“Every step of my journey has been about documenting and archiving the culture.”

While the genres often overlap — and frequently collaborate — they are not the same. This episode explores the structural, historical, and political differences between African hip hop and Afrobeats, from breakbeats and cyphers to groove-driven production and dance-centered arrangements.

Msia examines how streaming algorithms, global music marketing, and even academic scholarship have blurred the lines between Nigerian hip hop, Ghanaian hip hop, and Afrobeats. She argues that collapsing the genres erases African hip hop’s activist traditions, lyrical depth, and cultural elements like deejaying, breakdancing, and graffiti.

If you’re interested in African music, global hip hop culture, Afrobeats history, or the politics of genre classification, this episode offers critical context and clarity.

Afrobeats is global. African hip hop is powerful. But they are not the same.

Listen now.

“I don’t make art just to make it beautiful. I make art to talk to the people.”

As a founding member of the Doxandem Squad and the creator of FESTIGRAFF, one of Africa’s most significant international graffiti festivals, Dokta has helped position African graffiti within global hip-hop networks while maintaining its grounding in local realities. In this conversation, he explains how graffiti in African contexts functions differently than in Europe or the United States—serving not only as visual culture, but as a form of public pedagogy that speaks directly to everyday social and political conditions.

“Graffiti is respect—respect for the community, and respect given back.”

Dokta discusses mentoring youth, resisting artistic imitation, and the responsibility of hip-hop artists to remain accountable to the communities they represent. His reflections offer valuable insight into African hip-hop as a lived practice, an archive of urban experience, and a form of knowledge production.

“We were the first generation, so nobody understood this music — they watched their kids transform in front of their eyes.”

Ready D reflects on discovering hip hop during the final years of District Six, just before families were forcibly removed under apartheid. He discusses how hearing Rapper’s Delight for the first time created an unexpected bridge between U.S. hip hop and his own lived experiences, and how the trauma of displacement and the political climate of the 1980s deepened his connection to the culture.

From the rise of Cape Town’s early B-boy crews, to the formation of an African-centered hip hop movement, to his powerful contributions as a DJ, radio host, mentor, and intergenerational collaborator, Ready D offers a rare and deeply personal account of hip hop’s development in South Africa. He also looks forward — reflecting on the evolution of DJing, the challenges of the contemporary scene, and the community-based projects he’s building today.

“If you want to be good, you must be prepared to be a student for life.”

This is a rich conversation about culture, politics, craft, and legacy — from one of hip hop’s most respected global pioneers. 

“We realized the fight was not only political — it was also about changing mentality.”

Simon discusses his early introduction to hip hop and political awareness through Public Enemy and The Roots, the creation of Y’en a Marre and their role in mobilizing youth during Senegal’s 2011 elections, the idea of the “New Type of Senegalese (NTS)” — reshaping national consciousness. He also discusses government backlash, arrests, and personal risk in political hip hop activism

“Patriotism is not just voting; it’s wearing, eating, and building African.”

The mix highlights:

• Languages: English, Swahili, Ga, Yoruba, and more.
• Artists: Established names like Modenine, M.anifest, Nadia Nakai, alongside rising voices you may be hearing for the first time.
• Sounds: From classic boom bap and Afrobeats-inspired beats, to high-energy club tracks, to conscious and introspective flows.

Inspired by U.S. hip hop podcasts that spotlight new music, this episode aims to showcase the incredible range of hip hop being produced internationally.

The mix begins with South Africa’s Zulu Mecca—who will also be speaking at this year’s conference—and closes with Yugen Blakrok, from her powerful new album The Illusion of Being. Check out the full playlist and links to the featured artists:

• ZuluMecca "Iller Than"
• Modenine "Adidas"
• Wakazi "Crooked Crown"
• Eno Barony "No Manual"
• K. Keed "Dilemma"
• Fid Q & Mex Cortez "Simba"
• Sarkodie "Hustlers Dream"
• Gemini Orleans "Gasoline"
• Stamina "Bado Nipo"
• AYORKOR RONZY "Darkovibes"
• Falz the Bahd Guy & Shaybo "Popping Tonught"
• Angel Mutoni "Ousaah"
• Cassper Nyovest "Kusho Bani"
• Gigi Lamayne "COME OUTSIDE"
• Nadia Nakai & Moozlie "Sipthipithi"
• Eva Alordiah "I Look Good"
• Awa Khiwe "Rap Gandaganda"
• Ugly Dray "Not Love"
• Kweku Smoke "Agyekum"
• Yanga Chief "What If"
• Erigga "Just Breathe"
• MOJO AF "Samson"
• M.anifest  "Gye Nyame"
• Yugen Blakrok "The Grand Geode"

We’re also excited to announce that Howard University will host the 3rd Annual Hip Hop Studies Conference from November 14–16, 2025. This year’s theme is Respect the Technique: Hip Hop & Technology. The call for submissions is open until September 20, 2025. For details, visit hiphop.howard.edu.

Check out our 2019 interview with Keko on Episode 38: Keko on Hip-Hop V. The Politics of Sexuality in Uganda.

Or our 2021 interview with Gigi Lamayne on Episode 63: Gigi Lamayne on Representation & Dismantling Respectability Politics.

• “Becky” by Amine
• “Hello Africa” by Blitz The Ambassador
• “Never Fight an African” by Styles P
• “Sue Me” by Wale

“Sue me, I’m rootin’ for everybody that’s Black.” This lyric embodies more than a mindset as it reflects a movement rooted in solidarity. The African diaspora refers to the global dispersion of people of African descent, beginning with the trans-Atlantic slave trade and continuing through modern-day immigration. According to The African Diaspora: History, Adaptation and Health, the term first appeared in literature in the 1950s and refers to global communities whose ancestors migrated as early as the 15th century (Rotimi et al.). This term is often closely linked to Pan-Africanism–an ideology emphasizing solidarity and unity of people of African descent. 

