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Up Close with Austria-based Music Giant, Vusa Mkhaya

Originality and fluency in one’s mother language, in most instances, and packaging music in the usual “African way”, is the key to success.

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Up Close with Austria-based Music Giant, Vusa Mkhaya Asante Afrika Magazine
Vusa Mkhaya
9 / 100

AFRICAN music is regarded as unique in many ways. Some believe it has that soothing factor in it, to such an extent that they can hardly complete listening to a proper session without a song or two from the motherland. The unanswered question is why? Well, according to Zimbabwean-born musician, Vusa Mkhaya, born Vusumuzi Ndlovu, African musicians have made their music appreciated worldwide because they dedicate their time to producing original music using their native languages.

Mkhaya, now based in Vienna, Austria, says music enthusiasts overseas yearn for love, and appreciate the music from Africa despite them being in a sea of international music pieces produced by acclaimed artists, some of them winners of international music awards and accolades. He believes that trying to imitate these artists and musicians while one hails from Africa in the manner in which the international artists write, sing, and produce their music, is the greatest undoing of some African artists – a habit he says should die with the old horses in the music industry.

Originality and fluency in one’s mother language, in most instances, and packaging music in the usual “African way”, is the key to success.

“…as artists, we tend to enjoy imitating those artists who are deemed to be the big names in the international music scene.”

Up Close with Austria-based Music Giant, Vusa Mkhaya Asante Afrika Magazine
Up Close with Austria-based Music Giant, Vusa Mkhaya Asante Afrika Magazine

Says Mkhaya: “The challenge we face in our music is that, as artists, we tend to enjoy imitating those artists who are deemed to be the big names in the international music scene. We do so in the hope that we would also be able to land that big boy or big girl status that those we want to copy would have achieved. I believe that in this business, it does not work like that. When Vusa Mkhaya sings in his native isiNdebele, isiZulu, tshiVenda, seSotho, Shangaan and other indigenous languages, he should continue to write songs in those languages. You need to use that language that you are comfortable with. Don’t be Chris Brown, Puff Daddy or Beenie Man. Those are the household names in their part of the world and they are good at what they do, using the language they are fluent in. Using your native language, one is able to get invited to collaborations with the big names because some people admire the style that we have as Africans. They do not have it nor can they fake it. That is why they hire you to work with them. He argues that imitation does not usually show the world the true picture of an artist.”

“If we imitate the likes of Usher and the many other artists, those in the better placed music community overseas will not invite us to partner with them because they already have that style that we want to try and copy and in a better version than what we will be trying to do. “But if you are your own natural self as Vusa Mkhaya, the producers for those big name artists will see the talent in you and look for you to do the collaborations with these big name artists and that is how one breaks into the international market. Originality is the main key,” Mkhaya says.

While most of the artists who have apparently “made it” in the music industry using African yardsticks and measurements have seemingly made it through their natural and God-given talent and endowment, Mkhaya argues that enrolling for music lessons and classes is one way that should help the regional artists polish up their act. “When you go on an international tour, one does not need to be distracted in what they do. You only need to copy some good things there. On our first international tour as Insingizi Emnyama from Bulawayo, Zimbabwe, as way back as 1995, we discovered that in some other places, artists took music more seriously such that they would even go to school to learn music and what it is.

“Some people thought you could just jump onto the stage and sing or perform. For those overseas, music was serious business. They would go to school so that they studied and understood the business in and out. I would say that determination to also understand the business, having come from a Zimbabwean background, forced us to also enroll for the music lessons as well. That decision was a master stroke as it helped us a lot as we were now able to work with other musicians and filmmakers who would time and again engage us to produce music for other productions,” Mkhaya says.

Having spent time in Austria and having spread his tentacles in the music industry, Mkhaya has realized the fruits of his sweat and can now look back and smile as he reminisces and re-visits the life and hard times gone by.

