A bare-chested Diamond Platnumz was surprised by his record producers last week when they rocked up at his house with a cake iced with YouTube's logo to mark a milestone for the Tanzanian pop star. As he was filmed getting dressed, the year-old was proudly told by his team that he was the first sub-Saharan African singer to get one billion views on his YouTube channel. A post shared by Wasafi Classic Baby! Over the last 10 years, the award-winning musician has popularised "bongo flava" - a uniquely Tanzanian offering: romantic melodies with an urban beat influenced by traditional taarab music from the East African coast. It is difficult to assess the real significance of the one billion figure, given that Diamond Platnumz has more followers on Instagram than he does subscribers on YouTube - 9. DJ Edu says Instagram is more of an influencer of lifestyle and new platforms such as TikTok, which allows a second copyright free use of songs, are a great way of getting younger fans. More importantly for musicians in Africa, over the last decade YouTube has allowed them direct access to an audience, rather than relying on TV stations. Diamond Platnumz still languishes behind some North African stars, who have huge followings in the Middle East. And then there are African artists based elsewhere such as Malian-born singer Aya Nakamura, who trumps the be-jewelled Tanzanian musician, with more than 1.
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The said records have lyrics which violate ethics of regulations of broadcasting services Content Top Tanzanian pop artist Diamond Platinumz is one of the people affected by the ban. His songs Hallelujah and Waka are on the list of prohibited songs. Magufuli enjoyed popular applause from Tanzanians and admirers beyond his country when he implemented a rarely seen crackdown on wastage of public resources after being elected in His actions including unannounced visits to government facilities and cancellation of Independence celebrations inspired a hashtag on social media, WhatWouldMagufuliDo.
How does he compare with other African stars?
Tanzanian hip-hop artists are finding ways to use social media and technology to both participate in social discourse and to disseminate their music. The increased reliance on alternatives to traditional media tests the power of new technology and social media to allow artists to successfully bypass established institutions and barriers. Likewise, it tests the importance of social media in creating a space for Pan African dialogues to occur, via hip-hop. One of the earliest clues that new and social media would signal revolutionary change in the dissemination of hip-hop worldwide was the launch of MySpace in By an increasing number of hip-hop artists from Tanzania had created fan pages on Facebook, uploaded videos on YouTube, and opened Twitter accounts. This research examines the ways in which hip-hop artists in Tanzania use this social media to engage audiences, the effectiveness of these strategies in the face of an increasing number of online Tanzanians, and how social media helps artists bridge barriers to Pan African dialogues with artists across Africa and the Diaspora.
As in other countries, the musical production in Tanzania is constantly undergoing changes. Music listened to by Tanzanians today stretches from traditional African music or the string-based taarab to a distinctive hip hop known as bongo flava. The melody is also the national anthem of Zambia. In Tanzania, Swahili lyrics were written for this anthem. Bongo Flava is one of the newer Tanzanian genres, developed in the s, and is a fusion genre. Its name denotes the Swahilisation of global music forms by incorporating Tanzanian musical and linguistic elements. The current trend among Tanzanian music consumers has started changing from international popular music towards favouring products from their local artists who sing in Swahili , the national language. The more than ethnic groups of Tanzania have developed a large number of specific traditional musical and dance styles with corresponding instruments.