• Tanzania’s rapidly growing ‘Bongo’ film industry is going full steam ahead, with British actor, Idris Elba, planning a major studio in the country.

    British actor Idris Elba plans to open a major film studio in Tanzania after holding initial talks with President Samia Suluhu Hassan.

    Tanzanian’s Director of Presidential Communications, Zuhura Yunus, recently made this announcement during a media briefing session on the outcome of President Hassan’s trip to the 53rd World Economic Forum in Davos, Switzerland.

    “The president met with Idris Elba and his wife Sabrina, and they are keen to invest in a film studio in Tanzania,” said Yunus.

    “Discussions on the project have just begun, and if successful, the project will help not only Tanzania but also Eastern and Central Africa,” she added.

    Elba, who was born in Britain to a Ghanaian mother and a Sierra Leonean father, has previously spoken about his plans to help develop the film industry on the continent.

    “Young Africans view me as a leader or a beacon. And I feel like I could bring something. So I’m keen to bring what I’ve learned in media and amplify it in Africa,” he told South Africa’s SA People in August last year.

    And while this recent news is a shot in the arm for the country, Tanzania has worked hard over the years to package and position its film industry for international success.

    Despite having low budgets and limited production skills and equipment, the country’s filmmakers have matured the local ‘bongo’ films to rival Nigeria’s Nollywood and Kenya’s Riverwood.

    In September 2021, Vuta N’kuvute made history by becoming the first Tanzanian feature film to screen at the Toronto International Film Festival. It has also been screened at various festivals in Germany, South Africa, the USA, Brazil, Switzerland and Tanzania.

    The Swahili film, which tells the story of a young woman whose romance blossoms on the back of a political revolt woman during the final years of British colonial Zanzibar, won the Tanit d’Or at the prestigious Carthage Film Festival in Tunis.

    It also took home four awards at the 18th edition of the Africa Movie Academy Awards, held in October 2022 in Lagos. It won the Oumarou Ganda Prize for Best Fiction at FESPACO 2021 and the Special Jury Prize at the Seattle International Film Festival 2022.

    The most significant success for the film, however, came in September 2022, when it became Tanzania’s official entry for the Oscars 2023 Academy Awards under the Best International Feature Film category.

    “The future of Tanzanian cinema is finally in our hands. A wave of Swahili filmmakers is growing every day with pride, intelligence and boldness,” said Amil Shivji, the film’s co-producer.

    Tanzania also saw three of its films streamed on Netflix in 2022, marking a great start in the international market. Binti, produced by Angela Ruhinda, became the first Swahili movie streamed on Netflix, followed by Bahasha and Nyara: The Kidnapping (2020), respectively.

    But Tanzania’s prolific film industry did not start with the Bongo films and movies in the early 2000s.

    The industry dates back to 1961 when the government of the new nation of Tanzania established the Government Film Unit in 1963, the Tanzania Film Company in 1968, and the Audio Visual Institute in 1974.

    These institutions produced, distributed, and exhibited films, albeit films that propagated the Ujamaa socialist policies of president Julius Nyerere’s government.

    Over the years, the government has continued to support the film industry with incentives and new regulations.

    The Tanzania Film Board, in October 2022, embarked on a programme to coordinate the production of films with local strategic content featuring the country’s richness in several avenues to market the country’s attraction.

    “We want a vibrant and aggressive film industry,…we are training the local producers to enhance quality, competitiveness and national identity films,” said the film board’s executive secretary, Kiagho Kilonzo.

    The government also reduced filming permit fees to help filmmakers produce high-quality movies. According to the new regulations, filmmakers pay US$21 to get a filming permit, down from the previous US$215.

    Non-profits like the Zanzibar International Film Festival, established in 1997, have also continued promoting Tanzania’s film industry.

    The annual festival screens approximately 70 domestic and foreign productions and hosts capacity-building sessions for upcoming filmmakers, including workshops, masterclasses, debates and network events.

    In a 2021 report, the UN cultural agency, UNESCO, revealed that Africa’s film and audio-visual industries could create over 20 million jobs and contribute US$20 billion to the continent’s combined Gross Domestic Product (GDP).

    Market and consumer data company Statista says that Africa produces about 5,500 films per year, of which Tanzania manages around 500 yearly.

    According to the Tanzanian Minister of Culture, Arts and Sports, Mohamed Mchengerwa, the country has at least 30,000 people employed in the filmmaking business, and the entertainment and arts industry contributes at least 19.4 per cent to the economy.

  • Aggressive production of local content, lower subscription rates, all to increase African pay-TV viewer numbers in a competitive market.

    by Conrad Onyango, Bird Story Agency

    Africa’s pay television industry is projected to add 16 million new viewers over the next five years as top players step up the battle for compelling and affordable local content.

    Between 2022 and 2028, the continent’s pay-TV subscribers are projected to rise by 38% to 57 million, according to a new report by research firm, Digital TV research. Revenue growth, however, will be much lower.

    Pay-TV revenues on the continent are forecast to reach US$6.44 billion by 2028, up by 29 per cent from US$4.99 billion in 2022, signalling that consumers are likely to benefit from falling monthly subscription rates.

    South African Pan-African pay-TV giant MultiChoice (with 21 million viewers), China’s StarTimes (19 million) and France’s Canal+ (11 million) account for 89 per cent of all Africa’s pay-TV subscribers and are tipped to lead the fight for viewer numbers.