“I have worked with so many filmmakers on quite a number of productions from my home studio here in Austria. In 2018, a production that I did music for was nominated for an Oscar award. That production, entitled Batu Wote (All of us) was a joint production between a German and a Kenyan production company. Unfortunately, the Oscar was won by another production that had been nominated at the same time.”

“I was also involved in the production of a song that was featured in a South African production called Mia and the White Lion. These are some of the many projects I have worked on. In my career, I have learnt a lot of things that have shaped the Vusa Mkhaya brand as it has come to be known worldwide. One of the key lessons that artists, upcoming and seasoned ones alike, need to know is that there is a time when one has to clearly distinguish between what they can and what they cannot do. Once you are clear about what you can and what you can’t do, you are able to bring on board those that can do those things that you cannot do and you have to appreciate and embrace them as they are able to contribute towards the success that you yearn for without taking the glory from you. Team work is important in the music business,” he says.

Mkhaya also recently took to Twitter to share some wise and insightful advice to talented and upcoming musicians who would also like to make it outside Zimbabwe;

Up Close with Austria-based Music Giant, Vusa Mkhaya Asante Afrika Magazine

Interviewed by “City Man” Nkululeko Sibanda

Creative Outlet

Awake – A Short Story

“…not only will you heathens be subjected to eternal damnation, but it also smells like rotten eggs down there!”

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Awake - A Short Story Asante Afrika Magazine
12 / 100

Tiisetso Muloyi

A blinding white light obscured my vision. My ears rang from the piercing wail of a car hooter – a truck, perhaps? I couldn’t tell. For a moment, I felt as though I was in a state of suspended animation. A weightlessness of sorts: in limbo. Breathing became a great and painful feat. Every breath that passed through my dry, cracked lips felt like swallowing broken glass. Slammed forcefully into what I could only deduce was a deep, narrow gorge, with steep, towering sides, the feeling of weightlessness left me.

Awake - A Short Story Asante Afrika Magazine

The wheezing of my shallow, painful breaths gave me an inkling of what was going on. The taste of iron and metal on my tongue was nauseating as it made its way forcefully down my throat; choking me slightly. I couldn’t feel my legs, although that provided me with no comfort at all. My left arm lay at an awkward angle, bent backwards at the elbow, the white of the bone was visible through the torrential flow of my blood. The contrast was sharp and gruesome, making me heave through what felt like shattered ribs. I tried to move but an excruciating pain burned through my body, like a fire iron, rendering me immobile yet again.

The ache was both harrowing and stomach-churning. Turning my face to the side to expel my empty guts, bile rose up instead, and burned its way through my already parched throat. Small black dots danced around my vision, growing bigger and bigger, until finally, my eyes rolled into the back of my head.

And then… blissful darkness!

I was jolted abruptly into consciousness by some veiled force; a feeling of total disorientation descended upon me. Sitting up so suddenly left my body feeling heavy and my mind vertiginous. With heavy limbs and a thumping headache, I attempted to get my bearings, while simultaneously taking a mental inventory of my physical state. There was an oppressive weight pressing down on my already heavy chest, offset only by what felt like a sudden shocking jolt delivered to my heart. The consistent thump to my chest caused my already rapidly beating heart to flutter – no… to palpitate, violently – leaving my chest feeling both battered and bruised. Lifting my right hand to rub at the abused flesh, I took notice of a painful pinching sensation in the crook of my arm. The feeling was one akin to having an intravenous central line fed into your arm, but that couldn’t be possible.

Glancing down at the arm in question, I saw no imaginary needle; only the soft, wrinkled skin of the crook of my elbow – but the pinching sensation persisted.

Furrowing my brows in confusion, I took note of more puzzling occurrences; a faint beep, beep, beep… rang in my head, only to fall into the background, as I caught sporadic clipped conversations: “… clear. Patient still not responding… give me 360 joules…”. The command sounded like it was coming from somewhere inordinately far.

