let them see the work with their own eyes. London presents chances for expansion because there’s a lot happening in terms of market activity. Although there are amazing artists in Lagos, we also need international exposure.”

DADA Magazine

Staying close to her roots ingrained in the internet, the curator launched DADA Magazine in December 2022, highlighting the maturation and artistic exposure that Dada has experienced since her first online-based project POLARTICS. “I thought there was a gap, in terms of art magazines and representation of Black artists, and I wanted to fill it.” Dada favored extending the conversations beyond seasonal exhibitions, creating a community of engaged audiences who could interact with one another all year round. “It’s something that anybody can buy, at any point,” Dada said. “I also wanted some sort of knowledge bank and archive for younger collectors and art enthusiasts that are trying to figure out and demystify the art scene. It’s not a magazine that’s hard to understand or too critical.”

The relationship between African artists and the internet has been shown to be mutually beneficial. Having an online presence offers interconnectedness and the ability to be discovered outside of an artist’s own space, something Dada has witnessed firsthand. The discovery of new cultures and artistic approaches isn’t just set for international audiences, either. Africa is home to a myriad of styles, ideologies, and crafts, and Dada continues to learn and grow alongside her company in understanding the range and reach. “It has been eye-opening to experience things that are just so different from where I’m from and to be able to travel. It’s been good to come out of the bubble of what I understand. I think a lot of times people think that their reality is the only one that exists.”

A DADA Magazine cover. Image courtesy of Oyinkansola Dada/Okra Agency

Dada bases a lot of her work and outreach and an inherent desire to build community

Her wildest dream for the continent and industry lies in something that comes naturally to Africans — community. To center ourselves and rid Africans of the historically compromising act of participation. A world where artists on and from the continent can be self-sufficient, with the support of institutions that affirm creators, collectors, and galleries in their pursuit of personal and professional success. Too often, African stories of triumph become stronger the further away you get from home. Although Dada is still a full-time lawyer, the decision to pivot toward the art world did not initially sit well with her family. “In the beginning, there wasn’t any support, so I had to do a lot of it on my own, with the assistance of any other artists who were willing to take a chance. I would have liked to get an art degree, but it just wasn’t a possibility.” And then, the Universe stepped in: “I got funding from the firm that I was working with while at law school. I was able to save money and plant the first seeds of the business. That’s how I was able to get started otherwise it wouldn’t have been possible.”

Arguably, rejecting creative education or careers is a common theme within generations of Africans. And it makes sense. Many are forced to make those choices based on survival, not passion. However, as institutions grow – in both funding and their ability to offer serviceable degrees and experiences – so will the tolerance for those who are artistically inclined. “It needs to be seen as something that’s valubale,”, Dada says. “An actual career path. Then, I think people would be more incentivized to let their children do it.” As we continue to see ourselves in positions of power and leadership, the reality of what is achievable widens for those who look like us.

Issue #1 of Dada Magazine is available for £29.95.

A DADA Magazine cover showing a man painted gold.

Image courtesy of Oyinkansola Dada/Okra Agency

Photos
Image courtesy of the artist via Usher Nyambi

Spotlight: Prudence Chimutuwah Is Narrating The Rise of the 21st-Century Woman

We spoke with the Zimbabwean contemporary artist on adding color to the rise of female empowerment and commanding attention.

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 Zimbabwean painter and collage artist Prudence Chimutuwah. The mixed media art and collage enthusiast centers her creativity around the empowerment of African and Black women as we continue to make strides toward true freedom. Navigating a patriarchal system and ultimately strengthening their capacity to grant resilience and joy to the world around them, Chimutuwah's artistic depictions of the female form offer a hopeful glimpse into a bright, woman-centric future. In her early years, the artist gained inspiration from prominent and fellow Zimbabwean female sculptors Seminar Mpofu and Colleen Madamombe, choosing to major in painting and sculpture at the National Gallery Visual Arts School in Harare as a result. Chimutuwah's career has taken her to exhibitions in the United Arab Emirates, France, Nigeria, South Africa, and more, winning numerous awards along the way, including from the Zimbabwean National Merit Awards (NAMA) and The Delta Gallery Foundation of Art and Humanities. In 2019, Chimutuwah sold out an entire collection to one sole collector, on her opening night. Since then, the collagist continues to highlight and honor the women around her and the ways in which they choose to exist in the world.

We spoke with Chimutuwah about demanding attention, engaging your audience, and believing in a future worth fighting for.

Responses have been edited for length and clarity.

Can you tell us about the project that first inspired you to create?

The first project that inspired me to create was an exhibition called 'Purple Rhythm' by a Zimbabwean artist named Calvin Chimutuwah -- my husband. It included his paintings and some of my mixed media artworks, and it was about celebrating the streets and people of Harare. It sold out! Which pushed me into exploring my own work further.

What are the central themes in your work?

My work is about the emergence of the 21st-century woman as she steps out, and up to take charge in spaces seemingly dominated by males. My body of work exists to narrate, describe and inform the audience about the evolving world of women, and how we exist in patriarchal societies.

Where do you seek inspiration and how does it find you?

I’m informed and inspired by the everyday lives of women; their economic aspirations, desire for spirituality, need for attention, and energy for hustling. Witnessing all of this around me inspires me to tell their stories through my work.

What do you believe sets African artists apart from the rest of the world?

I believe that African artists mainly draw their inspiration and narratives from their own experiences and stories which then gives their work more depth. It's a form of storytelling.

Can you talk about your use of colors and accessories?

I am fascinated with bright colors. I use neon pigments a lot as they command a presence and compel one to look. Colorful African textiles dominate my women’s attire, as it's where I feel most at home. I paint my subjects in portraiture, fully figured and naturally expressing themselves in engaging looks and poses. I focus my art on the joy of being an African woman.

What’s something you wish someone told you at the beginning of your journey?

I wish I had a better understanding of the fact that being a creative is a full-time job that requires a lot of work and focus.

Image courtesy of the artist via Usher Nyambi

Zimbabwean contemporary artist Prudence Chimutuwah

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