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Watch Burna Boy's New Video for 'Another Story' Featuring M.anifest

The video comes just a day before Nigeria celebrates Independence Day.

Burna Boy has had an insanely successful year with the release of his album, African Giant. The project, which features notable tracks such as "Dangote", "Gum Body", "Anybody" and "Wetin Man Go Do" has been lauded as one of the best albums of this year period and even sparked a heated debate as to why Nigerian artists consistently do better internationally compared to South African artists. "Another Story" is the tenth track on the album and speaks to the colonial history of Nigeria. Burna features Ghanaian rapper M.anifest in the new video for this track and the visuals are hauntingly on point.


The video, which was directed by Clarence Peters, begins with an impromptu history lesson about how Nigeria was under the colonial rule of Britain at the beginning of the 20th century. Burna insists that "the British didn't travel halfway across the world to establish democracy" but that Nigeria was birthed purely as a result of a business transaction between a colonial government and the company we all now know as Unilever. The central message of the track is that Africans are always told another version of events by their colonizers when it comes to their history.

In the video itself, Burna is shown riding on a horse and leading the audience through what appears to be a revolution where cars are being burned and people are protesting. Periodically, the video cuts to scenes where individuals are wearing blindfolds with various tags including "colonialism", "corruption", "politics", "fear" and "greed". We see M.anifest doing his thing in the midst of a crowd of protesters while under the surveillance of presumably the establishment.

The video comes just a day before Nigeria celebrates its Independence Day—appropriately timed indeed.

Watch the video for "Another Story" below:

Burna Boy - Another Story (feat. M.anifest) [Official Video]www.youtube.com

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Images: Photo by John Lamparski/Getty Images; Photo by Joseph Okpako/WireImage; Photo by Burak Cingi/Redferns

This Year's Lost In Riddim Music Festival Is Canceled

The music festival was canceled by organizers as they prepare to come back even bigger and better in the New Year.

Update 08/17: And another one bites the dust.

This year's Lost in Riddim international music and art festival has been canceled, according to a statement shared via the event's official Instagram page. What would have been the Bay Area's delicious groove fest to end off of summer 2022, the raincheck has left both concert-goers and event organizers, Sol Blume, in distress. Performances from the likes of Burna Boy, Wizkid, Major League DJs, Davido, legendary Jamaican rapper Sean Paul, were set to set the stages on fire over this year's Nigerian Independence Day weekend. We trust that they'll come back even stronger after some time to regroup.

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Image courtesy of the Institute Museum of Ghana

Spotlight: Nigerian Artist Festus Alagbe Is Unmasking Your True Identity

We spoke with the visual artist on identity and letting your intuition guide you to success.

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 visual artist Festus Kehinde Alagbe. The painting major comes from a family of creatives and entrepreneurs and uses his life experiences and understandings to reflect messages back to the society to which he belongs. Acknowledging his strengths and choosing to focus his energy on his creative pursuits, Alagbe uses the concept of 'masking' to reveal the hidden meaning behind the norms that society has placed upon us. Paul Laurence Dunbar's poem 'We Wear The Mask', acts as a great inspiration for the young artist, as his understanding of human nature led him to portray his artistic subjects as unmasking and masking whichever expression they believe will suit the mood. Alagbe's work also illustrates how the everyday person copes with the harsh realities of life on Earth.

We spoke with the artist about his current spot in Ghana's Noldor Artist Residency, allowing yourself to learn more about your craft, and the pressure that comes with identity.

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.

My artistic journey began in childhood: I was born into a family that holds entrepreneurs and creatives in high esteem. And we're all creative -- my parents were fashion designers, and, likewise my twin brother.

I’m an instinctive artist. I have always wanted to express my imaginations and experiences in a visual form -- either on a two-dimensional surface or in three-dimensional form. That which I can not express with words, I want to express as messages that people can learn from, relate with, and encourage society. But, knowing that instincts aren't enough, I joined The Polytechnic, Ibadan's Department of Art and Design as a painting major to be mentored and become a professional Artist. I became a full-time artist when graduated from school.