    The market is also unlikely to see any new major entries.

    “No new major players will start. Instead, these three operators will battle for supremacy – often by cutting prices,” said Principal Analyst at Digital TV Research, Simon Murray.

    MultiChoice, in half-year results released November 2022, showed that its linear pay-TV subscriber base – measured on a 90-day active basis – rose by 1.0m (5%) to reach 22.1m viewers on the back of aggressive investment in local content production.

    In 2022, the operator added two local channels and increased annual hours of local content in its library by 15 per cent to 73,000 hours. MultiChoice’s new local offering includes a new season of Big Brother Naija in Nigeria and two co-productions (Blood Psalms and Girl, Taken) in South Africa, with more in the pipeline.

    “The group is currently producing the epic original drama series, Shaka Ilembe, which will be broadcast during 2023 and is already receiving significant international interest,” said MultiChoice in a statement.

    Last year it also rolled out regional adaptations of popular telenovelas. For example, 1Magic’s The River was adapted for Kenya (as Kina) and Angola (O Rio). It said another seven local productions are in the pipeline.

    In South Africa, MultiChoice has 9.1 million subscribers, with the rest of Africa sharing the remaining 13 million viewers.

    StarTimes has also pushed local programming, with a commitment to collaborate with local content owners and producers across the continent, focusing mostly on the Kenya and Nigeria markets.

    In December, it launched a 100-episode drama series, KIU, on its local content channel Rembo TV. Rembo, with a footprint that covers Kenya, Tanzania and Uganda, has a language policy requiring 60% of content to be in Kiswahili, 30% in English and 10% in vernacular languages.

    “It is our commitment to continue supporting Kenya’s creative industry through commissioning more original productions as we seek to enrich our subscriber’s television viewing experience,” said StarTimes Chief Executive Officer Hanson Wang.

    KIU production adds to StarTimes’ growing array of exclusive local content production and is advertised as featuring Kenya’s top casts, directors and scripts. Other exclusive programmes launched by StarTimes in 2022 include Kupatana and NIA.

    The Canal+ strategy to boost local content has been through aggressive acquisition of major local film production studios and co-production agreements – or raising ownership stakes, including with its closest rival, MultiChoice.

    In August 2022, Canal+ completed the acquisition of Rwanda’s first digital streaming platform, ZACU TV, culminating in the launch of a channel that airs 100% Kinyarwanda content. The French operator also bought out Nigeria’s most famous Nollywood movies producer Rok Studios, in 2019 and, from 2020, has been upping its shares at MultiChoice in tranches-growing it to a current 26%.

    Industry analysts reckon operators will prioritise innovative ways of meeting dynamic viewer demands – simplicity, flexibility, customization, and convenience – to attract more eyeballs.

    Secretary General of the Consumer Federation of Kenya, Stephen Mutoro, told bird in an interview that content, ease of access and affordability would drive more subscriptions.

    “Competition would be welcome. Its not really competitive now. But content is king. MultiChoice enjoys the edge on exclusive popular content like EPL football. But then there are other consumers who enjoy non-football content offered by StarTimes and others,” said Mutoro.

    These sentiments are also shared by analysts at Oxford Economics and Accenture in their joint survey covering Africa, which highlights local programming as a key differentiator in the industry across the globe.

    “Research from Oxford Economics and Accenture finds that consumers value personalization and simplicity in their media experiences – and companies that innovate along these lines should emerge as winners,” said Oxford Economics Senior Research Manager, Thought Leadership, Sundus Alfi.

    Pay-TV providers are not the only pan-Africa operators following these guidelines, however. Nascent video streaming services on the continent are tightening the competition for subscriber viewer numbers.

    Dataxis, a global business intelligence and media company, projects that Africa’s video streaming market will have more than 15 million subscribers by 2026.

    As in pay-TV, MultiChoice-run Showmax commands the largest number of African subscribers, at close to 2 million, followed closely by international player Netflix, with 1.5 million users. These players, too, are investing significantly in local content production.

    The resulting stiff competition is expected to enhance the quality and exclusivity of content as well as tariff structures, to the benefit of viewers – with Mutoro singling out pay-TV players as having the upper edge on both access and reliability, over streaming counterparts.

    “Pay-TV platforms use gadgets with reliable power supply. Streaming use narrow screens, such as phones, that are susceptible to running out of power. In the peri-urban and rural areas, access to streaming is impossible, over unreliable and expensive data bundles,” Mutoro explained.

  • African music is witnessing explosive growth on YouTube, in a marked departure from the continent’s past struggle to gain a foothold in the global scene.

    by Seth Onyango, Bird Story Agency

    Craze for African Music Sweeps YouTube as Artists Rack up Millions of Views

    More African hits are reverberating far beyond the continent’s borders, amplified by the global music reach on YouTube and other streaming services. Growing smartphone adoption and affordable and fast internet in Africa also drive the local consumption of music on YouTube. From the catchy Afrobeats and soulful sounds of Afro-soul to the energetic rhythms of Afropop and the traditional melodies of African folk, the diversity of African music is captivating listeners worldwide.

    To most African musicians, YouTube has revolutionised how music is consumed, providing a platform for independent, undiscovered African artists to reach a global audience and gain success without the need for major record labels. As more people turn to YouTube for entertainment and to watch virtual concerts, subscriber traffic has increased steadily. African music is quickly rising among the most-viewed and most streamed. Here are some of the most viewed songs by African artists on YouTube at the time of writing.

