As the unstoppable train of life moves closer and closer to the festive season, the end of the year awaits at church altars and out in the yards of homes to officiate new weddings. Amapiano vocalist and songwriter MaWhoo and Wanita Mos spearhead, DJ and record producer Master KG have released wedding-themed visuals of their single “Uthukela”. Featuring appearances from Harry Cane as well as singer-songwriter Eemoh, the Khaya Bhengu-shot music video comes not long after the successful drop of the “Gucci” music video, in which MaWhoo co-stars alongside maskandi juggernaut Mthandeni SK.
The visual presentation for “Uthukela” is based on the premise of innocent Zulu love as depicted by humble beginnings, with the lead singer being the muse and the damsel and the recipient of affection. The very first scene of the music video welcomes the viewer into the love story with the appearance of an antique, algae-hued Rolls’ Royce. The scene then transitions to MaWhoo in the car, dolled up, arrayed in a cascading veil and a matching wedding dress, sitting alongside her maid-of-honour in the car on their way to the ceremony.
MaWhoo and Her Prospective Suitors | SUPPLIED
Between the opening scene and the ending, the video progressively narrates the tale of the two lovers as they grow together in love.
The love story kicks into motion with MaWhoo carrying a bundle of firewood atop her head, traversing the dusty landscape of the remote countryside. She is then intercepted by one of the two young men who not only takes a keen interest in her but also offers to help her carry the load. This portion of the music video serves as a flashback, with the sequence being juxtaposed with the following scene showing MaWhoo now at the wedding venue, walking down the aisle while flanked by the guests who admire her from the sidelines.
The wedding scene | SUPPLIED
Once the matrimony has been consummated, celebrations erupt, with all the artists joining in on the afterparty, as they dance and rejoice under the night sky.
“Uthukela” is also punctuated with mild choreography which push the “Kulula” songbird to tease perfunctory dance moves; however, she leaves the total execution of immaculate stepping to her backup dancers clad in red corsets and black ballet tutu skirts. If MaWhoo isn’t gyrating her hips and twirling like a flower billowing in the wind, she maximises her presence by presenting herself as a regal figure with stunning beadwork-inspired wear and tight-fitting attire embellished with jewels.
Watch “Uthukela”:
