This podcast was an interview with Dr. Msia Clark. Throughout the course of this conversation we explore the specificity of the study of Hip Hop and Social Change in Africa; touching on topics such as hyper-sexualization of women and gender representations in hip-hop, the link between social movements such as Y’en A Marre, the Arab Spring, and Black Lives Matter, etc and the social vehicle and platform hip-hop has provided to social movements around the world, the African hip-hop renaissance, and finally the highs and lows of teaching a joint African hip-hop course split between an HBCU and PWI
South Africa has eleven official languages; Zulu, Xhosa, Tswana, Venda, Tsonga, Northern Sotho, Southern Sotho, Swati, Ndebele, English, and Afrikaans. With Zulu and Xhosa being the most commonly spoken languages throughout the country it stands to reason that the rap created therein would also adhere to that trend. Granted some of the more mainstream South African artists, say Cassper Nyofest or Shane Eagle, rap in languages such as English in order to draw in more international attention. No judgement from me – secure the bag and do what you gotta do. But on the inverse of this there is a noticeable, conscious decision and trend of artists across the continent to rap in their native tongue; to make a concerted effort to speak to the people in the closest proximity to them.
And that – that’s pretty cool. Enter stage right: Zuxole Ngetu also known as Lolo Vandal.
Continue reading “Lolo Vandal”
Wale once kicked off a track rapping the line “allow me to introduce me, my name Wale don’t say Wally.” 11 years ago that was my introduction to him. As a new resident to the DMV area at that time the magnitude of what he represented to its denizens was lost on me. Only now 11 years later am I beginning to consider and comprehend a modicum of the magnitude that his identity as a Nigerian-American rapper meant not only to the American hip hop culture but also to the burgeoning hip-hop scenes across the continent of Africa and specifically to his homeland of Nigeria.
Continue reading “Wale: Bringing Afrobeat To Mainstream Hip-Hop”
Yes I’m aware you can google this question and come up with a handful. But in a sense that is a part of the point I’m making. Where are the female mc’s from South Africa who rap? Not rap/sing. I mean straight rap – bar upon bar. Flows. Punchlines. Metaphors. Wordplay. WHERE THEY AT THOUGH? If you think i’m being extra take moment to google South African rap and see who comes up.
South African “rap” duo Die Antwoord dominates the search results….Is this your king? Nah.
Continue reading “Where Are All The Female MC’s From South Africa?”
Now first and foremost it is not my intent for this brief assigment to be perceived as a criticism, condemnation, or any negative synonym associated therewith. It is instead an American rap fan being exposed to the cultural similarities between African-American and African trap music and working out his thoughts on [digital] paper.
Continue reading “Today I Learned: African-American & African Trap Is Pretty Much Identical Thanks To Cassper Nyovest’s “Tito Mboweni”.”
South African born Senzo Mfundo Vilakazi, better known by his stage name Kwesta, is an indie rapper whose debut album ‘Special ReKwest’ was released in 2010 to some excitement and acclaim. He followed up this effort in 2013 with ‘DaKAR’, an acronym which means “Da King of African Rap”. It was his his third studio effort in effort 2016 that launched him into the limelight with ‘DaKAR II’. This platinum selling double LP featured prominent names in the South African rap scene such as his label imprint mate Kid X and Capetown native AKA.
Continue reading “South Africa’s Kwesta Has Got Spirit”