Dance is a form of non-verbal communication for expressing human experiences, which in the course of time has developed into a form of art. Brazil is a land of many popular dances that contain the elements of African, Portuguese and European dance forms. Samba, Carimbo, Capoeira, Forro, Coco, Cacuria, Jongo, Lundu and other dances are some of the famous dances of Brazil.
Here are 10 traditional Brazilian dances worth knowing about.
Samba
As the symbol of Brazil, any good list about traditional Brazilian dances has to start with samba. Samba is a Brazilian music genre and dance style notable for its fast footwork and flowing hip swings which, when coupled with the beats of a steel drum, seems to leave spectators in a trance. Its origins lie in the west coast of Africa, coming to Brazil through slavery. It is the music genre and dance most closely linked to Rio de Janeiro.
Some believe that samba was derived from the word ‘semba’, which signifies a navel bump in Kimbundo, the African Bantu language, and symbolizes the invitation to dance from a man to a woman. ‘Semba’ is also an infinitive of ‘kusamba’, which means ‘to pray’, or to appeal for the favor of the Gods or ancestors by singing and dancing. So, the dance was an indispensable part of the religious ceremonies.
Jongo
Jongo – sometimes known as caxambu – was brought over to Brazil through slavery and is thought to have originated from Angola. The dance is sometimes referred to as an ancient form of samba and a performance of jongo does prove that the step work is often very similar. Lively and spirited, the dance is performed to a harmonious group of people singing and playing simple instruments. It is sometimes associated with Umbanda, a religion with roots in Africa.
The Jongo is still widely practiced today in various cities: The Vale do Paraíba in the Southeast region of Brazil, to the South of the state of Rio de Janeiro and to the North of São Paulo.
Capoeira
Although not fully classified as a dance, it is a unique combination of martial arts, dance and acrobatics. To spectators, the hypnotizing music and fluidity of the moves certainly appear dance-like. Capoeira is another dance that has an African origin, coming over to Brazil through slavery. The moves include fast-paced sweeps, kicks and dodges with the lower body playing out most of the moves whilst the upper body balances the actions.
Lundu is also a dance form brought by the Enslaved Africans, and it became very popular in Brazil during the seventeenth and early eighteenth centuries. The basic musical instruments involved are guitar, piano and drum. This dance also involves the use of handkerchief and castanets, an instrument consisting of a pair of hollow pieces of wood, or bone, and is held between the thumb and the fingers.
Xote
Xote is a typical type of forro dance that is incredibly versatile and has several variations across the country. Blending both European and African influences, it also incorporates elements of salsa, mambo and rumba, depending on the region in Brazil.
Jamaica is a land with a very distinct personality, so much so that much of its culture has filtered down to some of the smaller islands of the Caribbean; everything from the music to the fashion and lingo. Jamaican culture has also gone international, seen in the most significant way on the entertainment scene, with international musical acts being influenced by Jamaican Dancehall and Reggae. The result being an ever-evolving musical contribution that is a fusion of places, cultures, and people.
Here are Interesting Facts about Jamaica that you probably didn’t know before reading this!
Nova Felder of Queens flew from New York to the west African nation of Ghana in March. It was supposed to be a 17-day trip, to the country where his parents were born.
On March 13, however, Ghana’s president closed the borders indefinitely and halted all flights into and out of the country, an effort to curb the spread of the coronavirus.
Four months later, Felder is still in Ghana — stranded, he says, along with hundreds of other Americans.
Black is King or a marvelous narration of black pride that displays black beauty, strength and culture through Disney’s Lion king protagonist Simba, journey with the music of The Gift curated by Beyoncé. The film premiered the 31th of July on Disney+ and the next day on African platform like DSTV, Canal+ …
After getting amazed by these high quality visuals with dances, rhythm and researched aesthetics with the collaboration of our amazing creatives from African countries through direction, fashion and filming production we have to point out and show those references that made us lift up from our chairs.