The global popularization of hip hop aided in creating a platform for artists of African descent, specifically those who migrated to the United States, to express their pride in their identity as well as resistance to racism in their countries. This mixtape explores how first-generation artists from the United States, like Style P, Aminé, Blitz The Ambassador, and Wale, use their music to reflect the complexity of belonging to the African diaspora, highlighting their heritage while speaking out against systemic oppression faced by Black people. 

Since its origin in the Bronx, New York, hip hop has always been an outlet for speaking out about racial disparities and politics. One song on the mixtape, “Never Fight an African,” comes from David R. Styles, famously known as Styles P, who was born to a South African mother and Jamaican father in Queens, New York City, and has never shied away from speaking out about U.S. politics and resisting systemic oppression. In his song, “Never Fight an African,” Styles says:

“Not a Trump supporter, not a Clinton supporter, and Obama slipped too, we need to get it in order…if one brother starves, we ain't eat right” - Styles P

...highlighting a disillusionment with politics, across of parties. His main concern is the advancement of Black people, but in a country where systemic oppression is prominent, he refuses to align with any leader, even the first Black president, if meaningful progress is lacking. Aminé, an Ethiopian artist from Portland, Oregon, similarly addresses the idea that justice for Black people is not dependent on politicians or modern-day America in another song on the mixtape, “Becky,” when he says, “I'm fed up with the looks that we get in restaurants…I'm fed up with a world that I know I can't change.” His lyrics reflect the exhaustion from mistreatment due to his skin tone. Aminé, outwardly, spoke against the injustices in the U.S. during 2020, a year of civil unrest and an increase in Black Lives Matter protests. In an interview about the album done for French Fries Magazine, Aminé states

“My beliefs on these issues have always been the same. The music industry has amplified and spread the messages I believe in. I don’t hold back from letting my fans know what I stand for.” Amine

Together, Styles P and Aminé use their platforms to critique America’s failures in politics and affirm their identities as Black men in society by speaking out against the struggles they go through and reflecting a shared experience of systemic oppression throughout the diaspora. 

On a lighter note, the mixtape also features songs celebrating their identity, reflecting the vastness of the diaspora. Blitz Bazawule, a Ghanaian artist known professionally as Blitz the Ambassador, makes his self-pride apparent in his song, “Hello Africa,” where he talks about traveling all over Africa to bask in its beauty and richness in culture. This song encourages unity amongst all African countries while also using African dialect and English to promote Pan-Africanism. Wale, a D.C. native with Nigerian heritage, expresses Pan-Africanism in the song “Sue Me.” Wale states, “I carried my bitterness of a kola nut…I favor Black businesses… spent ‘bout two racks on handmade durags” The “rooting for everybody Black” ideology is not just a lyric in Wale’s song, “Sue Me,” Though it may seem like just support for Black people, rooting for everybody Black represents Pan-Africanism, promoting unity throughout the diaspora. Both Blitz and Wale celebrate their identities unapologetically, conveying pride in being Black and a commitment to Pan-Africanism, which shapes the African diaspora. 

In closing, it is evident that hip hop continues to serve as a vehicle for celebrating the African diaspora and reclaiming identity. Styles P, Aminé, Blitz The Ambassador, and Wale collectively embrace the range of shared experiences in the African diaspora–on one hand, there are rappers that use their music to speak out against hardships on Black people, whereas the others use it to highlight their love for their culture and to promote unity. This mixtape underscores how hip hop bridges the vast identities and culture throughout the diaspora and serves as a mirror for identity, pride, and resistance.

References

• Magazine, FF. “Meet Aminé, a Jovial Rapper Tackling Political and Racial Injustice with His 
• Music.” French Fries Magazine - FF, French Fries Magazine - FF, 25 Nov. 2020, frenchfries-mag.com/interview/2020/11/17/meet-amin-a-jovial-rapper-tackling-political-and-racial-injustice-with-his-music. 
• Rotimi, Charles N, et al. “The African Diaspora: History, Adaptation and Health.” Current 
• Opinion in Genetics & Development, U.S. National Library of Medicine, Dec. 2016, pmc.ncbi.nlm.nih.gov/articles/PMC5318189/. 

In the interview, we explore:

• His early days as an MC influenced by Pan-Africanism, figures like Kwame Nkrumah and Thomas Sankara, and groups like Positive Black Soul
• The evolution of Senegalese hip hop from political consciousness to mainstream commercialization
• The rise and impact of Y’en a Marre and its influence across Africa, including his arrest in the DRC
• How governments have tried to co-opt or silence politically engaged hip hop movements
• The role of hip hop festivals in fostering Pan-African artistic and political collaboration
• His vision for a “new type of African”—one rooted in ethics, activism, and social responsibility

Whether you’re into hip hop, social movements, or Pan-African politics, this episode offers a powerful look into how culture can be used to inspire change across the continent.

Our first episode back will be an interview with Senegalese hip hop artist and co-founder of the activist collective Y’en a Marre, Malal, aka Fou Malade. He is a major voice in Senegal's social and political landscape. Fou Malade shares his journey from musical influences and lyricism to organizing protests and grassroots mobilization through music. This includes his role in the Y’en a Marre movement and his arrest in the Congo in 2015.

Over the next couple of weeks, we will also be posting two bonus episodes, a podcast, and a mixtape created by students in the Hip Hop & Social Change in Africa class. Additional student mixtapes & podcasts can be found on hiphopafrican.com. This year, gender and the African diaspora were major themes in the projects.

The mixtape The Sound of the Diaspora: Identity and Resistance in African Hip Hop, features the following songs

• “Becky” by Amine (Eritrea and Ethiopia)
• “Hello Africa” by Blitz The Ambassador (Ghana)
• “Never Fight an African” by Styles P (South Africa and Jamaica)
• “Sue Me” by Wale (Nigeria)

In the podcast Unapologetic: African Women in Hip-Hop, two student hosts discuss the power behind the works of several artists, including Ghana’s Eno Barony, South Africa’s Gigi Lamayne, Uganda’s Keko, and Nigeria’s Reespect. The hosts like how these women aren’t waiting for permission to speak, but are taking the mic and making space for themselves.