Awake - A Short Story Asante Afrika Magazine

“All clear!”, there it was again, followed by a shocking thump to my chest. What was the meaning of this? Was I hearing voices? How hard had I hit my head? Had I completely lost my mind? It was only during my decline into a mental breakdown that I deigned to study my surroundings.

It was the smell that hit me first. How had I not noticed it before? It was overwhelming! And now that it had gotten my attention, it worked its way into each one of my senses. My eyes began watering; my nose hair felt singed, and I gagged forcefully. The stench wrapped itself around me, almost like a living thing.

Brimstone. Fire and brimstone. A vague memory of high school flashes quickly in my mind: “…ah, brimstone,” intoned Mr. Mabala, speaking passionately to the uninterested group of pre-matriculants. Religious studies was not my idea of a good time, but the class was a breeze with its ‘no exam’ policy. “Reverently referred to in biblical times as ‘burning stone’, but now more commonly known as sulphur, it is found deep in the Earth’s core,” he said. “As a matter of fact, a number of books of the Bible often used it to describe hell. So, not only will you heathens be subjected to eternal damnation, but it also smells like rotten eggs down there!”, was his weak attempt at a joke, in order to receive some sort of gleeful reaction from the uninterested youth. Heavy sighs of obvious boredom were heard around the small classroom along with the shuffles of students impatiently waiting for the loud shrill of the final bell. Oh, how I wish I had listened during that lesson!

The echoing sounds of gnashing teeth and high-pitched wailing knocked me out of my reverie. Quickly wiping away the salty tears that obscured my vision, I stood on weak legs, aimlessly turning in circles, trying to find the origins of those haunting sounds.

My legs felt almost as though they were not my own, like they were borrowed. Admonishing the strange thought, I rid it completely from my mind. I had more pressing matters to attend to, like getting far away from this seemingly hellish place.

With scant visibility and rocky terrain, I couldn’t ascertain where exactly I was. Reaching for the imposing black rock wall at my side, I began looking for an exit. The walls were damp and the smell of must and rot permeated the dark, cavernous space. I must have been in a cave, an unbearably hot one at that. Sweat dripped into my eyes, stinging them slightly. It seemed that I may have been approaching the mouth of the cave as the heat became stifling, making it even harder to breathe.

The wails reverberated all around me and bounced off the cave walls. They were primal, guttural, and carried with them a debilitating sort of anguish and sorrow. Shrieking notes of pain and terror weaved themselves into the deafening cacophony. Had my hands not found purchase upon the slimy cave walls, I would have dropped to my knees under the unbearable weight of the suffering and torment heard from the relentless cries.

The gnashing and grinding of teeth grew so loud that it had begun to sound like the harsh screech of nails on a chalkboard. The jarring sounds shook me to my core, so much so that I had begun to gnash my teeth also.

I had made it to the mouth of the cave. The exit. Or was it just another door into a terror far more frightening than the screams of what seemed like thousands, if not millions, of tortured souls? The prospect of walking through the gaping maw was daunting; however, it had to be done, if I hoped to leave this place.

Scaling the side of the mountain on borrowed limbs proved to be an arduous task. I had slipped and almost fallen more than I cared to admit. Even drenched in sweat, and struggling to draw in my next laboured breath, I had made it out of that blasted cave. The sight before me had me wishing I had stayed in the cave. I had finally found the source of the disembodied keening.

I found myself traversing between two vastly different valleys. On one side raged an all-consuming, vicious fire, and on the other, a biting hail and snow beat down obstinately on the rough terrain. Thousands of what I assumed to be sinners bore the sweltering heat and the blistering cold. This went on until these tortured souls had had enough – whereupon they’d leap into the other, where the suffering continued, albeit in a slightly different way.