The film was in work since 2019, proving again that Beyoncé’s NDA contracts have enough power to silence anybody. We’ve seen colors, Afrofuturism aesthetic but most importantly blackness through ages and all over the world.
Beyoncé represents an ancestor that will follow the young king into his trip and teach him about the circle of life and witness every moment of his ascending to be a king despite sadness, anger and lost of his own self, from his dreams, and his new accomplished life with Nala and their new baby. In this narrative Beyonce amplifies women gift to give life and show that women are in the center of the creation of the world.
Through African Tradition
The symbol of White
The first scene revolves around Baptism, like the birth of Simba in the circle of life. We can see ancestors, priests sagging and priestess with Calabasas washing children faces and feet, holding flowers and praying. In many African cultures white means “Purity” and also remind us of Komians women in Akan societies, these women considered as medium were able to be in contact with the spirit world and ours. They wore white, had nude feet and could see the future and always accompanies the King and royal family in their reign through protection and even afterwards, whe he passes.
The ceremony use body paint on the young king by his ancestors that solidify his status, and ritual of purification as young king, it reminds us of kaolin (White Clay) that is used in ritual and symbolize joy (Dan people with yangbah dance), peace and mourn, cultural ceremonies in Akan societies and all over west African tribes. Even the Fang of Cameroon and Myene in Gabon, the dead will cross the river of tears to become a spirit , in Gabon the Ogooue they use white clay also to represent ghosts.
But white is also refered in ancient Egypt as mourning, it symbolize death through mummification of passed pharaohs, shroud that can be seen in Nile video clip that represents “The king has died” after Simba’s naivety and fight against the image of funeral always symbolized by black in western societies.
Calabasas
The use of Calabasas is really symbolic, a non-edible fruit that grows in Africa and America that isused to create utensil, musical instrument (balafon, maracas, djembe), its round form is a symbol of cosmic energy and women that are the perfect recipient for holding life. For example in Yoruba’s Orisha myth, Odudua and Obatala merge like two half Calabasas form the universe and represent the duality of the creation of the world.
Spiritual Animals
Snakes can be seen as evil creatures in western religious belief, but in many tribes in Benin, togo vodun, and even dogon tribe where they represent their past immortal ancestors, they are seen as sacred, protectors. The Nommo androgynous twins of dogon is a python.
African spirituality is rooted in animal source of power and image of spirit and are used to portrays divinity and venerence. We can see a bull head of batammaribain Benin and Togo, mursi women in Ethiopia, the bull was a symbol of fertility in ancient Egypt whose horns were worn by Hathor goddess of love, family and also by Odiani people of igbo.
Golden and Divine status
Many great scenes representing the masai jumping contest in suit From Kenya and Tanzania. We’ve seen lot of wraps display in plenty of scenes, represent symbol of marriage, status. The lip disc from east Africa, popular in Ethiopia, Chad, Mozambique and are symbol of social status too.
The Akan crown, golds and umbrella Ohenekyinnie that means authority over his people. Omo people in Ethiopia, Guere in cote d’ivoire, mastered the art of body painting as cultural expression in Africa and flowers head pieces.
Scenes about balance reminds of Maat one of the most known goddess in Egypt, without forgetting Gods in Vodun Liza and Mawu through he portrayal of good and bad, light and dark that cannot exist without one another.
Adinkra symbol, one of the first written languages from Akan (Most popular in Ghana), is represented in this scene, and this sign is a symbol of wealth, power abundance and solidarity.
Red ochre by Himba women in Naminia mixed with cow milk is used to to protect their skin from the sun, give them a beautiful rich hydrated skin. Their thick hair symbolize fertility. In the film they are symbolising duality of male female spirits/ancestors .
We can see art from the Ndebele of south Africa, Masai jewelries of kenya, celebration of love and return back to the values of motherland that is the real royalty, not the crown and artifacts.