Again, the podcast will continue to post interviews and conversations around hip hop in Africa and the African world. The goal is to return to the monthly format, with shorter episodes, less than 20 minutes. This is more sustainable. On our website, we will continue to feature additional content and press releases, including information on hip hop events, releases, and news.

Look, I am in no physical condition to listen to wack shit

The episode opens with the track "Iller Than" and ends with the track "Job Not Finished", both from the new EP. In the episode, ZuluMecca discusses her entry into Hip Hop and some of her influences. She reflects on the balance artists must make between staying true to themselves and servicing the industry. She also talks about having a successful acting career and the relationships between her music and acting skills and interests.

ZuluMecca also talks about her spiritual journey and how that has impacted her career. During COVID-19, ZuluMecca reflects on her creative journey and taking the time to work on her writing and incorporating spirituality into her music. ZuluMecca became an ordained spiritual healer, using this background to inform her hip-hop and bring spirituality to her music.

I gave you prophesy, showed you the God in me I gave you knowledge, gave you Garden routes I gave Harlem Streets, I gave you Carter III, God MC I gave you Vaudeville, all the skill in my discography

ZuluMecca on Social Media

In this episode, I break down the road to breakdancing at the 2024 Paris Olympics. I also have a solo debate about the topic of appropriation, referencing Ada Enechi's 2023 article: Are Black People Being Pushed out of Hip Hop?

I also discuss the online hubbub about South African artist Tyla's racial identification, referencing Marti Bowser's article in Blavity.

There are also a few milestones to recognize.

30 years ago...In Ghana, Reggie Rockstone & others were starting the Hiplife movement. In Senegal, Positive Black Soul Recorded their 1st  track "Boul Faale" ("Don't worry") in which they denounced the corruption of the local political system, and the groundbreaking group Daara J is formed. 20 years ago... K'naan released his 1st studio album, My Life Is a Movie. In Nigeria: Mode9 released his 1st album, Malcolm X. In Tanzania, X Plastaz released their first and only album Masai Hip Hop, which put Tanzanian hip hop on the map.

Breeze Yoko is an internationally known South African graffiti artist. Breeze Yoko grew up in Cape Town, in Gugulethu and Nyanga East. He is known for his vibrant and thought-provoking street art, and for bringing a unique perspective to the urban art scene. His work often showcases a blend of cultural influences and social commentary, sparking conversations and challenging perceptions. With a bold and fearless approach to art, Breeze Yoko's creations have made a lasting impact on the streets of South Africa and beyond, inspiring others to see the world through a different lens.

Breeze Yoko on the graffiti scene in South Africa post-apartheid...

The domination of walls became very, very, very white at some stage, you know, and I think that also influenced what I wanted to reflect on the walls, I thought shit, you know, put on more us on the wall. We're in Africa after all. And slowly that gave birth to what is now slowly becoming a uniquely South African style. There’s crews in Joburg as well, who are adding Ndebele elements into their graffiti. You know, were were starting to learn how to borrow from our cultures in order to develop what we had seen somewhere else. And so, so yeah, the scene grew from that.

Breeze Yoko's work often addresses topics such as inequality, poverty, and the struggles of marginalized communities. One of the remarkable aspects of Breeze Yoko's art is his ability to engage with the local community and involve them in the creation process. He often collaborates with residents, youth groups, and schools to create murals that resonate with the area's history and context. This approach not only beautifies the surroundings but also empowers the community to take ownership of the art and the messages it conveys. His dedication to using art as a platform for change and empowerment sets him apart as a talented and socially conscious artist in the street art scene in South Africa.

Breeze Yoko on the dilemma artists sometimes face when offered money for work that doesn't feed their spirit or takes them away from their goals ...

... that "gotta eat" has fucked us over. As a nation. As a generation. As a race. That "gotta eat" shit. That "gotta get the bag shit"... awe man, we're dying. And our creativity is dying from that as well

Breeze Yoko on social media

• Twitter
• Instagram

There are also upcoming Hip-Hop events happening in Accra, Johannesburg, Jinja/Kampala, Brussels, and Brooklyn.

Find information on events and albums on our “Announcements“ page

A special thanks to Astrid for joining us and engaging in this great conversation! She is out on all platforms as Mafogang, please feel free to check her out!

SixSaidIt is a multifaceted artist who seamlessly flows across the borders between hip-hop’s hottest subgenres to create a sound that is uniquely her own. In this wide-ranging conversation, I had the opportunity to speak to Six about the cultural influences that compelled her to rap, her experiences navigating the music industry as an artist who refuses to be put in a box, her songwriting process, and more. Along the way, you’ll hear clips from her two singles “GOAT” and “Bite Size,” as well as her newest release “Japa 2 Japan” which is available now.

For more on SixSaidIt, you can follow her on Instagram, TikTok, and X @sixsaidit and stream her music on Apple Music, Soundcloud, Spotify, and YouTube. Want to learn more? Check out our previous article “Representing The Black Atlantic World: SixSaidIt” on the Hip Hop African blog now.

Special thank you to Six for being part of this episode.

Emile YX? Online

Emile YX?'s book Reconnect the String: the African Origins of Hip Hop Culture & It's Healing Power

She has decades of experience in the U.S. and throughout Africa. She is one of the most well-traveled and experienced hip-hop artists out there and her work has earned her recognition and respect in hip-hop communities around the world.

We met up at the King Fahd Hotel in Dakar, Senegal this past December to talk about her work and to get her thoughts on hip-hop culture globally and the implications of changes in the industry for hip-hop artists. She talks about the idea of “conscious capitalism" and artists balancing art, business, and social impact.