I’m currently a Visiting Fellow at the Noldor Artist Residency in Accra, Ghana.

What are the central themes in your work?

I capture different bisected facial expressions to represent time and seasons in the form of masks. I believe that the range of expressions that a face creates is not the true identity. Facial expressions are subject to the situation of society. “We wear the mask that grins and lies, it hides our cheeks and shades our eyes,” says a poem titled “We Wear The Mask” by Paul Laurence Dunbar.

The true Identity is hidden inside every individual. The characters you exhibit will be determined by the kind of seeds you sow into yourself -- either love or hatred. I use flowers to capture love, passion, seasons, and transient time. The elements I use in the back are biomorphic and fluid in shape, depicting structures and institutions in the world. I also capture and depict Black bodies bursting through with floral elements, referring to the optimism that lies with the pain of being Black, depicting a sense of growth and resilience in the face of ubiquitous racial prejudice and adversity largely faced by people of color. And the flowers bursting through different genders captures different emotions and expressions.

What is your medium of choice, and why?

I use various mediums to express myself, like acrylic, oil, charcoal, etc. I use different mediums as a professional artist because I don’t want to be limited to a medium before I can express myself.

Recently, I uses oil to detail my subject (faces) and acrylic for the background because it dries faster and can be controlled easily.

How has the pandemic affected you creatively?

It has actually affected me in the area of market value and the unavailability of materials to work. But all glory to God for today.

Can you describe your artistic relationship with ‘Afro-futurism' and 'Surrealism’?

I’m a surreal artist of African origin. So, my artistic practice is based on surrealism from an African perspective to address some situations or issues in society at large. I strike a balance between realism, fantasy, and imagination. Afrofuturism addresses themes and concerns of the African diaspora through technoculture and speculative fiction, encompassing a range of media and artists with a shared interest in envisioning Black futures that stem from Afro-diasporic experiences. While Afrofuturism is most commonly associated with science fiction, it can also encompass other speculative genres such as fantasy, alternate history, and magic realism. These are what make my practice relate to Afro-futurism.

Can you talk about your use of colors and jewelry in your art?

I use dark skin tones and colors to depict Black faces with bodies, and I use monochrome colors to explore abstract landscapes as my background. And the abstraction elements in the back are biomorphic and fluid in shape which is the representation of structures and institutions in the world and society.

Image courtesy of the artist

'Split Intent' 2022


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Photo Credit: Ian Nnyanzi

Ugandan Designer Bobby Kolade is Resisting the Secondhand Clothing Trade

We talked with designer Bobby Kolade about his experience working in Uganda and his perspective on industry and community.

In 2018, Bobby Kolade moved back to Kampala, Uganda — where he grew up — with a dream of creating a brand that used sustainably grown Ugandan cotton. Having been away for 13 years — making a name for himself in the European fashion world working for high-end brands like Balenciaga and Maison Margiela — his first priority was to engage with and learn as much as possible about Uganda’s textile industry.

But, after a little research, he found that the country’s textile industry no longer had the capacity to support such an endeavor. In the 1970s, Uganda was producing 84,000 tons of cotton yearly and processing 85% of it for local consumption. Today, only 5% of Ugandan cotton is consumed by its own people, with the rest being exported in its raw form.

Chief among the reasons for this decline in industry is the large-scale import of second-hand clothing from the Global North. Each day, millions of unwanted clothes from thrift stores and donation bins in Europe and North America land in cities across Africa, Asia, and Latin America. Their low-cost and sheer abundance leaves little room for local designers in countries like Uganda to thrive. Even worse, the vast many of these clothes are ultimately discarded, overwhelming African landfills with the waste of western nations. In Accra, Ghana, for example, 40% of the 15 million used garments that flood into the city every week are deemed worthless upon arrival.

Responding to this crisis in his local fashion industry has been at the center of Kolade's work and research since he returned home. Between 2018 and 2021, he frequented major trade points like markets and boutiques, textile mills and even worked for two different cotton processing companies.