It was purgatory. An expansive pit shrouded heavily in ominous shadows. A vast obscurity teeming in all manner of things that go bump in the night. The shrill screams rose in crescendo and I could see why. Beneath the choking darkness, globules of inky black flames hung suspended in the air. Ascending high out of the flaming pit, then continuing its descent just as quickly. In each globe, was a soul. A singular human soul, damned to suffer burning in agony, as a solitary creature, without even the company of their fellow damned souls around them.

So distracted by my own musings, and the horrific sight that lay before me, I failed to take notice of the menacing creature that stalked my stationary form. By then it was already too late – a pair of what felt like burning hot, scaled, elephantine appendages, thrust me violently into the screaming chasm. My anguished scream faded into the deafening din along with all the others.

And then… I was falling!

A startled gasp ripped from my throat as I sat up abruptly. A bright fluorescent light blurred my vision, and a loud, incessant beeping noise, broke the silence. “We’ve got a pulse,” stated a loud voice to my immediate left. “Vitals are stabilizing,” it continued behind the face shield, draped in medical scrubs.

I was back. I was awake. It was a dream. While vivid and so life-like, it was naught but a lucid dream. Before the relief could settle my wary bones, an errant thought struck me. If it had been only a dream, then why did my back throb as though I had been burned by a pair of monstrous hands forcefully propelling me into darkness?

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Sango Edi – Giving Cameroon’s Makossa a Facelift

“The search for my identity as a Cameroonian inspired me to switch to Makossa.”

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Sango Edi - Giving Cameroon's Makossa a Facelift Asante Afrika Magazine
Recording Artist and Music Producer, Sango Edi. Photography: @gettoknow_mimshack
11 / 100

Born and raised in Buea, south-west of Cameroon, in West Central Africa, Sango Edi is a a recording artist and music producer who is taking the Cameroon music scene by storm. Currently based in Douala, Cameroon, Sango is making waves with his latest hit single, Moukanjo, which will have you nodding your head and feeling ‘some typ’a way’.

Sango started music in 2007, but his career as a producer began officially in 2010 when he started working as a music producer for a music studio which his uncle owned at the time. Before then, the singer and producer says he used to make music uncomfortably at friends’ houses, until he had the chance to run an actual studio – which became more of a learning process for him. “I wouldn’t say I learned music in school, I am more of self-taught, with plenty of assistance from my mentors, and of course, YouTube (chuckles).”

We caught up with him to learn more about his music and what inspires him.

Sango Edi - Giving Cameroon's Makossa a Facelift Asante Afrika Magazine
Sango Edi

You have been very passionate about assisting young people grow in their music careers in the region where you come from. What motivated you to take that path?

There’s an African saying which goes, “One hand no fit tie a bundle”, and I believe that sentence speaks for itself. We come from a place where people are selfish with ideas, and people want to only have the final meal from themselves, meanwhile there’s enough to go around. I have this personal saying that “Teach one person and you create a legend, but teach and uplift as many as you can, and you create a fleet of legends”. I mean, what’s better than one? Two, right? And giving back is my own way of thanking those who taught me and brought me up. If I don’t pass on the knowledge, then that would just make me a selfish person who doesn’t want to leave any legacy or create one. 

“I believe that as Africans, we need to start embracing our cultures and making sure that we have strong and solid core cultural values, because Africa was built on cultural values.”

You have switched genres a few times along the way, can you tell us more about that, and which genre are you focusing on now?

Switching genres was a way for me to find where I’m at now, which I think is the perfect place to be, because I am sitting on a solid rock that my forefathers constructed. I started off as a rapper before turning into a trap beat producer, then I had to start singing around 2012 when my long-time friend “Arrey”, forced me into singing. From there I decided to sing more and rap less, while simultaneously producing for others more than myself. The genre I’m focusing on now is Makossa, a very huge brand from this side of the world, and it is a genre which was once engineered by the likes of Manu Dibango, Kotto Bass, Sam Fan Thomas, to name a few. I chose this genre because it is my identity, it is a part of where I’m from, and it’s a means for people to know and understand where I come from, and be able to get inside my world. I could say that that’s what inspired me to get into this genre.