You can make money and make social impact at the same time… I want more artists to know that and understand that.

She also talks about the relationships between hip-hop artists in the Diaspora and hip-hop artists in Africa and offers advice for both. As an artist and activist dedicated to promoting the positive impact of hip-hop and mindfulness, she is recognized for her innovative work and contributions to hip-hop culture. She inspires and engages audiences through her art, education, and social entrepreneurship. Toni Blackman has left an indelible mark on the world of music and cultural diplomacy.

Music and art play a functional role in the lives of people of African descent.

You can find Toni on all major social media platforms, including Instagram and Twitter as @ToniBlackman, and her website at ToniBlackman.com.

Beat by Modenine

Apple Music is celebrating the 50th anniversary of hip-hop with the “Hip Hop DNA” series. One episode is focused on South Africa. The Hip Hop DNA series shows the diversity of hip-hop sounds, histories, and communities worldwide through radio episodes, playlists, and album selections. This episode on South Africa spotlights the country’s hip-hop scene. It dives into the roots of hip hop in South Africa, looking at the early days in the 1980s and 1990s when legendary Cape Town groups like Prophets of Da City and Black Noise gained prominence. It also mentions groups like Skwatta Kamp and Teargas that achieved radio success in the 2000s and early 2010s. Also covered are the more recent hip hop stars – AKA, KO, and Cassper Nyovest – and a new generation of “kwasi-trap” rappers, such as Bravo Le Roux.

The South African public television network

SABC – released a series of documentaries to celebrate hip hop’s 50th anniversary internationally and 40 years in SA. The documentaries were shown on Sundays and ran from November 12th – 26th, with a special broadcast of this year’s Back to the City music festival. The first documentary, directed by SPeeKa, was titled “Slaghuis Joint Elements” and told the story of one of the country’s most impactful hip-hop movements, Slaghuis. The next documentary, “Ladies First Women in SA Hip Hop” looked at the gendered dynamics of rap in SA and how women have both shaped and been affected by the music. The final documentary, “Champion’s League,” looked at SA’s battle rap scene and focused on issues of freedom of speech and how youth culture has influenced the art form.

Move Afrika

Kendrick Lamar has teamed up with the philanthropic organization Global Citizen on an effort to establish a music touring circuit across the continent. A kickoff event for the “Move Afrika” tour will take place in Kigali, Rwanda at BK Arena on Dec. 6, with Lamar as headliner performing alongside other artists from Tanzania and Rwanda. Lamar is also working with his creative partner Dave Free and his company, pg Lang, on the tour, which has agreed to curate annual shows across the continent for the next five years as part of the initiative. Global Citizen focuses on eradicating poverty, so the Move Afrika project comes with a focus on job creation and attracting other of the world’s greatest artists to the continent. You can get tickets for the December show in Rwanda at moveafrika.org.

20-23 December | B-Global Indigenous Uganda Hip Hop Summit

THE 21ST ANNUAL CELEBRATION OF THE B-GLOBAL INDIGENOUS UGANDA HIP-HOP SUMMIT will be held in Kampala. This year it will be held December 20-23, and they will be celebrating hip hop's 50th this year. The B-Global Indigenous Uganda Hip Hop Summit is an educational platform that celebrates and encourages indig]]> full 90 1 https://i0.wp.com/hiphopafrican.com/wp-content/uploads/2023/12/Ep-87-excerpt-1.png?fit=1920%2C1080&ssl=1 false no 0:00 No no https://hiphopafrican.com/hhap-89-hip-hop-conferences-new-releases/ Mon, 06 Nov 2023 05:50:59 +0000 https://hiphopafrican.com/?p=25472 Links and information discussed in the episode

A Huis Clos, a play by French rapper Kerry James.

15 November - 3 December at Théâtre du Rond-Point in Paris France

A new play by French rap legend, Kery James and French director and writer Marc Lainé. In À huis clos, Kery James plays Soulaymaan, a lawyer whose brother is murdered by the police. Soulaymaan decides to take justice into his own hands and takes the judge who released his brother's murderer hostage. The play debates ideas around democracy, love, and forgiveness; and two visions of the world collide at the heart of a fascinating political drama.

Events

Golden Hip Hop Anniversary Conference | November 6-7 | Georgia State University in Atlanta

Held during the congressionally recognized Hip-Hop History Month, this conference will take place in Atlanta, GA on November 6- 7, 2023.   The goal of this conference is to celebrate, acknowledge, and promote the importance of Hip-Hop culture in our lives and society. Specifically for this conference, we are interested in highlighting questions around Hip-Hop culture’s inclusion in different regions, southern women emcees and Hip-Hop, Hip-Hop’s future including the role of AI, the continued global expansion of the genre, and numerous other topics. This conference is especially beneficial and relevant in Georgia as Atlanta is now deemed the “Hip-Hop Mecca.” 

Global Conference on Hip Hop Education | November 8-10 | California State University Long Beach

The 2023 Global Conference on Hip Hop Education will expand upon our previous theme, which focused on the foundation of the culture and explore how this culture both migrated out of New York to states like California (i.e. the Golden State), and into popular culture and academia in the late 1970s to mid-1980s. Our conference theme “From the Golden Era to the Golden State,” will guide us as we explore the foundation of this culture, understand what brought about an increase in cultural diffusion, and how lessons learned from the golden era can inform current pedagogies, interventions, research, scholarship and practices.

Hip-Hop Diaspora: Archiving and Celebrating 50 Years of the Culture | November 9-11 | University of Toronto

From Toronto to Havana, to London and Stockholm, we will consider the relationships between hip-hop street culture practices, archiving and preservation. Hip-Hop Diaspora: Archiving and Celebrating 50 Years of the Culture will focus on how global hip-hop voices collective marginalities through decolonial historiographic efforts and forges lasting people-to-people relations that echo economies of Black teaching beyond US borders.