    Jerusalema by Master KG –– 539 million views

    Jerusalema is breaking records as the most viewed African music video on YouTube, with an impressive 539 million views. The track, released in November 2019, received a music video in December.

    Magic in the Air by Magic System ft Choki –– 405 million views

    Magic in the Air is a mesmerising hit single released in 2014. With over 400 million views, it’s not just the most-viewed West African music video on YouTube, it’s also the second-most-viewed African. This infectious track is sure to get you moving and singing along.

    Love Nwantiti Rmx. by CKay –– 346 million views

    Love Nwantiti is a standout track from Ckay’s 8-track EP, CKay the First. Its addictive rhythms and melodies earned it a remix with Afro-pop star, Joeboy, and Ghanaian singer, Kuami Eugene, released in 2020. The revamped version became a global sensation thanks to its viral success on TikTok.

    Calm Down by Rema –– 318 million views

    Rema’s Calm Down has cemented its place as one of the highest-viewed Afrobeats music videos on YouTube, surpassing the impressive 300 million views mark. This hit single has continued to soar to new heights, further solidifying Rema’s status as a world-class artist. He recently teamed up with international pop sensation Selena Gomez on a remix of the club banger, which already has 210 million views.

    On the Low by Burna Boy –– 310 million views

    On the Low by Burna Boy has achieved the impressive feat of accumulating over 300 million views on YouTube, making it one of the few African songs to reach this milestone. The track was released on November 16, 2018, combining Afrobeat and dancehall elements. Produced by Kel P, this mid-tempo love song has been praised for its smooth, infectious sound.

    Baby’s on Fire by Die Antwoord –– 266 million views

    Baby’s on Fire has captivated audiences worldwide, accumulating over 266 million views on YouTube and solidifying its place as the second most-watched South African music video on Youtube after Jerusalema.

    Fall by Davido –– 254 million views

    Fall has achieved tremendous success with over 200 million views on YouTube and Gold certification in the United States and Canada. The song’s popularity has helped to elevate the Nigerian singer’s international profile and boost even more sales.

    Ye by Burna Boy –– 219 million views

    Nigerian singer, Burna Boy, unleashed a fiery and infectious anthem with Ye, a standout track from his critically acclaimed third studio album, Outside. Released on August 6th, 2018, Ye quickly rose to the top of the Nigerian charts and has become one of the most-watched African songs on YouTube. Its dynamic blend of Afrobeat and hip hop, paired with Burna Boy’s commanding vocals and catchy hooks, make it a must-listen for fans of contemporary African music.

    Joro by Wizkid –– 218 million views

    Wizkid has achieved massive success on YouTube with his hit song, Joro, which has garnered over 200 million views and counting.

    Way Maker by Sinach –– 217 million views

    The hit gospel song, Way Maker, has made a huge impact on YouTube, racking up over 200 million views and securing its place as the most-watched African female video of all time. With its uplifting message and powerful vocals, it’s no surprise Way Maker has resonated with audiences across the globe.

    EDITOR’S PICK: Imagine Your Favourite Nollywood Actors Had Youtube Channels

    Coming to you next week
    <script 
         	loading="lazy" src="https://bird.africanofilter.org/hits/counter.js" id="bird-counter" data-counter="https://bird.africanofilter.org/hits/story?id=63b85ab75ab9fe05c5546338&slug=african-music-craze-sweeps-you-tube-as-artists-rack-up-millions-of-views" type="text/javascript" async="async"></script>
  • Content creators from Kenya, Nigeria and South Africa dominated the inaugural TikTok Top Content Creators Awards 2022.

    by Bird Story Agency

    TikTok awards top creators in Africa

    Former rugby player turned food vlogger, Dennis Ombachi AKA @theroamingchef, emerged victorious at the inaugural TikTok Top Creator 2022 Awards. The Kenyan content creator, known for his culinary exploits, took home the Africa Winner award with Nigerian comedian, Charity Ekezie (@charityekezie), as the runner-up.

    The TikTok Top Content Creators Awards took place in Nairobi and saw winners walk away with #TopCreator2022 trophies across various categories. The ceremony followed a highly competitive, eight-day-long public voting process on the popular social app. According to a statement by TikTok Africa, the inaugural award “recognises and awards content creators across Sub-Saharan Africa for the immense talent and creativity they brought to the platform in the past year.”

    Boniswa Sidwaba, Head of Content Programming for TikTok in Sub-Saharan Africa, explained that the award aims to recognise and reward content creators for their positive impact on the platform’s users. “With these inaugural awards, TikTok aims to give creators in Sub-Saharan Africa the recognition they deserve and to encourage them to tell the African story while spreading joy at all times”.

    Dancing queen, Ifeoma Efiokwu, @e4ma on TikTok, won for the West Africa region, with Maduakor Faustina Chisom (@berby_picxy) as her runner-up. South Africa dominated the southern Africa region, with @Pilot_onthegram, an aviation and lifestyle content creator and the first South African pilot to be verified on TikTok. Lindokhule Khoza @.lindokuhle_khoza was her runner-up.