Dogon cosmogony
This visual send us far than earth, but to the creation of the world through the Dogon people, a tribe living in west Africa (Mali, Cote d’ivoire…) that refused the arrival of islam and Christianity and have a belief deeply rooted into nature, celestial bodies as the universe and their knowledges of space, astronomy till this day fascinating modern day scientist. In their spirituality the universe was created by the Amma and this God created the earth who was a women and fertilizes her to creates Nommo an androgenous twin deities and its first inhabitants to represens duality. They even have masks that represent the movement of the sun called Sirige. Beyonce represents every celestial mentioned in their tale like the stars, the sun, Sirius, Comet, Black Hole, the pleiade seven sisters to portray how the dance of all these bodies created the world like the dogon speak of in their oral tradition.
We can see green man that represents water genie in Bambara, dogon, Azuza of west Africa (Ghana, benin, togo) pygme genie male, Congo with ireyi cult Toula in Niger, also created by the foam of the sea.
We can see Kanaga masks wore by the Awa society, a mask that is used in a ceremony called Dama and establish the connection between the earth and the sky to usher the sprits and accompany the dead into the spirit world that show this vision of the creation of the world to the young king and his ancestors portrayed by the stars. They always pay homage to their first ancestors like mufasa showing his ancestors to simba.
Representation of Black Beauties
In brown skin girl, The film is pushing Black girls and woman in Disney spaces and is a real statement on universial beauty that misrepresented in its film and Disney princesses. Those girls that beauty is and always have been undeniable through their versatility and diverse characteristics, the song praises darker skin in this colorist society, an ode to black beauty portrayed through Kelly Rowland, Naomi Campbell. She portrays young girls in contemporary princess outfit thinking about cendrillon ballroom, reference to Rapunzel with huge braided hair, Beyonce included herself as Rapunzel, to celebrate versatility in Afro.
We’ve Fulani braids, bantu knots , Nigerian hair scuplture, hair from Hamer people of Ethiopia, mangbetu with lipombo skull elongation which is a sign of beauty intelligence and power making us think about Nefertiti representing beauty through ages.
Beauty universiality and blackness through the world with south/east Asia where colorism is harsh and economy allow the commercialization and encouragement of bleaching.
African Women bodies
Busiswa wearing Isicholo of zulu, is celebrating african woman curves that have been demonized and sexualized all these years reference to Saartjie Baartman a south african enslaved woman that lived a terrible life because of racism. The hips movement like the earth reminds of assiko dance in Cameroon or dances in Congo that are centered on the hips.
African Spirituality and water (Like Fela says water no gets enemy)
Water is source of life, purification to baptize, regeneration and is important in the circle of life (Ships were seen as trip to the afterlife).
Its very important in African spirituality. We’ve seen her dance with water, on water (river) mazina maganda an Uganda dance to vibrate and bring life to the water. She pays homage to african deities that are connected with water , the orishas from Yoruba mythology, that she mentionned that accompanied the young king through his fight for enlightment, we can mention Yemaya (igbo) also Mami watta in Benin, Togo, vodun, Faro in mali link to Niger river and has a strong relationship with water through music reminds of blues,in saheli tribe where water is a necessity which they are always seeking for.. We remember that the Nile was the center that explain how African migrated through the whole continent, Abla Pokou that sacrified her child to save her people (Baoule myth), water has memory and recover the truth and hold our spirituality, water and woman share life that they give. In mali they have a strong relationship with water, nobody can exist without water. The image of African women taking charges on their head in calabases walking kilometers to get safe water from well or rivers for their family.
ORISHAS (Yoruba)
Through Lion King
In Mood 4 eva, we can see a display of eccentricity and careless and fantasy world that reminds African dictators through presidential wealthy mandate like Mobutu and Marie Antoinette in RDC with his cheetah famous hat. Its represent the famous phrase “Hakuna Matata” which is a celebration of life. The animal prints are here to remind us of the animals in Lion King the film, we have the morning report by Zazu reference with beyonce reading her morning paper, and the flamingo scene with synchonised dancers in the pool with pink. This dream will send Simba into a world where he will only see his fantasies that scramble his perspection of reality and build his illusion of happiness to ignore his worries.