Howard Journal of Communications Special Issue: Exploring the Past, Present and Future of H]]> full 89 1 https://i0.wp.com/hiphopafrican.com/wp-content/uploads/2023/11/Untitled-12.png?fit=1920%2C1080&ssl=1 false no 0:00 No no https://hiphopafrican.com/hhap-88-october-2023-hip-hop-african-news-events-and-updates/ Mon, 09 Oct 2023 05:48:40 +0000 https://hiphopafrican.com/?p=25396 The 2023 WDSF Africa Breaking Championship took place in Rabat, Morocco, May 6-7. 58 Breakers took part in the Championships, which was officiated by nine international judges, including Kaweesi Mark from Uganda and Vee from South Africa. Moroccan b-girl Elmamouny and b-boy Billy become the first athletes to qualify in the Olympics for breaking.

Burna Boy & Khaligraph Jones: Comm]]> full 86 1 https://i0.wp.com/hiphopafrican.com/wp-content/uploads/2023/09/1920-x-1080-2.png?fit=1920%2C1080&ssl=1 false no 0:00 No no https://hiphopafrican.com/hhap-ep-85-police-brutality-in-france-democracy-in-dakar-and-hip-hops-50th/ Tue, 11 Jul 2023 02:46:41 +0000 https://hiphopafrican.com/?p=25071 Events discussed in the episode

August 10 & 11 | Hip-Hop 50: Past, Present & Future | Howard University

Join us for a dynamic fusion of academic discourse and cultural celebration. Engage with renowned scholars, influential artists, and passionate enthusiasts as we explore the multifaceted dimensions of Hip Hop's impact on society, music, fashion, and activism. 

Delve into thought-provoking panel discussions, captivating performances, and interactive workshops. Uncover the intricate narratives that shape the genre's past, present, and future. From breakdancing to lyricism, graffiti to social justice, this conference is a platform for understanding Hip Hop culture like never before. Don't miss out on this exhilarating opportunity at Howard University!

August 11, 2023 | Hip-Hop 50 Live | Bronx, New York

"Co-produced by Live Nation, Mass Appeal and Yankee Stadium, Hip-Hop 50 Live will celebrate the genre's 50th birthday in The Bronx this August."

August 11, 2023 | The Block Party for Hip Hop 50 | Nairobi, Kenya

August 11th 1973 is a historic date in the Hip Hop community & as 2023 marks 50 years of this global cultural phenomenon, tuko na form! On August 11th, UnKut Africa presents The Block Party (Hip Hop 50 Edition).

August 12, 2023 | NMAAHC Hip-Hop Block Party | Washington, DC

"The Hip-Hop Block Party returns to the Smithsonian’s National Museum of African American History and Culture on Saturday, Aug. 12, 2023, celebrating the culture and music that has been originated and shaped by Black America for decades. This year’s celebration will honor 50 years of hip-hop’s artistry, innovation, and global transcendence.   

The 2023 Hip-Hop Block Party will feature multi-generational performances by some of hip-hop’s most influential DJs, artists, and cultural influencers. Attendees will also be able to participate in interactive activities, such as graffiti art, breakdancing and more. There will also be hip-hop-focused tours of NMAAHC’s renowned galleries, revealing the genre’s connection to centuries-old improvisation and social-consciousness traditions."

October 8-14 | Chattanooga Hip Hop Week | Chattanooga, TN

The fourth annual Chattanooga Hip-Hop Summit is a conference that celebrates Chattanooga Hip-Hop culture through an entrepreneurial lens and is primarily a Black-led initiative serving majority Black communities in Chattanooga and the Southeastern United States.

Our aim is to: (1) bring in industry experts to help educate local and regional artists and those in the hip-hop industry, (2) highlight the talents of our local artists, and (3) bring hip-hop to the forefront of our community as a legitimate industry or career path.

October 14-17, 2023 | Freestyle Lab: NYC | New York

Freestyle Lab by WorldStrides is a weekend of workshops and rehearsals with  https://i0.wp.com/hiphopafrican.com/wp-content/uploads/2023/07/IMG_4251.jpg?fit=2560%2C1440&ssl=1 false no 0:00 No no https://hiphopafrican.com/a-conversation-with-m-i-abaga-on-integrity-and-longevity-in-hip-hop/ Thu, 01 Jun 2023 04:04:28 +0000 https://hiphopafrican.com/?p=24964 Understanding the World of HipHop and Afrobeats with legendary Nigerian Hip Hop artist M.I. Abaga

Jude Lemfani Abaga, also known as M.I. Abaga He is a Nigerian rapper, songwriter, and music producer. He was born originally in Jos, Northern Nigeria, and released his debut album in 2008. He was the CEO of the label Chocolate City from 2015 to 2019 and then started his label in 2020 with incredible music. Before getting into the music industry, he studied in the U.S. for a while, then came back to Nigeria and got his music career launched in 2003.

DJ Azuhl started out breakdancing with the legendary Breaking crew Brasse Vannie Kaap (BVK). He’s a co-founder of the Beat Bangaz DJ Academy and Beat Bangaz Radio. He also works with Hip Hop Education South Africa. 

In this interview, DJ Azuhl talks about the early years of Hip-Hop in Cape Town, especially during the years that South Africa was under apartheid rule. DJ Azuhl also shares his perspective on DJing and Hip-Hop culture in South Africa, and the art form of the Hip-Hop DJ. Cape Town’s old-school artists are often heavily involved in mentoring young Hip-Hop heads, and DJ Azuhl talks about the importance of reaching back and giving back to the culture. 

The duo talks about their decision to rap and write in Pidgin English, which they say stems from needing to “express more of self” to reach their own people. For them, rapping and writing in Pidgin English “brought a new sense of freedom and originality”.