Sango Edi - Giving Cameroon's Makossa a Facelift Asante Afrika Magazine
Sango Edi

What or who inspired your decision to switch to Makossa?

The search for my identity as a Cameroonian inspired me to switch to Makossa, and one of my biggest motivators was/is Jules Nya, who is my ‘Artists and Repertoire’ (A & R), and mentor. He is a very monumental figure in these parts, and also one of the pioneers of Cameroonian urban music. He pushed me to find myself, and I’m grateful that I found the right direction during my search. 

“For hundreds of years, we’ve had generation after generation growing up to know and understand that the western ways are the right ways of doing things, and in that light, ignoring our core identity and cultural values.”

In your opinion, how important is it for an artist to have a manager who supports his/her dreams, but is also upfront and frank with the artist, and tells them when they think they can improve on their music?

I think that’s a very important and key factor to every successful artist. Having ‘yes-men’ around you doesn’t help you or anyone grow. If anything, one of the reasons I am doing what I am doing now and getting better at it every day, is because my manager and mentor told me straight to my face that the song I dropped before was “total sh**”, in those exact words (chuckles). I believe if people learn to be as real with each other as possible, the world (the arts industry especially), would be better and greater than it already is. 

Your current genre speaks a lot about your journey as a musician, and particularly your growth, self-awareness and appreciation of your ‘Africanness’. Tell us more about that.    

We come from a place where westerners stripped us of our identity. For hundreds of years we have had generation after generation growing up to know and understand that the western ways are the right ways of doing things, and in that light, ignoring our core identity and cultural values. We tend to copy from the wrong people and kill our own, thus barking up the wrong tree. I believe that as Africans, we need to start embracing our cultures and making sure that we have strong and solid core cultural values, because Africa was built on cultural values. I use this as a process of learning and finding out about myself and my motherland, as well as connecting with Her. It is very important for the African child to know the amount of greatness they carry, the amount of love and power buried deep within them, and the riches hidden deep beneath these soils we walk on. I grew up knowing another person’s perspective of Africa, which was completely incorrect information, and I wouldn’t want my kids and their kids to grow up in that kinda world. Africa is now. 

Your new single, ‘Moukanjo’, has done extremely well. It has a very deep meaning, and as you say, you didn’t want it to be ‘just another regular love song”. Can you tell us what the song is about and what it means, and what message did you want it to convey to the world?

The song MOUKANJO is a very communicative song, if I can put it that way. MOUKANJO, from where I am from, is a certain type of fish which was a delicacy back in the day, and was used mostly for important events and occasions. So I was/am expressing my love for a girl and telling her how important she is to me – as important as the fish was, or still is, from these parts. That’s the reason why the song has a water or ocean setting. It’s a way for people to not just listen to a regular love song, but also pick something from it while listening. I believe part of my job is to educate the youth and shed more light to their knowledge. 

How has the response been to the new path of music which you have taken?

Oh my, the response has been amazing. I am really grateful for everyone I work with; my team, my co-writer (who happens to be my mother-tongue coach and translator), and everyone contributing to this new journey of mine. It has been really beautiful, and I applaud everyone supporting me so far – ending out God’s blessings to each and every one of those people who took time to consume my music and connect with me. 

Sango Edi - Giving Cameroon's Makossa a Facelift Asante Afrika Magazine
Sango Edi

Judging from what we have seen on YouTube, the Cameroon music industry is quite ‘lit’, and there is a lot of competition. How do you set yourself apart from the rest of the musicians, and how do you maintain a unique sound?