We can see Beyonce in a tree as Rafiki in Already and others scene th Lion King’s fans will love.
Black is king is a counterbalance narrative towards the hate, incomprehension towards Black people in the world ! Lets seek wealth, real royalty that are not represented by monarchy but by our community values, knowledge and love for each other.
Members of the Garífuna community are still awaiting answers concerning the fourGarífuna men abducted from their homes on Sunday July 19, 2020. Among the missing include Alberth Snider Centeno Thomas (27 years old), a youth community leader who is president of the board of the town of Triunfo de la Cruz, on the north coast of Honduras, along with local fishermen Milton Joel Martínez Álvarez (39), Suami Aparicio Mejía (29), and Junior Rafael Juarez Mejia (33). Witnesses report that their community members were abducted by armed men wearing police uniforms and balaclavas that concealed their faces. The armed men forced the abducted men from their respective homes at gunpoint and ushered them into an unmarked vehicle before speeding away
Over a week has passed since the incident, there is still no sign of the Garífuna community members, with little to no substantial response from authorities. While prosecutors say that the motive for the attack is unclear, Garífuna leaders contend that the abductions are indicative of ongoing state persecution. The region has undergone long-standing conflict as Indigenous community members defend their lands against tourism developers, extractive palm oil industries, and drug trafficking.
Alberth Snider Centeno Thomas is the first youth leader elected to the position he holds as president of the ‘patronato’ or community governance board for close to two years. Just prior to his kidnapping, he had successfully spearheaded an initiative to re-establish the Garifuna community radio station Faluma Bimetu. “Thanks to god, our ancestors, to OFRANEH, and the collaborations that continue to arrive… from different members of the community, soon our radio station will be broadcasting, my people. In these moments, more than ever, we need this radio station to more frequently inform our community about what happens here,” posted Centeno on Facebook on May 19th. During his leadership as president he also began the first phase of establishing a security post to protect the community. Centeno had also previously supported efforts to hold the Honduran government accountable for its compliance with the 2015 Inter-American Court of Human Rights (IACHR) ruling that mandated Garífuna people receive compensation for their stolen land. The ruling also issued the Garífuna people titles to their land in an effort to stave off future evictions. The government’s lack of compliance with the ruling has aggravated the conflict between community members and public officials. Centeno Thomas’ work may have made him a target of the violence.
The Garífuna are an Afro-Indigenous Peoples who are the descendants of the African survivors of slave ships that were wrecked off the island of St. Vincent around 1675 and were welcomed by the Indigenous Kalingo People native to the island. In the late 18th century, the British exiled the Garífuna from the island and forcefully moved them to the Honduran coast and Belize. Over the years, the group has struggled to defend themselves against violent land grabs and hundreds of land defenders have been killed, threatened, or silenced. In 2019, Garifuna leader Mirna Suazo, president of the Masca Board of Trustees in Honduras, was murdered inside her restaurant, when two hitmen disembarked their motorcycles and repeatedly shot her on September 8, 2019. Suazo had adamantly rejected the installations of two hydroelectric plants on the Masca River.
The Garífuna leaders say that the most recent abductions are the latest of many violent attempts made against them by Honduran President Juan Orlando Hernández’s government: Miriam Miranda, a Garífuna leader and member of the Black Fraternal Organization of Honduras, is insisting that both the kidnappers and the people responsible for organizing the crimes behind the scenes be held accountable. “What happened eight days ago today is the reflection of a systemic persecution and systemic repression, but also a well-crafted plan on behalf of the Honduran state to exterminate the Garífuna community.” She affirmed, “Justice means prosecuting those who ordered this crime.” She noted that the crime was particularly hard hitting for Garifuna youth, because of the hope they felt when Centeno was elected as president of the community board, the first time a young person had held that role. “It was important that a youth took on the role of building their future,” she commented in Nodal Radio. OFRANEH reports that 92% of criminal cases remain in impunity in Honduras. Community members continue to protest the targeted violence, demanding that their lives, land, and culture be respected.