Wanlov and M3nsa also discuss their reputations for being rebellious and the need to incorporate humor into their conscious rhymes; and how they sneak “difficult conversations” into their comedic rhyme schemes to reduce resistance to the message that they come to deliver to their people.

“It’s extremely cathartic to be able to turn your problems into laughter”.

Additionally, in responding to student questions, FOKN Bois share with the students their creative process and influences, and the things that keep them going.

FOKN Bois are online on Twitter and Soundcloud @foknbois

Interview in Audio

Interview in Video

The conversation opens up with Keeny Ice sharing his experience of growing up in Aflao, where there was a lack of jobs and opportunities for Keeny Ice. He chose the music route as it was better and offers him an opportunity to use the platform to uplift the voiceless.

The conversation flows into Keeny’s style of rap. Being a versatile rapper, Keeny shares with us the different languages he employs to spread his message. When asked about how he goes about picking the language he uses in his delivery Keeny exclaims, “Birds Speak Bird Language”, which translates to his “need to do music in his language, a language that he’s comfortable in,…in order to represent his people”. He primarily uses Ewe, but sometimes blends English into his music.

“Music is a global language”

Students engage Keeny Ice directly with thoughtful questions, and Keeny Ice replied to students’ questions with authentic, honest answers. For example, when asked: “What part of the music does he enjoy?”, Keeny Ice says, “performance”. He takes his performances seriously. More than just a single-word response, Keeny Ice dives into how he envisions how his performance will appear, which in instances, aids him in the manner by which he constructs his rhymes.

Keeny Ice knows his craft, and opened up and shared with the audience about his life journey and how he overcame his doubts about pursuing his passion. He expresses his love for Hip-Hop and enjoyment of art in general. Additionally, more than just talking about music, Keeny Ice talks about the KICA Foundation; an NGO that he is involved with that encourages teaching and learning of creative arts in schools.

The intro song is "Living Dead" and the outro song is "Made in Aflao"

Keeny Ice is online at:

• SoundCloud: @keenyice
• FB: @KeenyIceGH/
• IG: @keenyice

The episode was produced by Kilimanjaro Studios in Beltsville, MD

Interview in Audio

Interview in Video

Conversations with artists revolve around many topics, including gender, sexuality, race, religion, gender-based violence, mental health, language, etc…

We also discuss the future of Tanzanian Hip-Hop, and about his collaborations and his thought process behind collaborating with the various artists he worked with. Fid Q also touches on how he pays homage to legendary MCs in the pioneering Hip-Hop group Kwanza Unit. He explains his perspective on the differences between the older generation of MCs versus the younger generation.

The discussion continues onto the controversy surrounding languages used in the Tanzanian music industry. This moves the interview to speak on globalization and how it has changed Tanzania to speak English and other languages. Fid Q does mention that it is imperative to be proud of tradition as well, regardless of the choice of language used in an artist’s music. While globalization has caused controversy regarding language, we touch on how music is able to travel beyond borders to reach wider audiences, even mentioning how Fid Q’s music has become international. Fid Q mentions how his music is listened to and his struggle with streaming. The interview ends with questions around Tanzanian Hip-Hop artists being invited to perform in the U.S.

Fid Q is on Twitter & Instagram

Part of the interview was recorded at Kilimanjaro Studios.

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Interview in Video

Sipho also discusses the dynamics within Coloured communities in South Africa, and the relationships between Black and Coloured South Africans. He provides history of the origins of Coloured South Africans among the Khoi & San (first nation) communities, and their forming close-knit communities. The hip hop that came out of those communities, largely based in Cape Town, addressed the social ills happening in the Coloured townships. In looking at the divisions between Black and Coloured South Africans, we compare it to the relationships between African Americans and African immigrants in the U.S.

There are not many discussions around Black & Coloured relations in South African hip hop, so it was important to get a perspective on the history of those relationships.

Intro song: "Yesterday" with Zakwe, Zuluboy, & Zola

Dr. Sipho Sithole (@DrSiphoSithole) is a Research Fellow at the Johannesburg Institute for Advanced Study (University of Johannesburg) and holds a PhD in Anthropology, a B.Sc in Political Science and International Relations, and an M. Sc in Industrial Relations and Personnel Management. Dr. Sithole’s research revolves around language identity, culture, migration, and integration. Sithole has a long career in hip hop & is the founder and owner of an important and multi-award-winning music production house, Native Rhythms Productions, & Native Rhythms Records.

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"You must never romanticize poverty"

Sithole has is credited for helping mainstream hip-hop in South Africa when he signed Skwatta Kamp in 2003, the first group to achieve platinum sales. He held what he says is the 1st African hip hop summit in 2005 He is also a producer, winning awards for his production work on Thandiswa Mazwai’s debut album, Zabalaza (2004).

In this interview, he talks about his involvement in the growing hip hop scene in South Africa in the early 2000s. It was a time when kwaito's mainstream popularity was declining, and Sipho Sithole talks about the decision to begin working with hip hop artists. He also talks about the role of the township in producing and shaping the South African hip hop scene, as well as social consciousness.

"In South Africa, you may be the best rapper & you may have the best rap album, but if your song cannot be understood and played in the village, similar to the way it would be played in the township or in the city, it's just a good hood hip hop song."

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In part 2 of this interview, we delve into a discussion of race and identity in South African hip hop, and the spaces within hip hop that Black and Coloured South Africans occupy.

Sampa the Great also talks about her experiences with racism and self-identification while studying in the US in the early 2010s, and later after she moved to Australia. She also talks about the differences between racism in the US and racism in Australia. She delves into the differences in the social unity of Black people in the US and in Australia, where in the US there is a division between Black immigrants and multi-generation-US-born Blacks and in Australia there is an understanding of the importance of Black unity in the face of living in societies that are held up by institutional racism.