First of all it’s key to note that we don’t do Afrobeat in Cameroon, but we generally do Makossa, Bikutsi, Bendskin, Njang and pop. Makossa is the most popular of them all. It’s an urban music genre from Cameroon with a rich heritage, as big or even bigger than Afrobeat at its prime. A genre that produced world-class acts like Manu Dibango,Sam, Fan Thomas, Ekambi Brilliant, Ben Decca, and Petit Pays. My music already speaks for itself and stands out – more like Pizza, you know. I figured that doing what you love and not what people want, sets you automatically apart from everyone else, and that’s a very soothing vantage, right?!

It is quite sad but common in Africa that even some of the best musicians do not make enough to earn a decent living out of their craft. You are quite blessed to have a job as a producer and audio engineer to supplement your income. What do you think we can do as Africans to empower young, upcoming artists and to raise awareness of the need to have other streams of income?

I believe it’s up to the youth to learn from the right people, instead of copying the ‘social media’ lifestyle which, of course, every youth that comes into the music or entertainment scene wants to live. It’s also up to those who are already there to make sure they educate the younger ones that there’s a great need for them to get regular jobs until their music starts paying, before they can solely depend on the music as a constant income. But even at that, we should learn to teach the younger people about investing and owning property. That’s how you stay winning. For some people, music ‘blows up’ fast – those are the lucky ones. But for others, it takes a longer time; so while waiting to get your big break, I will always suggest that you get something to do to fuel that musical engine of yours, that’s how you get to be twice as serious, because you know it’s literally your sweat and blood. That’s just my point of view.

You are so passionate about Africa and its talent and potential. Given a chance, which African country would be your first choice to visit and why?

Sango Edi - Giving Cameroon's Makossa a Facelift Asante Afrika Magazine
Sango Edi

You are so passionate about Africa and its talent and potential. Given a chance, which African country would be your first choice to visit and why?

Nigeria, no doubt. I love how passionate they are about their own things. They are very patriotic people as well, and they’ve just got so much which one can and should learn from. 

Which music or musicians from other African countries inspire(s) you, and why?

Burna Boy is always on the top of my list. It’s simple – he is an African man, a very conscious African man; exactly the type of person I would love to be – merging my musical Heritage with a perfect blend of my personal originality, and giving it back to the community. The late James Brown too; his performance energy and the amount of work and passion he put in his art as I read, was fabulous and extremely beautiful. He touched and still touches so many lives with his art, and he gave music that would last generations. That’s something to look up to. 

Sango Edi - Giving Cameroon's Makossa a Facelift Asante Afrika Magazine
Sango Edi

Usually in life it takes a long time for one to reach their full potential and to realise their dreams. What is your advice to young and upcoming African artists who are trying to make it in the music industry? And what advice would you give to those who have made it while young, in order for them to maintain their status?   

This advice goes to myself as well: “Every young artist, while struggling to get into the music or entertainment scene, should get a steady source of income. That’s the only way they can stay consistent in their art – invest in yourself, because you are your biggest product. For those who have made it, do the same, and invest and own assets, more than liabilities.

Photography by @gettoknow_mimshack

Connect with Sango Edi:

Youtube: https://www.youtube.com/channel/UC0JCAQ_ixZEc0xtpoM9oMVQ

Twitter: @SangoEdi

Instagram: @sangoedi

Interviewed by Gugu Mpofu

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What’s Trending in the Entertainment Industry

“It has been beautiful to see Nigerians around the world coming together to protest against police brutality.” ~ Wizkid

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Nigerian Singer & Songwriter, Wizkid
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Hazel Lifa

MUSIC

Wizkid

You know things are bad when musicians start dedicating their art to social issues. Which is exactly what Nigerian artist, Wizkid did. Wizkid has dedicated his latest album ‘Made in Lagos’, to the citizens of Nigeria, in light of the recent police brutality towards #EndSARS protesters. Wizkid stated in a press release: “It has been beautiful to see Nigerians around the world coming together to protest against police brutality.”