This petition was created to bring more international awareness to what is going on in the country, in hopes that it will soon open up an investigation.
Black-owned businesses are experiencing a surge in demand following the recent Black Lives Matter protests after the deaths of several Black Americans at the hands of police, according to Yelp’s Economic Average Report for the second quarter.
From May 25 to July 10, there were more than 2.5 million searches for Black-owned businesses on Yelp, compared to about 35,000 over the same time period last year — a stunning 7,043% increase. Searches for Black-owned restaurants skyrocketed 2,508% and Black-owned bookstores jumped 1,437% compared to last year.
The news comes in the face of the coronavirus pandemic, which shuttered thousands of small businesses across the country and disproportionately affected minority-owned businesses and hit Black-owned businesses especially hard.
Since the racial justice protests, the demand for Black products has trickled into the book market, with Black authors dominating the New York Times best-sellers list. The list includes books on racism, White fragility and privilege.
As stores across the nation begin to reopen, Yelp’s report revealed that searches for Black-owned boutiques increased by 331% and 161% more people are searching for Black-owned coffee shops for their morning caffeine fix, than last year. Searches for Black doctors have increased by 183%.
While the enhance in enterprise is welcomed, some corporations weren’t ready for the uptick. OneUnited Bank, one of many largest Black-owned banks in America, skilled a big improve of recent clients, main them to issue several messages apologizing to clients in regards to the elevated response occasions.
Justin Norman, Yelp’s vp of information science, instructed Business Insider he expects that curiosity in Black-owned businesses will proceed.
Justin Norman, Yelp’s vp of information science, instructed Business Insider he expects that curiosity in Black-owned businesses will proceed.
“There has been sustained interest in Black-owned businesses since the initial peak at the end of May and beginning of June, and this interest is diversifying past the initial generic searches for Black-owned businesses and restaurants into a wider range of business types. To me, this signals a shift in consumer behavior and habit that I expect will continue,” mentioned Norman.
Today, the South African Screen Federation (SASFED), supported by the Independent Producers Organisation (IPO), announced the establishment of a COVID-19 Film and Television Relief Fund in collaboration with Netflix to provide emergency relief to the hardest-hit workers in South Africa’s creative community.
The streaming service will donate over R8.3 million, which will be administered by Tshikululu Social Investment, who will screen the applications for eligibility as well as payout the funds to beneficiaries
“SASFED is delighted about the announcement that the Netflix Covid-19 Film and Television Relief Fund will provide relief for workers in the screen sector that were not eligible for other available relief funds. The SA economy has been hard-hit by the Covid-19 pandemic, said SASFED executive director, Unathi Malunga.
“The Netflix fund supporting the local film industry brings hope to struggling industry professionals. We hope other potential partners will follow Netflix’s example and support SASFED’s broader initiatives which offer assistance to industry professionals across the whole value chain – an initiative undertaken by industry, for the industry. SASFED applauds Netflix’ support of the local screen sector during the global crisis.”
Sisanda Henna, IPO co-Chairperson said: “Following months of extreme hardship for most of our sector, the IPO is overjoyed that Netflix is providing this desperately-needed relief for those most hard hit by the pandemic – the industry’s below-the-line freelancers to whom no other relief has been available.
“This is a clear demonstration of Netflix’s commitment to the sustainability of the South African film and TV production industry, and we welcome them – with wide open arms – as a partner in our broader efforts to support the screen sector.”
From 3 August the members of the creative community will be able to apply by filling out an online application at Tshikululu’s website (tshikululu.org.za) or mailing physical applications. The eligibility criteria will be posted on the website when applications open.
The South African TV and film community has been dealing with the effects this pandemic has caused to their livelihoods because of the continuous disruptions to local productions. Thank you to SASFED, with the support of IPO, for collaborating with us in our efforts to provide short-term relief to the hardest-hit workers from the local creative industry, who most need our support in these unprecedented times.