    Kenyan beauty enthusiasts, Natasha Gwal @natasha_gwal and @beautyby.nita, were the winner and first runner-up for the East African category. Roy Kanyi, a Kenyan content creator, considers the awards a motivating development for creators like himself. “Many will be more committed to the platform because the award confirms it cares for its creators and pushes for networking among them, which of course, comes with its share of benefits”.

    With the growth of the social media market, TikTok continues to appeal to audiences from across the continent. According to Dataxis, a digital data hub, TikTok built a 31.9% market share within Nigeria by 2020. The popularity of the platform on the continent has prompted TikTok to invest further in its growing customer base. In December 2022, TikTok Africa collaborated with Ghana to put together one of the biggest Afrobeats music festivals in Black Star Square, Accra.

    The platform’s African content creators are also seeing increasing demand for their creative skills. Fintech and marketing agencies are leveraging their experience to create and amplify marketing campaigns. According to Forbes Africa, TikTok has an advertising reach of 28.9 million users in northern Africa and 7.9 million in southern Africa, as of 2021. While the platform has started paying creators through its Creator Fund, most use other means to make money.

    “Lately, creators are actively approaching corporate organisations. But only as long as the product and services to be marketed are consistent with the creator’s content”. Nkululeko Dladla, a South African-based social commerce specialist, added that because TikTok is visually driven, it is more appealing when showcasing products and services. “In South Africa, TikTok can be a powerful tool for fintechs to reach a younger, more digitally savvy audience”.

    EDITOR’S PICK: Put Some Respect on TikTok Creator’s Names And Some More For The Female Creators

    HustlePrint Coming Next Week
    Starting Next Week (January 31st, 2023)
    <script 
         	loading="lazy" src="https://bird.africanofilter.org/hits/counter.js" id="bird-counter" data-counter="https://bird.africanofilter.org/hits/story?id=63c6a78f830466063b43fea3&slug=tik-tok-awards-top-creators-in-africa" type="text/javascript" async="async"></script>
  • Through his art exhibitions, Onoja Jacob is promoting peace among communities in Jos, North-Central Nigeria.

    by Dorcas Bello, Bird Story Agency

    When Jacob Onoja opens the door to welcome guests into his house in Jos, Plateau State, the first thing that catches one’s eyes are the exquisite paintings on the walls. This is an artist who lives and breathes art.

    “As far back as I can remember, I have always loved scribbling, drawing, painting and visualising imaginary things in the sky. I did it in my teenage years, and I still do in my adult life,” he said.

    Onoja started to paint professionally in 1987 when he opened a studio, the Diadem Art Gallery. To refine his talent, he enrolled at Ahmadu Bello University, where he earned his first degree in fine and applied art. After his mandatory NYSC year, Onoja displayed some of his paintings at the NICON Hotel in Abuja, and after attaining a master’s degree at Ahmadu Bello University, enrolled for a doctorate in art history. Earning his doctorate in 2014, he then joined the University of Jos as a lecturer. But he never let go of his private studio engagement.

    “It hasn’t been an easy ride juggling academics and private studio practice, but what keeps me moving is the long-term impact of my work. I have already started seeing the fruit of my labour as some of my students are now professional artists,” he said.

    While Onoja uses his brush to depict a wide range of subjects on his canvases, the theme of peace is close to his heart.

    “I was born and still live here in Plateau State, a place that has suffered insecurity, both cross-border and inter-communal,” he said.

    Through his art, Onoja projects peace as a value presented not only as a right but something every individual needs to consciously strive for. This he describes as a form of community therapy.

    “I try to tell stories of peace to entrap people into my space of therapy,” he explained.

    In 2014, Onoja launched an annual exhibition called “Landscapes and More” that brings people from within and outside of Plateau State together to discuss peace as they experience the stories behind his paintings. Since then, it has been held every December as an artistic event to “wrap up the year”.

    “It is a time of the year I look forward to, and many attendees have made it their annual routine,” he said.

    One of those who’ve been attending the exhibition is Nenkinan Deshi.

    “Onoja’s consistency in bringing peace messages is so healing… the scars of the instability in our state that I had nursed for years have been healed by the exhibitions. I appreciate his work and determination to preach peace through his art,” Deshi said.

    Onoja says he draws inspiration for his work from nature: flowers, buzzing bees, the skyline, waterfalls, everything nature offers. But above all, he is inspired by the divine.

    Onoja’s work enabled him to lead the Zaman Tare project, a peace partnership between CANFOD, an NGO based in Abuja, and the European Union, from January 2018 until January 2020. Zaman Tare means
    “peaceful co-existence” in Hausa.

    Its impact was summed up by Anas Ibrahim Suleiman, a community youth leader in Nasarawa Filin Ball, one of the “hot zones”:

    “I have never experienced something so great and more than ever before, I have seen the need for us to work for peace together as a community,” said Suleiman.

    Onoja has been engaged in other group and solo exhibitions, with some of his paintings appearing in foreign publications and receiving great patronage. He also says art pays most of his bills besides being a fulfilling career. His paintings sell between ₦7k ($15) for the smallest size, to ₦350k ($780) for the big pieces. However, the prices can also be higher depending on the place and organisers of the exhibition.

    To speak to a broader audience, Onoja has gone digital and is also using Non-Fungible Tokens (NFTs) to sell his work.