Burna Boy

Burna Boy was another big musician shedding light on the despairing SARS situation in Nigeria. The star released a new track titled 20:10:20. The song dropped on the same day the Lekki Massacre happened, where 12 people protesting against the brutality of the Special Anti-Robbery Squad (SARS), lost their lives as they were gunned down by the police.

Zimbabwean Rapper Cal Vin Gone Too Soon

What's Trending in the Entertainment Industry Asante Afrika Magazine
Cal Vin Mgcini Nhliziyo (1984 – 2020)

African rap has lost a real one in a shocking, tragic and brutal hit and run accident. Zimbabwean rapper, Calvin Nhliziyo, aka Cal Vin, was struck by a car on his way back home from an outing in the wee hours of Sunday 25th October. The mysterious circumstances surrounding his death have brought up suspicions of foul play, two years ago the rapper released a song titled ‘Banjalo Abantu’ which many saw as a jab at Zimbabwe’s ruling party’s conduct. Police investigations are still underway. He was 35yrs old and he left behind his mother, and his beloved two year old daughter, Khloe.

 

MOVIES / SERIES

Netflix has definitely been heating up in 2020, with bigger and better content. It fills my heart with joy to see the streaming company start to showcase African movies big time. There are obviously more African movies on the platform than the handpicked three below, so we encourage all to check them out.

King of Boys

King of Boys is a 2018 Nigerian crime political thriller film written, co-produced and directed by Kemi Adetiba.  This is Kemi Adetiba’s second director gig. The movie tells the story of Alhaja Eniola Salami (played by Sola Sobowale), a businesswoman and philanthropist with a promising political future. She is drawn into a struggle for power which in turn threatens everything around her as a result of her growing political ambitions. To come out of this on top, she is caught up in a game of trust, not knowing whom really to look up to, and this leads to her ruthlessness. The movie stars rappers Illbliss and Reminisce in their movie debut roles. Other cast members include Paul Sambo, Sani Muazu, Toni Tones, and Osas Ajibade.

Seriously Single

Dineo (Fulu Mugovhani) is the definition of a serial monogamist, but she always ends up being dumped. When she meets Lunga Sibiya, he seems to be the man she’s waited her whole life for, a man who shares her values when it comes to love and relationships. Or so she thinks – After a messy breakup with Lunga, her commitment-phobic bestie, Noni (Tumi Morake), helps Dineo face what she dreads most: life as a single woman. Now at her lowest point, Noni encourages Dineo to enjoy the spoils of singledom. Together, they take the city nightlife by storm with twists and turns in sue.

The Perfect Picture, Ten Years Later

The girls are back. And their lives haven’t lost one spark of the drama they had 10 years ago. In fact, these girls are saddled with more issues in their not-so-fairy-tale relationships. It’s a beautiful mess of imperfect husbands, repentant ex-boyfriends, and daring romantic exploits. The Ghanaian movie about growing up and everything in between. This sequel offers a colourful and humorous look into a world where everything is as perfect as your life and that of your friends.

The original film was about the same three women pushing their thirties and making bold attempts to change their lives.


BOOKS

Stay With Me by Ayọ̀bámi Adébáyọ̀

What's Trending in the Entertainment Industry Asante Afrika Magazine

This book is considered a gem of African excellence by critics, in not only as literature but in our ability to tell a story. The novel is Adébáyọ̀’s first novel and was shortlisted for the prestigious Women’s Prize for Fiction. It is set in Nigeria; providing us with the voices of both husband and wife as they tell the story of their marriage–and the complications that threatened their home.

Blackass by A. Igoni Barrett

What's Trending in the Entertainment Industry Asante Afrika Magazine

The book is the African equivalent to Kafka’s Metamorphosis. It tells the story of Furo Wariboko, a Nigerian man, who wakes up one day to discover that he has become white. Helon Habila writes in The Guardian: “Igoni Barrett’s greatest asset is his ability to satirise the ridiculous extents people, especially Lagosians, go to in order to appear important.”

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