Dorothy Ghettuba, Netflix’s lead for African Originals
In March, Netflix announced a $100 million hardship fund to help the hardest-hit workers in the creative community across the world affected by the pandemic, which has since been increased to $150 million. The R8,3 million contribution in South Africa is part of this initiative
In Lesotho, a highland country surrounded by South Africa—an artist named Nthabiseng TeReo Mohanela takes discarded materials and transforms them into unique clothing and accessories. Teaching young people the benefits of recycling and re-creation, she calls her project “From Trash to Treasure.”
With TeReo’s work as a starting point, this short film showcases a broader spirit of reimagination among artists in Lesotho, who use creativity to respond to entrenched social problems: Filmmakers show the need to end child marriage. Musicians write songs about climate change. Farmers collect seeds to protect endangered tree species. Designers use fashion to preserve traditional Basotho culture and challenge common perceptions of Africa.
Profiling a variety of these innovators, “FROM TRASH TO TREASURE: turning negatives into positives” encourages us to take lessons from those who rethink, reuse, and reinvent in order to promote positive change.
Available with English, Spanish, Arabic, and French subtitles. FOR SUBTITLES: first, click the CC button, then settings, subtitles, and select your language.
Sampa the Great is a Zambian-born singer, songwriter and rapper who is poised to take a huge leap. The Melbourne-based artist has been on an upward trajectory since her 2017 mixtape ‘Birds and the BEE9’ was released on Ninja Tune subsidiary label Big Dada. A critically and commercially successful project, she landed the crown of Australia’s leading black female artist with its release. Influences of Lauryn Hill and Mos Def are weaved in throughout with both its soulful, jazzy theme backed up by introspective lyrical content.
We spoke to Sampa about her musical inspirations and what “home” means to her.
Photo credit: Michaela DutkovàWhat was your first experience with music?
I believe it was a kitchen party/bridal shower, when I was 7.
The women of our community were singing together and to me it was just the most beautiful thing I ever heard.
Hearing all their voices singing in unison, showed me how music can connect us all into one voice.
What was your childhood like?
I lived in Zambia till I was two, then my family moved to Botswana where I was raised in Gaborone . Most of my childhood and parts of my adulthood were spent in Africa between these two places.
My childhood was very expressive. We were taught by our parents to not be afraid of our voices or opinions. We also come from a family that loves to entertain and make people laugh, so it’s not a far stretch that the kids would turn out to be entertainers.
Our parents didn’t come from a wealthy background at all and had to work for a chance to send their children to school and university. No inheritance, no connection, nothing!
Being raised from a Bemba mom and Tumbuka father always reminded me of the legacy I come from, especially in a world that’s hell bent on tearing you down.
My upbringing was also a marriage of two cultures, as I was raised between the two countries and often would look for where I would fit in and which was home to me.
That small displacement was the basis of my recent project “The Return”, which in the grand scheme of things touches on the topic of displacement. Especially that which is felt by the African Diaspora.
My first introduction to hip hop was through my cousin Chewe Sunkutu. He played Tupac “Changes” to me on cassette tape. I was 8/9 years old.
When I heard it, it was basically spoken word with beautiful melody. I just thought it was the most beautiful expression ever. It was also huge way to communicate what I feel, through spoken word and music in the way that he did.
How has music been a coping mechanism for you during these times?
It’s been my comfort,.. you know?
It’s either my healing, my therapy, my voice or my comforter. When I feel lost, misunderstood, uneasy or broken music is my source or means to communicate.
It has always been for me.
What does Africa mean to you?
Africa to me is my origin. My beginnings.
As it has been to those who birthed me and those who birthed them, onwards.
Without that source I think we would seize to exist. Put lightly.
How did you think the time in Africa shaped you?
My time in Africa wasn’t a vacation. I’m from and was raised at home and it’s always my return when I come back from where I’m based.