As an artist, Sampa the Great released her first mixtape in 2015 while living in Australia. Several singles, EPs, and mixtapes later, she released her debut solo album, The Return, in 2019. The album peaked at No. 12 on the Australian music charts. She went on to win Best Hip Hop Release at the 2019 and 2020 ARIA Music Awards, Australia’s top music award. In 2020, she also won the ARIA award for Best Female Artist and Best Independent Release.

Sampa the Great has been very outspoken about racism in Australia through her music and performances. She has also been outspoken about the role of women in hip hop and the importance of representation as an African artist on an international stage.

Sampa the Great in Instagram and Twitter as @Sampa_The_Great

This episode is the last of the special series that we did in partnership with Words Beats & Life. The series was recorded and live-streamed with students in the Hip Hop in Africa class at Howard University and George Washington University.

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Xidus Pain is also a Director at Beat This, a community-based organization that works with young people in London, and a manager with Generation HipHop UK, a global empowerment and development program. He connected with The Hip Hop Africa via Hip Hop Loves, a hip-hop NGO that works with hip-hop artists and activists globally.

In this episode, we have a great conversation with Xidus Pain about the history and growth of hip hop in England. He talks about the development of the various hip hop elements in the UK, as well as the drill and grime music scene. Grime is a genre created by Black artists in England that comes out of UK hip hop culture.

Xidus Pain also talks about the influence of religion on his music and his decision to not use profanity in his lyrics, his lyric writing process, and what influences him. He also talks about the impact of Brexit on the hip hop scene in the UK.

Xidus Pain is on Instagram and Twitter

This episode is part of the special series that we did in partnership with Words Beats & Life. The series was recorded and live-streamed with students in the Hip Hop in Africa class at Howard University and George Washington University.

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A major figure in the Kenyan hip hop scene, he was recently seen on the Nairobi-based What’s Good Africa?, the only show on P. Diddy’s RevoltTV to focus on hip hop culture in Africa and one of the only shows airing on a US network to focus on hip hop culture in Africa.

In this conversation, Buddha Blaze talks a lot about the changes he's seen in the industry over the years and some of the skills artists need to navigate the industry today. He also talks about his involvement in the growth of the cultural scene in Nairobi, which has grown to become the largest music, film, and contemporary art scene in East Africa.

Buddha Blaze is Twitter @ItsBuddhaBlaze and Instagram @buddhablazeworld

Intro and outro beat by Nigerian producer @teckzilla108

This episode is part of the special series that we did in partnership with Words Beats & Life. The series was recorded and live streamed with students in the Hip Hop in Africa class at Howard University and George Washington University.

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We also talk about being Ewe and why language and identity are important in his work. Coming from Ghana's Volta region, he's one of the first hip-hop artists to begin rapping in Ewe.

Edem's music is a mix of hip hop, hiplife, and dancehall. He released his 1st album, Volta Regime in 2009, followed by 2 more albums and the recent EP Mood Swings released last year. Throughout his career he's collaborated with several international artists and has won and/or been nominated for several music awards, including the Black Canadian Awards, the Ghana Music Awards, and the 4syte (for-sight) TV Music Video Awards.

Edem is on Twitter at @iamedem

and Instagram at @iamedemgh

and YouTube at @iamEdem.

This episode is part of the special series that we did in partnership with Words Beats & Life. The series was recorded and live streamed with students in the Hip Hop in Africa class at Howard University and George Washington University.

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Video of the episode

Yugen Blakrok was born in the Eastern Cape and later moved to Johannesburg, the heart of South Africa’s music industry. She released her 1st album Return of the Astro-Goth in 2013 and her second album, Anima Mysterium, which contains a cameo by Kool Keith in 2019. In 2018, she featured on the track “Opps” with Vince Staples & Kendrick Lamar on the Black Panther soundtrack.

In this interview, she engages in thought-provoking dialogue with our students who really connected with her music, which transcends a lot of boundaries. Yugen's music does not just belong to South Africa but has universal messages that connect on human levels. Additionally, she spoke to us about being a socially conscious artist without the need to declare it, but being socially conscious by being it, not necessarily saying it.

The conversation is moderated by Mikal Amin of Words Beats & Life. We're joined at the very end by Phiwokuhle Mnyandu, who teaches Zulu at Howard University.

Yugen Blakrok is online at

Twitter @YugenBlakrok

Instagram @YugenBlakrok

Bandcamp yugenblakrok.bandcamp.com

Interview in Audio

Video of the episode

In this interview, she talks to the students about her music and the importance of bringing her culture into hip hop. She also talks about the use of Xhosa in the film Black Panther! She also talks about hip hop culture in South Africa, and the linguistic diversity in the various hip hop scenes across South Africa, as well as the impact of the industry on artistic creativity.

As one of the most well-known Xhosa rappers in South Africa, she takes the messages in her music very seriously. She talks about her views on campaigns around violence against women, in which she speaks to women and offers some very real ideas on keeping women safe, and alive. We also re-visit a discussion on feminism that we had during our first interview. She expresses her criticism of these movements and discusses the role men play in the fight for gender equality.

Kanyi Mavi also addresses national and global politics, and how in her music, her goal is to voice what is going on in the community, with her people. She also looks at the history of South Africa since the end of apartheid and reflects on South Africa's relationship with the rest of Africa.

Connect with Kanyi Mavi's work at kanyimavi.co.za. Kanyi Mavi is on Twitter and Instagram as @Kanyi_Mavi.

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Video of the episode

Sugar is online at

The video version of the interview is on our YouTube Channel

In this interview, we talked about his experience in the U.S., especially in the early 2000s when there were several Ghanaian MCs in the US at the same time. We talked about his experience in the industry and his work with Nomadic Wax and his past appearances at the Trinity International Hip Hop Festival. We also spoke about the importance of language and incorporating different languages in his lyrics. We also touched out the influence of African MCs in US hip hop.

