Music videos have always been an enthralling medium for artists to breathe new life into their music and visually translate the universe in which their songs exist. Through them, viewers embark on a journey of sights and sounds that create longer-lasting connections to songs and artists. The accessibility and popularity of music videos have exploded within the past decade, in line with the internet’s increased influence in the industry, in which streams help dictate chart placement.
The Women of Afro Nation Puerto Rico 2022 Speak on How the Music Industry and Community Can Better Support Them
In the context of Africa, visuals have played a crucial role in propelling the industry beyond the national and international borders. The accompanying video for Yemi Alade’s “Johnny”, directed by Clarence Peters in 2014, is one notable example, amassing over 144 million views since its release and becoming a smash hit across the continent and worldwide, in countries like Liberia, Uganda, the United Kingdom, Zimbabwe, and, of course, Nigeria. It is one of the most watched music videos by a Nigerian artist and the most by a female Nigerian artist of all time.
Though the impact of these videos is often seen from the perspective of music artists, it is worth noting the value they create beyond the music industry in Africa and the diaspora. Videos shot in the continent diversify the revenue stream of the audiovisual sector, which, according to a report by the UN, has the potential to reach $20 billion. These media also provide an authentic lens into cultures across different regions of the continent outside the projections of the western gaze, thereby encouraging renewed pride in African identity.
Below, we go over six music videos shot on the continent and how they embody the narrative behind the songs.
10 Songs for Your Season of Love Playlist
Little Simz feat Obongjayar — “Point & Kill”
Location: Lagos, Nigeria
“Point & Kill” is a Nigerian saying, commonly used in the market when a buyer picks out livestock of their choice for the seller to kill and bag for them. In the song, Little Simz alongside her collaborator and fellow Nigerian, Obongjayar, use this phrase metaphorically to depict their ambition and go-getting spirit. The hustle and bustle of megacity Lagos, Nigeria, acts as the perfect backdrop. Speaking on the song and video to Apple Music, Little Simz said, “I guess it's just me tapping into my roots.” She continues, “When it came to this album [Sometimes I might be Introvert], it was like, yeah, cool. I know I got eyes on me now, so I can tap back into that space and I can have fun with it. If we're going to shoot a video, it needs to be in Nigeria.”
The Ebeneza Blanche-directed video for “Point & Kill'' offered the British-Nigerian artist her first trip to Nigeria since childhood and starred members of her family. In the video, we see Little Simz begin her journey in a compound as two neighbours argue. From there, she rides off on the back of a motorcycle while we catch a quick glimpse of the National Theatre and a group of bodybuilders. These sights juxtapose images of characters dressed as lawyers and doctors, illustrating a departure from the common career and lifestyle expectations of Nigerian parents for their children. The video continues with an 70s-inspired party scene and ends with a recreation of the infamous shot from the 2013 film Cristo Rey, as Little Simz holds up a machete to a police officer pointing a gun at her and Obongjayar.
Sho Madjozi — "Idhom"
Location: Limpopo, South Africa
In the video for “Idhom”, South-African rapper Sho Madjozi invites viewers into her hometown, Shirley Village, Limpopo. Self-directed by the artist, the accompanying visuals for the energetic hit amps up its inviting essence through simple selfie-style shots as she dances from frame-to-frame alongside a group of local young people.
As one of the lead tracks from her debut album Limpopo Champions League, the video for “Idhom” is representative of the artist’s identity and roots, which she makes a conscious effort to display throughout the album.
Sampa The Great— "Final Form"
Location: Zambia and Botswana
Shot between Zambia and Botswana, “Final Form” offered an introduction into the world of Sampa the Great’s 2019 album, The Return, through the lens of director, Sanjay De Silva. In the video, we see the artist finding her way back to her heritage. She explores local traditions and cultural practices, one of such being the representation of Nyau dancers. As the video progresses, we see Sampa the Great dressed in pieces that incorporate both traditional and contemporary elements. She moves from the street lined with vibrant stalls, to a restaurant where she is served local cuisine, and is eventually seen partying on a bus.
“The video was inspired by the belief of having a spiritual exodus back to yourself”, the Zambian born, Australian-based artist mentioned to Pan African Music Magazine. “We often as black people in the diaspora talk about the physical return to our roots but not so often about the spiritual. ‘Final form’ is meant to start that conversation”, she concludes.
Shan’L — “Okoke”
Location: Gabon
In “Okoke”, Gabonese artist Shan’L explores heartbreak and infidelity. Here, we see scenes of loneliness and isolation contrasted against romantic images that play on the significance of memory in the game of love and heartbreak. “I made a mistake. I want you to help me erase it”, she sings to her love interest in French, defining the essence of the track and visualiser. Building on this, the video begins with distance between the two as he faces the opposite direction while Shan’L sings against the backdrop of luscious trees. As the video progresses, we see more indoor shots of the two. The gap is closed to signify the rekindling of their affection.
The song and accompanying video play into the central theme of personal advancement and love on the artist’s 24-track project, Eklektik 2.0.
Manal — “Niya”
Location: Morocco
“Niya”, which translates to “naive”, sees Moroccan pop singer and songwriter Manal honouring the lives of chikhates. “Chikhates are independent women who have sacrificed everything to live their dream, their art, and their passion”, Manal explained in an interview with Moroccan Ladies magazine. In Moroccan society, the existence of these women is revered on one end as a liberal rewriting of conservative norms, standing as a point of contention for those who want to retain orthodox values due to their association with partying and debauchery.
In “Niya”, the artist embodies a chikha who longs to marry the man she loves but her dreams never come to fruition. A display of sisterhood is continuous throughout the self-directed project, emphasising the power of female unity. The women are draped in a range of 70s inspired kaftan saris made from traditional Moroccan fabric, such as Benchrif, which is identifiable by its floral embroidery, as well as jawhara. In all, “Niya” immerses viewers into Moroccan culture and sheds light on the need for women to show support and uplift one another.