    “Digitalisation, especially the NFTs, is revolutionising African art. More creatives should leverage the technology to advertise and sell their artworks,” he said. On future plans:

    “I want to grow and nurture this ‘baby’, the Diadem Art Gallery, into a huge enterprise specialising in collecting paintings and exhibitions on (the) theme of peace and co-existence,” he said. “I will continue to devote all my energy to art, my career as a lecturer and peace crusader”.

    Creator Spotlight: Zonna on Creating Sustainable Art Through Tuft

    <script 
         	loading="lazy" src="https://bird.africanofilter.org/hits/counter.js" id="bird-counter" data-counter="https://bird.africanofilter.org/hits/story?id=62fe4c50735d9305bfdb8305&slug=offering-community-therapy-this-artist-imagines-peace" type="text/javascript" async="async"></script>
  • Rolling Stone expanded the 2023 version of the Greatest Singers of All Time to 200 from the original 100 count, and for the first time, eight Africans, including Miriam Makeba, Fela Kuti, Tabu Ley and Burna Boy, have made the list.

    by Bird Story Agency

    Rolling Stone, one of the world’s leading music publications, kicked off the new year with an update to its “200 Greatest Singers of All Time” list, which they first released in 2008, honouring the best vocalists in pop music.

    “These are the vocalists that have shaped history and defined our lives – from smooth operators to raw shouters, from gospel to punk, from Sinatra to Selena to SZA,” Rolling Stone editors wrote. The publication released the list on January 1st, 2023, featuring eight African singers in the compilation.

    They looked for “originality, influence, depth of an artist’s catalog and breadth of their musical legacy” when compiling the list.

    Sade Adu is the highest-ranked African singer at position 51. Rolling Stone said the Nigerian-British singer has “proved herself the ultimate smooth operator,” adding that “her languid cool has a way of making everyone else sound histrionic.”

    Following closely was South African vocal powerhouse, Miriam Makeba, ranked 53rd and described as “a fountain of vocal personality.”

    “Indeed, to listen to her now, years after her death is to experience an artist who brilliantly communicates the joy of being alive,” the publication wrote about Makeba.

    Egyptian Umm Kulthum was the third highest African on the list at position 61, with Rolling Stone saying she “has no real equivalent among singers in the West.”

    “Her potent contralto, which could blur gender in its lower register, conveyed breathtaking emotional range in complex songs that, across theme and wildly-ornamented variations, could easily last an hour, as she worked crowds like a fiery preacher,” they added.

    Other African singers who made the list include Senegalese tenor, Youssou N’Dour (69), South Africa’s Simon “Mahlathini” Nkabinde (153), who the publication described as “a peerless figure in the history of South African music, gifted with a cloud-rattling basso profundo groan, and a knowing, playful, at times diabolically incisive sense of what to do with it.”

    Africa’s leading rumba singer-songwriter, Tabu Ley Rochereau of the Democratic Republic of the Congo, came in at 178th. “His voice was almost startlingly sweet, but he sang with so much pure transport, he never cloyed,” Rolling Stone wrote.

    Nigerian superstars, Fela Kuti and Burna Boy, rounded up the African featured artists at positions 188 and 197, respectively. The publication said Burna’s voice is “sweet like caramel, but it can also soar on slickly produced tracks like his recent megahit, Last Last, or the 2019 gem, Anybody, excited by deep bass accents and insanely sophisticated polyrhythms.”

    According to Rolling Stone, the top five greatest singers of all time are Mariah Carey, Billie Holiday, Sam Cooke, Whitney Houston and, at No. 1, African-American soul and Motown superstar, Aretha Franklin.

    EDITOR’S PICK: The Biggest 2022 International Collabs Ranked from “Flop” to “Bop”


    <script 
         	loading="lazy" src="https://bird.africanofilter.org/hits/counter.js" id="bird-counter" data-counter="https://bird.africanofilter.org/hits/story?id=63baae9f5ab9fe05c554633a&slug=8-african-artists-make-rolling-stones-200-greatest-singers-of-all-time-list" type="text/javascript" async="async"></script>
  • Nigerian singing sensation and producer, CKay, has made musical history as the first-ever African artist to feature in the top 100 Billboard Artist year-end chart, a milestone that underpins Afrobeat’s meteoric rise and shakeup of the global music scene.

    By Seth Onyango, Bird story agency

    The popular musician came in at number 98 on Billboard’s best-selling artist in USA 2022 with his addictive hit single, Love Nwantiti (Ah Ah Ah), clocking in at number 17 on Billboard Global 200 songs and the Hot 100 chart at number 55.

    2022 has been another stellar year for African music and the success is likely to continue through 2023, with Nigerian artist, Burna Boy, set for a history-making concert at London Stadium on June 3, the first African artist to headline a UK stadium, according to Rolling Stone.

    On April 2, CKay’s Love Nwantiti, which first debuted in 2019 and went viral with a string of international remixes on TikTok, topped the inaugural Billboard U.S. Afrobeats Songs Chart. It has surpassed 1 billion streams on Spotify and is also one of the year’s most Shazammed songs.

    Tems, Wizkid and Fireboy DML also made appearances on the Billboard 100 with their hits Wait For U, Essence remix and Peru. Tems co-wrote Lift Me Up with superstar, Rihanna, a track featured in the recently premiered Black Panther 2: Wakanda Forever. Rema’s remix, Calm Down featuring Selena Gomez, also appeared on the global 200 at number 124, with Burna Boy’s Last Last featuring on the global 200 at number 156.

