Jovi’s street anthem Et P8 Koi (So What?) shows the use of Cameroonian language in hip-hop as means of depicting identity in a globalized music industry. Jovi is known to put out “multilingual bangers” with backing tracks from various musical disciplines. The creativity in production is mirrored by his dynamic lyricism that transcends cultural and musical boundaries. He raps in French and English – languages inherited from former colonists – to “bridge the gap that exists between anglophones and francophones” in Cameroon. Note that the French and English in the song don’t entirely mirror that of Europe, but rather include Cameroonian slang and dialects – known as Camfranglais, the mix of French and English native to Cameroon – which makes the music more representative of the Cameroonian identity. Continue reading “Surprise! Another blog bout Jovi”
First of all, listen to the bass hit at 00:19. It’s the sickest beat on which you can open your verse in a song like this.
Belgian-Congolese rapper Badi’s collaboration with Central African DJ Boddhi Satva in the Kitendi music video coins their representation of the Central African identity and culture in Francophone Europe (particularly in Belgium and France). The video is set in Café Barge in Paris and focuses on the fashion choices of all individuals present, at the same time, it capitalizes on their presence as a group to create the most fly-looking squad for a music video. Continue reading “Kitendi”
The patriarchal influence of marketing music sales leaves Askia unfettered. Her style in this music video is a mixture of aggression, pride, and bravery that reflects the persistence to overcome gender discriminatory constraints women face in society. In a music industry dominated by men, such that it is rare for female rappers to gain the same recognition and popularity as male rappers, Askia flips the status quo by projecting herself and her crew as artists unperturbed by the systemic limits presented by patriarchal culture. Her aggression and flow make up the confidence that translates to No Worry Me.Continue reading “Patriarchy No Worry Me”
This post is another testament to Jovi, and his art that has the power of erasing class and gendered boundaries to solidify the Cameroonian social identity. Check out his music video for Zélé and you’ll see what I am talking about.
In world where African hip-hop artists are being accused of imitating American culture to produce their art, Cameroonian rapper Jovi represents the amalgamation of the two cultural art forms by producing a unique style that is distinct to his home country, but also carves out his own place in the global hip-hop scene. Jovi himself coined Mboko – a rising genre that merges Native African influences such as Bottle Dance and Makossa with Western electronic and hip-hop influences. In his video for Devil No Di Sleep, he lucidly showcases the influence Western hip-hop has on Cameron’s scene, but continues to represent his home country. Continue reading “How Jovi makes us bump to the sound of Cameroon”