The data that he compiled — alongside his research partner, Nikissi Serumaga — ultimately turned into a limited series podcast called Vintage or Violence.Released in 2021, the podcast brilliantly tells the story of Ugandan textile, the essential arm it has historically played in the nation's progress, and the sinister implications that the second-hand hand clothing trade has on youth unemployment, education, national morale, and Ugandan society at large.

Buzigahill green and black shirt

Photo Credit: Ian Nnyanzi

Alongside this research, Kolade also inadvertently found himself at the helm of Aiduke, a non-profit organization dedicated to empowering Ugandan fashion and textile practitioners. He also joined the Uganda Fashion Council as one of three directors responsible for sourcing funding for local fashion projects. But after two years of struggling to create exposure for their projects, the other two directors quit within weeks of each other, leaving Bobby alone at the reins.

As he sees it, the council failed, mainly because it was a council — a foreign concept that didn’t work in the Ugandan context. He rebranded it as Aiduke Clothing Research and switched its focus to learning and experimentation. Their first project was a pop-up shop that ran from December 2021 to February 2022 in a corner of a Japanese restaurant in Kampala. It featured a mixed selection of vintage pieces with accessories and crafts by local designers.

Kolade's latest act came with the launch of Buzigahill, a brand with a mission to “return Uganda‘s textile industry to the peak levels of the early 1970s, when more cotton was processed than exported.'' Their first collection, Return to Sender, responds to Uganda’s secondhand clothes crisis by “treating them like raw material.” They source bales of clothes from markets across Kampala, then combine and reconstruct them into distinctly new garments to be sold to customers in countries like the US and UK, from whence the discarded clothing first came. The collection further illuminates the devastating effects of the second hand clothing trade on countries in the Global South and points the conversation towards accountability by making western consumers reckon with the effects of their over-consumption. Following the success of their first drop, Buzigahill just released a second collection as part of the Return to Sender series.

The collection embraces an elevated yet playful streetwear aesthetic with an emphasis on comfort. Each piece is unique to itself, but there is a prevailing spirit that all the garments embrace: multi-panel t-shirts made from pieces of other t-shirts stitched together; mis-matched hoodies; track pants partially fashioned from denim jeans; and elongated t-shirt dresses.

We caught up with Bobby Kolade ahead of Buzigahill's second release to talk about his experience working in Uganda and his perspective on industry and community.

Buzigahill hoodie

Photo Credit: Ian Nnyanzi

How has the transition been since you moved back to Uganda in 2018?

The first three years, I went through a series of disappointments because I realized that it wasn't going to be possible to do what I had come back home to do. Our industry is not as far as it needs to be in order to set up a brand with a diverse collection that can compete on a global scale. But that’s life in Kampala — a series of disappointments that you make work for you somehow, especially if you are trying to set up something in a professional manner. So, the transition for me was having to adapt into a designer who repurposes secondhand clothes.

Along the way, so many beautiful things have happened and they overshadow the disappointments. The sense of community here is much stronger than I had in Europe. I feel like because of the scarcity of certain cultural activities, almost all the creatives stay on one side of town.

What is the significance of the name Buzigahill?

Buzigahill came about at the beginning of lockdown. I realized that all the people who inspire me — DJs, filmmakers, journalists, artists — all lived in this bubble that was on Buzigahill. One day, in our WhatsApp group, I joked that we all needed Buzigahill e-mail addresses. I love domain hoarding so I said, "you know what? Let me actually get e-mail addresses for everybody." So I bought [the domain name] and a couple of weeks later I registered the business.

What has shocked you most over the course of your research?

The biggest shock was the realization that we are in an industrial regression. I do not see any signs whatsoever that the cotton industry is going in the right direction. During my time here I've seen decline in industry [and] production. I've seen textile production decrease [and] cotton facilities shut down. That was bitter for me. I felt naive because I wrote so many pitches and I had this grand vision of a brand based around Ugandan cotton and it just couldn’t come to fruition.