    Trends show that African music, not just from Nigeria, the biggest export market, but also from South Africa, the Democratic Republic of Congo and Tanzania, is making waves globally. It is no longer surprising to hear the track Jerusalema, from South Africa’s Master KG, on European or American radio, or for Afro tunes to feature on celebrity social media posts, or for African artists to appear on highly-rated American talk shows.

    African musicians are also coming into money. Burna Boy (AKA the African giant) filled New York City’s Madison Square Garden to capacity, becoming the first African artist to sell out the famed Garden of Eden, performing in front of over 20k people.

    RELATED: Burna Boy, Coachella and the Humbling Of An African Giant

    International music stars are also collaborating more with African musicians. Although this is not new, it is only in recent years that these collaborations have gone mainstream. This year alone, Rema featured Selena Gomez (Calm Down), Burna Boy teamed up with Ed Sheeran (For My Hand), and Future featured Tems and Drake on Wait For U.

    Over the past decade, the continent’s music landscape has changed dramatically, with new fusions blended into existing genres to create a magical cocktail, birthing superstars like Fally Pupa, DJ Maphorisa and more. These artists and others have also become some of Africa’s most-cherished brand ambassadors. With more African musicians collaborating on songs across the continent, music is fast becoming more than entertainment.

    According to United Nations Education, Science and Cultural Organisation (UNESCO), music fosters what African politics has struggled to achieve – unity. African music is also increasingly seen in totality rather than in isolated artists or styles. Billboard, the US publication that monitors reviews, events and styles related to the music industry, perhaps acknowledged it best:

    “Over the past couple of years, Africa has exploded as a major player on the global music scene. From U.S. labels scooping up breakout African artists such as Burna Boy, Tiwa Savage, and Davido to the ascendancy of African streaming platform Boomplay and the inroads of majors Universal, Sony, and Warner Bros. on the continent, the stage is set for a lucrative new future for African music,” reads its latest review of Africa’s music scene.

    As the continent’s music scene explodes (along with its population and economy), African musicians are grossing millions from world charts and securing major deals with international recording labels. Big royalties from various entertainment media like Skiza, YouTube, Boomplay and Spotify are at the heart of this movement.

    Artists are now more aware of the gaps in the industry and the needs of their fans, with coveted honours like the All Africa Music Awards, BET and Grammys putting African artists in the spotlight. Legendary musical names are also not fading; Salif Keita, Yousour N’dor, Fatoumata Diawara and Anjelique Kidjo are still drawing large numbers, partly due to the exposure but also the timelessness of their music. Even “fallen” maestros like Manu Dibango, Lucky Dube, Franco Rocherau and Kanda Bongo Man are still in the groove posthumously.

    <script src=”https://bird.africanofilter.org/hits/counter.js” id=”bird-counter” data-counter=”https://bird.africanofilter.org/hits/story?id=639164da7aaab506f452db0e&slug=ckay-makes-musical-history-amid-afrobeat-s-unstoppable-global-rise” type=”text/javascript” async=”async”></script>

    EDITOR’S PICK: Just Imagine: We Made a K-pop Girl Group With Your Fave Nigerian Gen-Z Stars

  • Wizkid has made history by becoming the first African to win an award at the 50th edition of the American Music Awards (AMAs).

    By Bird story agency

    Grammy award-winning singer, Wizkid, has made history. He is the first African to win an award at the American Music Awards (AMAs), held on November 20, 2022, at the Microsoft Theater in Los Angeles.

    Wizkid, who was not present at the ceremony, won the Favorite Afrobeats Artist award. This category was introduced earlier in the year, highlighting the global influence of Afrobeats on the international music scene.

    He bested fellow nominees, Burna Boy, CKay, Tems and Fireboy DML to win.

    The 32-year-old artist also won the Favourite R&B Song award for his collaboration with Tems on the hit song, Essence. He defeated Beyonce, Bruno Mars and SZA to clinch the award. Tems won Favorite Hip Hop Song for her contribution to Future’s Wait For U, which also features Canadian rapper, Drake.

    This feat comes days after Wizkid headlined New York City’s iconic Madison Square Garden in a sold-out show on November 16. Two days before, he’d joined Apple Music to perform at Roundhouse, London, to promote his latest album, More Love Less Ego, which was released on November 11.

    More Love Less Ego comes two years after his acclaimed album, Made in Lagos, the longest-charting Nigerian album of all time on the Billboard World Albums chart (50 weeks).

    AMA winners are voted entirely by fans. Nominees are based on key fan interactions — as reflected on the Billboard charts — including streaming, album and song sales, radio airplay and tour grosses. Measurements are tracked by Billboard and its data partner, Luminate, in the eligibility period of September 24, 2021 through September 22, 2022.

    <script src=”https://bird.africanofilter.org/hits/counter.js” id=”bird-counter” data-counter=”https://bird.africanofilter.org/hits/story?id=637b39973244e20645b0423b&slug=wizkid-makes-history-at-the-2022-american-music-awards” type=”text/javascript” async=”async”></script>

    EDITOR’S PICK: Is “More Love, Less Ego” Wizkid’s Horniest Album? Here’s What We

  • Award-winning visual artists, Gbenga Adeku, Dotun Popoola and Samuel Anyanwu are converting Nigeria’s plastic, metal and textile waste into beautiful art and getting global recognition for their work.

    By Gabriella Opara, Bird story agency

    Artwork by Uzoma Samuel. Photo Credit: Uzoma Samuel

    A typical workday in the life of Gbenga Adeku starts with sorting through materials in his studio. Then, he digitally sketches out his concepts and collaborates with contract workers to bring them to life. Based in Osun State, Nigeria, this visual artist transforms plastic waste into something valuable.

    Adeku didn’t have this perspective on plastic art seven years ago. He’d recently completed his fine and applied art degree at Obafemi Awolowo University but chose to be a freelance illustrator because it paid more at the time. However, a chance encounter with Dotun Popoola, a metal sculptor, sparked his passion for plastic art.

    “Dotun Popoola made it easy for me to transition from being a freelance illustrator to a full-time studio artist. His roadmap was inspirational because he is big on art that solves problems. I was keen on that. Seeing him do a lot with metal motivated me to do a lot with plastic,” said Adeku.

    In 2018, Adeku started a full-time career as a professional upcycle artist. After the International Breweries Plc’s Kickstart initiative awarded him a grant, he founded his studio, Orinlanfiju, with his father, Segun Adeku.

    “I read an article about how a PET bottle might survive 300 to 400 years before it breaks down and realised that plastic is present everywhere, including the air and our food. I concluded that upcycling is a better approach, to take the waste and turn it into something of higher value,” he said.

    Adeku has been creating upcycle art for four years.

    “I used to collect PET bottles and other recyclables at events. After setting up my studio, I started purchasing used plastics from local women. It’s quite affordable, a dozen for a penny, so I get a lot. My group and I collect, sort and use heat to reshape them. We experiment a lot; some ideas work, some don’t. But most often, we get interesting results, even if we have to spend months working on each part,” he said.

    A recent collaboration with Nike will help transition Adeku’s signature art of ants and fishes to merchandise.

    “Fish signify aquatic life, whereas ants stand for terrestrial life. Because ants rely on waste to sustain their economy, I think they are environmentalists. They work hard every day to find things along the way; an ant is never broke. It gets around barriers. Nigerians are extremely resilient, like ants. This idea rubbed off on Nike when they decided to open their flagship store in Nigeria. The idea of ‘Just Do It’ syncs with my art,” he explained.

    Gbenga Adeku and guest at his art exhibition. Photo credit: Gbenga Adeku

    Dotun Popoola, a metal sculptor, has a similar viewpoint on his work. He recycles abandoned metal to protect the environment.

    “I like what I do. It contributes to the Sustainable Development Goals to protect the environment. My metal sculptures are a protest against environmental decadence. They’re a call to repurpose and upcycle the vast amount of trash endangering the earth,” said Popoola.

    There’s a distinction between recycling, repurposing and reusing. As an upcycler, I give dead things a meaningful new life while preserving the earth. I feel like I’m one of the people saving this environment while making art, playing my role powerfully,” he added.

    RELATED: A Kenyan Company is Recycling Rubber Slippers and Saving the

    He asserts that raising young people to be change-makers and environmentalists is another way to protect the environment. Explaining his passion for mentorship, he said:

    “Over the years, I’ve tried to encourage young visual artists in Nigeria and around the world. I had ten outstanding sculptors exhibit in my studio in October. I chose five top ones, some of whom will go for residency in India, and another, in the USA. That I can make a difference in their lives is a fantastic privilege. I see it as contributing to society, which is one of my core values.”

    Dotun Popoola artwork. Photo credit: Gabriella Opara

    Elsewhere, Uzoma Samuel Anyanwu, who grew up in a home of tailors, had first-hand experience with the effects of fabric waste. To solve the problem, he quit his job as a full-time photographer to become a textile artist in 2012.

    Anyanwu, who describes himself as an experimental artist, combines his abilities as a visual artist, photographer and upcycler to produce portraits on canvas using fabrics. He views it as a lifelong endeavour rather than merely a studio practice.

    “Fabrics have long been the object of my attention. I’ve been tinkering with them since I was a baby. My mother was a seamstress, and she taught my siblings and me the trade. Many individuals view my work but don’t grasp its fundamental concepts. I’m pleased they love my work, but I also use it as an avenue to educate them about climate issues,” he said.

    A decade after he started, Anyanwu is still struck by the amount of fabric waste he can get his hands on. With studios in Lagos, Owerri and Port Harcourt, he gets discarded fabric from fashion houses, tailors and markets.

    “We can’t use them all up at once. The sacks of fabric we receive last us for a year or two, and we never throw them away because they’re always useful to us,” he explained.

    Sourcing for fabric is easier than he thought because discarded pieces are everywhere.

    “We approach some people, and some approach us. Some offer us large quantities for free, others sell them to us at low cost. The highest I’ve paid for a sack of fabric pieces is ₦8k (appox. $18). We usually get them in bulk towards year-end because that’s when tailors sew Christmas clothes, and everyone wants something trendy. Old fabric get thrown out; new ones leave pieces behind.”

    Uzoma Samuel with one of his fabric art pieces. Photo Credit: Uzoma Samuel

    His work as a fabric artist is a community endeavour. The amount of work it takes to find fabric, learn about them, classify them, draw and make his collage art keeps his studios busy all year long. Because of how time-consuming the work is, Anyanwu outsources some of it to contract staff, which sometimes includes his neighbours.