What it has solidified is that home is the source for a lot in this world. Spirituality, Resources etc.
To know I come from that is a blessing.
Where do you find inspiration for your fashion style?
Lol. I believe it is a mesh of everything. I’m very eclectic when it comes to fashion sense. If it’s a statement we’re making it. Always comfortable and true to myself though.
How would you describe your sound?
My sound is a cumulation of soul, Zambian folk, hip hop and spoken word. Places I’ve been and their influences/stories are also reflected in my music. Don’t think theirs one sure way to describe it really…
What has been the most memorable experience so far in your career?
My first shows at home! A big 360 for me, as that is were my dreams of being an artist were birthed. I have full intentions of my goal of building a music school at home. All resources,experiences I’m collating till this date is towards that final goal.
Home has always been the goal!
How did you break into the Australian Market?
I believe I brought something different to the industry, which was my particular story and perspective of where Im from and how I’ve lived..
You have travelled and lived in a number of different places. How has Hip-hop played a role in those moves and transition?
I’ve been to these places through the opportunity of Hip hop music. It’s created that for me and I will be forever grateful to the originators of this culture and it’s influence around the world.
So, Lockdown has been lifted and you’re allowed to invite any musician and they will accept the invitation. Who are you inviting?
Lauryn Hill please!
What’s next for you?
Visual Arts and Film.
I have always been interested in visually representing who I am and where I’m from. More so now it doesn’t necessarily have to be connected to music. Looking to venture more in that avenue.
What artist are you hoping to collaborate with in the near future
Lauryn Hill seems to be my answer for most. As well as Thandiswa Mazwai and Nathan Nyirenda and various rappers,musicians form Zambia.
Some great news to Africans who were worried about missing on Beyoncé’s new visual album ‘Black Is King’.
The much anticipated visual album was recently announced with an exclusive premiere on Disney+ (31 July 2020) which is not yet available anywhere in Africa
A distribution deal was announced to make ‘Black Is King’ available in the continent, including South Africa, Nigeria, Ghana, Ethiopia, Namibia, Cameroon, Liberia, Burundi, Senegal, Togo, Somalia, Benin, Congo, Kenya, Ivory Coast, Zimbabwe, Malawi, Gabon, Cape Verde and many more countries through MultiChoice Group’s M-Net and Canal+ Afrique.
Yes, that means fans will be able to watch the premiere on Dstv, with date and time to be announced.
The visuals will include local stars such as Warren Masemola, Connie Chiume, Nandi Madida, Moonchild Sanelly and Nyaniso Dzedze.
The visual album is curated by Queen B herself as a writer, director, and executive producer. ‘Black Is King’ was put together within a year and will reimagine lessons of “The Lion King” for an audience of “young kings and queens in search of their own crowns.
The news come with a new trailer which was premiered today. The new trailer provides a glimpse of some of the special guests in the film. They include models Aweng Ade-Chuol and Adut Akech, supermodel Naomi Campbell, Tina Knowles-Lawson, author and Lupita Nyong’o, singer Kelly Rowland, Pharrell Williams and JAY-Z, among others.
Check it out below:
Black Is King’ was in production for one year and features an impressive list of diverse voices on its creative team, including directors Emmanuel Adjei (the film “Shahmaran”), Blitz Bazawule (the film “The Burial of Kojo”), Pierre Debusschere (“Mine” and “Ghost” videos for Beyoncé), Jenn Nkiru (“BLACK TO TECHNO” film), Ibra Ake (creative director and producer on “This is America” video for Childish Gambino), Dikayl Rimmasch (“CACHAO, UNO MAS” film), Jake Nava (“Crazy in Love,” “Single Ladies,” “Partition” videos for Beyoncé) and co-director and long-time collaborator of Beyoncé, Kwasi Fordjour.
The news comes in the face of the coronavirus pandemic, which shuttered thousands of small businesses across the country and disproportionately affected 