Our educational institutions are also not training people to produce clothing for global markets. There is no clear distinction between a tailor and a designer. You study fashion design for three years but at the end of the day, you end up sewing a few custom dresses for clients.

Buzigahill sweater

Photo Credit: Ian Nnyanzi

What is the distinction, for you, between a tailor and a designer?

A tailor is a service provider for a designer (or a custom client). It's a craft. A designer spends time thinking about form, color, function markets people, culture, and not necessarily sewing.

So you feel that so-called design institutions largely only equip people to do the technical work of creating the clothes and not necessarily the bigger picture thinking that it takes to be a designer?

Absolutely! Also our textile knowledge is not to the standard it needs to be. I visited a textile university where they were still using manual sewing machines. We need to be using the latest technology. We need labs, we need people to be experimenting. The abundance of raw materials in this country is crazy but we're not using them to the extent that we could be [because] our institutions haven't modernized.

What do you think about the rate of secondhand clothing being bought?

I don't see secondhand clothes going anywhere. There are more and more shopping malls. More boutiques are opening up, run by people who purchase second hand clothes from markets and present them better and make it more comfortable for people who are not interested in going to Owino because of the hassle. We have imported a culture of overconsumption and ultimately it will lead to a culture of over disposal. People own much more than they used to in the past because these things are dirt cheap.

Buzigahill jumpshoot

Photo Credit: Ian Nnyanzi

In 2015, the member states of the East African Community pledged to ban the import of second hand clothing, but after the US threatened to revoke the African Growth and Opportunities Act, which gives African countries duty free access to export certain products to the US, only Rwanda ultimately followed through with the ban. Though it was tough at first, their local textile industry has since grown 83% between 2018 and 2020. Do you think that Rwanda’s success might influence Uganda to revisit those sentiments of 2015?

What's the population of Rwanda?

About 12 million.

So 12 million people. Uganda has 47 million people today. Think that answers the question. I don't think our local textile industry is anywhere close to being able to cater to the demands of the market right now. Secondly, I don't think we have the same strength as Rwanda does when it comes to talking to the US. What I would like to see happen more is what Buzigahill is doing; embracing the fact that we have all these second hand and treating them as a raw material to develop our industry.

If at some point raw material production, in terms of linen, silk, and cotton, does catch up and we can integrate them into the production systems that we've set up using secondhand clothes, then that is all well and good. But the key issue here is that African countries need to be treated as industrial resources, not just as a source of materials that need to be extracted.

Tell me about your experience speaking at the Global Fashion Summit.

There was a lot of talk. It was a lot of rich companies from the Global North telling us all the great things that they were doing. I went on stage and just said my truth and. It was well received but a part of me also felt like I was on stage performing a theatre piece. You kind of feel weird when people congratulate you for what you've said on stage because I wasn't performing anything. I was telling the truth. We have a serious problem and it remains to be seen if more African voices will be given the platform that I was given. Although it was the most diverse and youngest edition of the global fashion summit, there is [still] a lot of work that needs to be done and more voices need to be added to the conversation.

The highlight for me was the OR Foundation announcing the EPR fund with Shein. Ghana has the biggest secondhand clothing market on the continent and they experience the [most] devastating side effects of clothing waste disposal. The OR Foundation signed an agreement with Shein to receive funds to alleviate the effects of second hand clothing in Ghana at Kantamanto market. It’s the first time that a fast fashion company has acknowledged the fact that their products are part of the problem on the African continent. It's a model that should be replicated by all the other huge brands: H&M, Nike, Adidas, Topshop, Primark — the ones that are suffocating our markets.

Buzigahill pants with jeans

Photo Credit: Ian Nnyanzi

Other than upcycling, what ways do you think that designers can strive for sustainability in their work?