    “Telling stories is my profession. I spend a lot of time researching each fabric’s backstory to ensure I accurately convey it. I have to hire individuals on an hourly, daily or weekly basis, depending on the workload of each project. My assistants, mentees and interns participate. I occasionally ask my neighbours and relatives for help, and we all work together,” Anyanwu said.

    Despite the months and years required to source art materials, one thing that drives these visual artists is the desire to see a cleaner, waste-free environment.

    <script src=”https://bird.africanofilter.org/hits/counter.js” id=”bird-counter” data-counter=”https://bird.africanofilter.org/hits/story?id=6384d3dd19cce106fc6931c7&slug=three-visual-artists-in-nigeria-are-turning-trash-into-valuable-artworks” type=”text/javascript” async=”async”></script>

    EDITOR’S PICK: African Animation Is on the Rise, and These 7 Shorts Prove It

  • For all those forced to walk or cycle to work or school every day, a new report highlighting the positive climactic impact will not bring much relief. But in the global race to decarbonise, the impact of the millions who walk, is huge. Now, how to keep these increasingly affluent commuters, “green”?

    By Conrad Onyango, bird story agency

    Africa’s ‘default’ mode of walking and cycling is helping the continent stay ahead in the world’s race to decarbonise its transport sector.

    Only one in every three Africans benefits from motorised modes of transport daily, according to UN-Habitat, making it the region with the lowest access to public transport in the world. While that statistic – which is likely to change substantially as Africa’s economy develops – is a negative for those concerned, it is a huge positive for the world.

    The United Nations Environmental Programme (UNEP) shows that up to 78 percent of people walk for travel every day to access healthcare, education, shops, jobs and transport, often because they have no other choice.

    Two new reports view these as a blessing in disguise and are building a case for walking and cycling as the most affordable and sustainable transport modes.

    A new report, Walking and Cycling in Africa – Evidence and Good Practice to Inspire Action calls for more focus and investments into non-motorised modes of transport to keep the impending rise in carbon emissions at bay as more cars enter Africa’s roads, thanks to rising incomes and urbanisation.

    “In Africa, where there is an incredibly high modal share in walking and cycling, decarbonization of the transport sector means retaining and enabling people to move safely in their cities by foot or bicycle,” said UNEP Africa Office,Acting Director and Regional Representative Frank Turyatunga.

    Up to one billion Africans spend 56 minutes walking or cycling for transport every day, generating the least noise and air pollution of any commuting population in the world, according to the report by UN Human Settlements Programme (UN-Habitat), the UN Environment Programme (UNEP), and the Walk21 Foundation.

    However, governments need to act to support walking and cycling. While the continent accounts for just 3 percent of the world’s registered vehicles, it is home to 20 percent of global road traffic deaths. More than 260 000 people were killed on African roads in 2019. Of these 36 percent were pedestrians and 3 percent were cyclists. That makes African countries among the least safe places to walk and cycle in the world.

    Walk21 Foundation Chief Executive Officer, Bronwen Thornton, said the continent’s leadership and policymakers need to start building better facilities to increase the value of – and people’s satisfaction with – walking and cycling.

    “We can put walking and cycling at the heart of planning and investment for our streets and neighbourhoods. They are the solution to the multiple challenges we face and usually at lower costs than the alternatives,” she said.

    The latest Climate Reality Barometer by Epson shows walking and cycling among actions that Africans in Kenya, South Africa, Morocco and Egypt are planning to embark on or are currently engaged in, to minimise the impact of climate change.

    Of 26,205 people surveyed across 28 markets, 87.2 percent plan to embrace non-motorised transport and 31.8 percent have done so over the last 12 months.

    Over the past year, 18.6 percent of those surveyed made a shift to renewable energy.

    “We hope that the Barometer’s insights will help governments, industries and individuals to step up their efforts to avert climate disaster. While we know there is a long way to go, we believe we can build a better future if we work together and act now,”  said Epson Global President, Yasunori Ogawa.

    According to the Barometer, more than eight in 10 people (80.2%) cite having witnessed climate change in their daily lives as the most influential factor in building awareness.

     “Planning for the long term and enabling people to take climate action now is the most powerful action countries can take to sustain climate optimism, reduce carbon pollution and build resilience to climate impacts,” said environmental scientist and Co-CEO of Change by Degrees, Tara Shine.

    The authors of the Walking and cycling Africa report call for improved urban planning and design that focuses on how to bring people and places together, as many cities begin to accelerate a COVID-19-related expansion on walkways and bike lanes.

    “There is a window of opportunity for change in the way we organize our transport systems,” said the United Nations Human Settlements Programme, Director for the Regional Office for Africa, Oumar Sylla, of the immediate post-COVD period when governments are still looking to enhance the wellness and resilience of their populations.

    Among African cities that are already making progress are Addis Ababa – with a plan to build 1,000 km of pedestrian routes and cycling lanes – and Yaounde, which has strict plans around pedestrian access.

    Kenya’s government has also committed to investing in walking and cycling infrastructure.

    Zambia, Ghana and Senegal have Pedestrian Safety Action plans that promote investment in safer road crossings, wider footpaths and protected bike lanes, as well as shelter for pedestrians from weather, secure bike parking, lighting, and improved access to public transportation.