Sustainability, for me, always comes down to the raw material. The most obvious thing is using natural fibers. We need to see more designers interact with local craftsmanship. I love it when I see a designer carry something that is considered artisanal and use it to make something contemporary that appeals to a youthful market. We don't need to be using fabrics imported from other countries. I don't want to see Ugandan politicians wearing three piece suits and a tie. It's ridiculous.

How would you describe Kampala's sense of style? Do you think there is an essence that generally informs the way people dress throughout the city?

No, I don't think so. There are many different scenes which don't really mix very well. Each borrows a lot from their counterparts in the Global North. In my opinion, the best dressed people in the city are the boda boda [motorcycle taxi] drivers. They have an understated sense of swag, mixing things up unknowingly. It's innate. You can find somebody wearing cowboy boots, Adidas track pants, a beanie, and then a really cool jacket. It's all over the place, but it's special. It's unique.

Buzigahill women

Photo Credit: Ian Nnyanzi

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Photo Credit: Adayliving

Chopstix on Crafting Burna Boy’s Biggest Hit "Last Last"

We spoke with Chopstix, one of Nigeria’s most in-demand producers, about his career and working on Burna Boy's smash 'Love, Damini' album.

Much of the credit for Afropop's rise over the last decade is usually credited to its artists. Thanks to their chart-topping singles, propulsive personalities, and swell catalogues, these acts are bringing popular African music to the attention of a global audience. The hyperfocus on these musicians often means that other participants in the music creation process are overlooked.

The rise of super-producers like Sarz, LONDON, P.Priime, and Chopstixis quickly refining the future of the genre as they receive more attention for their critical role in shaping the direction of our contemporary pop sound.

“Times are changing, before now producers didn’t have access to all the tools we have now,” Chopstix told OkayAfrica during a Zoom early in in August. “We’re receiving more recognition for our work and that’s a great thing.” At the moment, Chopstix is one of Nigeria’s most in-demand record producers, serving as a link between the heady rush of the hip-hop-inflected sound of early 2010s Afropop and its more recent iteration.

Born as Malcolm Kolade Olagundoye, Chopstix got his start in music production as a student attending St. Murumba College in Jos, the alma mater of iconic Nigerian pop duo P-Square. The music-loving principal of St. Murumba had set up a studio in the school and established a music and drama club to get students engaged. “We had a live session part and a recording session where computers and software were set up to record and produce music but I didn’t know about that session for a while, I only knew about the live session part,” Chopstix said. “One day, while rehearsing, I was hearing music from the other room and I found an older guy producing music all by himself. That was my lightbulb moment and I just knew it was what I wanted to do with the rest of my life because he looked so good and was so in his zone.”

Introduced by a friend to music production software FruityLoops (now known as FL Studio), Chopstix dove head-on into music production, experimenting widely with the tools at his disposal. Those early days spent sleuthing around in FL Studios also helped crystallize his affinity for the innovative sampling technique that gave birth to his producer tag. “When I first got my FruityLoops installed, it was just a couple of sounds that came with it but I didn’t want to use those stock sounds because everybody had them and I wanted my music to sound different,” he said. “So, what I’ll do is listen to songs by [hip-hop producers] Kanye West, DJ Premier, and Timbaland and listen for places where a kick or snare stands out and chop it. I spent hours of my time chopping up those samples and stacking them up. At the end of the day, I had tons of samples that I had taken from different places. Those were the samples I was using to produce at the time and when people heard my beats they were always asking where they came from because it didn’t sound like the usual stuff people used.”

Chopstix wearing a suit

Photo Credit: Adayliving

Around 2009, Chopstix met fellow Jos-based musicians Ice Prince, Yung L, and Endia, coming together with the latter two to form the music collective, GRIP Muzik, that helped to refine an era of Jos’ music scene. “At the time, we were just remaking global hit songs,” Chopstix said. “We would go on radio and have people request that we remake a song and we remade it. We were mostly remaking music and putting out our original songs occasionally. When we saw the traction we were getting, we figured that we could do it bigger than we were doing it and that’s when we moved from Jos to Lagos.”

The move to Lagos came with its unique challenges as the rising producer had to face the unrelenting pace of life in Nigeria’s entertainment capital. He took time out to understand the pulse of the city’s entertainment structure and the industry that had grown around it, taking a backseat from active production for close to a year. In Lagos, his relationship with Ice Prince metamorphosed into a full-blown creative partnership that saw him produce hit singles like "Aboki" and "Gimme Dat" while helping Ice Prince complete his sophomore album, Fire Of Zamani.

“At the time, we made 'Aboki,' we were trying to experiment with the traditional sound because I always like to push people out of their comfort zones," Chopstix said. "The first few days after the song dropped, it got a lot of backlash on blogs but a week after that, it just switched. The reactions were great and the song just went viral and blew up... That was my first hit single after coming to Lagos. It introduced me officially as Chopstix.”

Working with Ice Prince meant that Chopstix was always collaborating with some of Nigeria’s biggest stars. He remembers officially meeting Burna Boy, when the Port Harcourt-born star came to record his verse for "Gimme Dat." That meeting started off a working relationship that continues to this day. “The first song I did with Burna was 'Rockstar.' it was the first time I recorded one-on-one with him after 'Gimme That,'" Chopstix said. “I think we connected instantly from the first time we met and it’s still the same to date. It hasn’t shifted and it’s only become stronger. There’s always been an understanding between both of us of what type of musicians we are and the connection just happened seamlessly.”

The connection between both musicians has deepened as they have ascended to new levels over the last five years with Chopstix being a part of the four-album run — from Outsideto Love, Damini — that has catapulted Burna Boy to international fame. (Another album, Gaddafi, which Chopstix worked heavily on was put on hold. “It’s probably one of the hardest projects I’ve worked on sonically but I don’t think it’s something that the world is ready for now because he was talking about a lot of real facts and global political stuff that I’m not sure people are ready for,” Chopstix said of that project.)

In July, Burna Boy released Love, Damini with "Last Last" as its lead singles. The song, which samples Toni Braxton’s "He Wasn’t Man Enough," was recorded one month before its official release and has become the most commercially successful song of Burna Boy’s career, peaking at No. 70 on the Billboard Hot 100 and No. 4 on the UK Top 40 Chart. Despite the heavy thematic references of the song, Chopstix says he was sure it was going to be a global hit record.

“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,” Chopstix said. “He knew instantly and we were already talking about how he was going to perform it and what the performances would look like on stage. That’s how much he is into his craft. When he says he put his life into his job, it’s not just lyrics — it’s facts. That’s why I enjoy working with people that take their work seriously because I take my work seriously. He called up the video director that same night, the director pulled up at his place the next day and the video was shot there.”

According to Chopstix, the decision to sample "He Wasn’t Man Enough" wasn’t a spur-of-the-moment decision; both he and Burna were huge fans of the song. “[The sample] was specifically picked out by Burna Boy himself," he said. "And it happens that I've always wanted to sample that particular song as well so the stars basically aligned in our favor.” A lot of the recent online chatter around “Last Last” has focused on Burna Boy’s comment about Toni Braxton receiving about 60% of the royalties on “Last Last” but Chopstix insists that this is the way such collaborations work.

“Sampling is a culture in music that has been around for decades,” said. “After 'Last Last' was done, the rest were label and management talks and Toni Braxton's team had been contacted for clearance. When a song is sampled and done right, it is indirectly a feature or collaboration. This automatically bridges gaps between the artists involved. It will introduce African artists to new territories and also their music is not completely alien. This means more listeners, and African artists can easily tour the new areas and further spread our music and culture.”

While still basking in the success of Last Last, Chopstix is working on bigger projects, viewing the success of the single as a portal for the next phase of his career. “I’m just super excited because 'Last Last' has just opened a door for the journey to start," Chopstix said. "I feel like I’m just starting right now. All I’ve experienced till this moment has just been preparation, this is just the starting point. I can’t wait for the next record and the next record and on and on.”

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