MOA is on IG @the.official.moa

The video version of this and other episodes are on our YouTube Channel

A part of the “born free” generation, Gigi Lamayne grew up in Johannesburg, South Africa after the fall of apartheid. She graduated from Wits University with a Bachelor of Arts Degree in Media and Anthropology in the midst of the #FeesMustFall movement. Rapping since high school, she released the powerful track “Fees Will Fall” just months after graduation.

Considered one of South Africa’s best lyricists, her music addresses topics like Black pride, gender-based violence, feminism, sexism, and the shadiness within the music industry. We first interviewed Gigi Lamayne in 2017. She has continued to find mainstream success while addressing serious topics in some of her songs.

In the conversation, she talks about her career, her views on the resilience and activism of South African women, race in South Africa, the relationships between women in the industry, and the stigmas and views around mental health in Africa.

The video version of this and other episodes are on our YouTube Channel

Gigi Lamayne and her work are all online at the following links:

• https://www.gigilamayne.co.za
• Facebook
• Instagram
• Twitter
• YouTube
• Itunes
• Spotify

The show was on podcasting platforms before most hip hop artists in Africa had a solid social media presence, and before podcasting became part of hip hop culture. While today there are streaming services, like Planet Earth Planet Rap (PEPR) Radio, there is still a void in terms of podcasts one can download to hear what’s happening with hip hop across Africa. In this episode I talk to Sensai T8, one of the founders of HIPHOCALYPSE Fort-Knights, about the show’s start and its evolution into a podcast. We discuss some of the artists that appeared on the show’s playlist, and the show’s legacy in documenting African hip hop during that period in time.

Sensai T8 can be found on Instagram at @Sensaitate

Dr. Nikoi is an assistant professor of Global Media & Digital Studies at The College of Wooster in Ohio. He studies African popular culture, and has a special focus on how popular culture reinforces and challenges existing ideas around race, gender, and sexuality. His work is influenced by his background in graphic design and documentary photography. Currently, his research examines development discourse in Ghanaian popular culture. 

Check out his latest article, "Hiplife Music in Ghana: Postcolonial Performances of the Good Life." in the International Journal of Communication 14 (2020): 19.

He also hosts the podcast Our Culture. Season 1 of the podcast includes reflections on a range of interesting topics.

In this conversation we discuss the social relevance of her music. Well versed in the politics of intersectionality, Dope Saint Jude is very intentional in what she does. In her music she weaves intersecting identities into lyrics that challenge listeners to reconsider their ideas about who they think Black, Coloured, queer South African hip hop women should be. 

You can find Dope Saint Jude's music on streaming platforms. She is also online at https://dopesaintjude.com/ and Twitter, Instagram, and YouTube.

The video version of this episode is on our YouTube channel

Over the years, her music has dealt with a range of topics. In “J’déprim” (I’m Depressed) she discusses the impacts of depression, in "Il est temps” (It’s Time) she talks about Pan Africanism and Black liberation, and in the song “Qui” (Who?) she samples Malcolm X’s speech and talks about self hatred and Black peoples. 

Moonaya also spoke a lot about European, American, and even Chinese imperialism in Africa. She spoke about the exploitation of Africa’s resources, European hands in African conflicts, and the continued colonial relationship between France and francophone Africa. She also spoke about the struggles being faced by Black people all over the world. 

"We are the richest continent, but we are the poorest people, and this is not normal!"

In this interview we also discussed the hip hop scene in Senegal. Senegal has a few women’s hip hop collectives, which have served as a resource for artists willing to work to build their careers. Moonaya talked about her experiences with these collectives as well as how helpful they have been to other artists. We also discussed the influences on her work, especially the growth of her own social and political consciousness. 

We also discussed the role of Western researchers in Senegal. Senegal has one of the most researched hip hop scenes, outside of the United States. Most of these researchers are White, and come from Europe and the US. A lot of the research that is produced on Senegalese hip hop is problematic. There are some American researchers, like Catherine Appert and Colleen Neff, who have done extensive work on hip-hop in Senegal, and have also pointed out the problematic ways that other Western researchers have written about hip hop in Senegal.

Often because of language, Black scholars often choose to go to anglophone countries, and few do work in Senegal. Moonaya and I talked about the fact that more Black scholars need to go to Senegal, and we discussed some of the ways to overcome the language barriers: Hire a translator! While there is tons of scholarship on Senegalese hip hop, there is a need for scholarship on hip hop’s Pan African connections in Senegal. On how through hip hop culture, the Senegalese are in conversation with the African Diaspora. 

To hear more of Moonaya’s music, she is on social media in all of the usual places:

In this conversation with seven of the artists, we talk about the evolution of the project and how the project reflects hip hop and popular culture in Tanzania. We also discussed the message the project sends to the music industry in Tanzania, which has tended to only promote one style of music.

We talked about the collaboration between English and Swahili performing artists, the lack of East Africa representation in recent projects like Black Panther and the Lion King, and how this project shows East Africa's engagement in Pan African projects as well.

The seven artists interviewed in this episode are Mike Tareto/IG: @miketareto Joe Legendary/IG: @joelegendary Shamsa/IG: @vikombeviwilivyakahawa Fete Jen/IG: fete_jen Ronny aka Ty Charls/IG: @ronnycharlz Mex Cortez/IG: mex.tz FG Tony/IG: @fg__tony

The episode begins with "Tougher" by Lo SayAloha Ski and Mex Cortez and "Wale Wale" by Zenji Boy. The episode ends with "No Time For Trash" by Mex Cortez.

The video version of this episode can be found on our YouTube Channel

The mixtape can currently be streamed on the following platforms:

• Soundcloud: The Lounge Tanzania Mixtape Vol. 1
• Audiomack: The Lounge Tanzania Mixtape Vol. 1
• YouTube: The Lounge Tanzania Mixtape Vol. 1

The following featured artists on the Mixtape are ready and available for interviews, collaborations, and performances:

He addresses a lot of social issues, including poverty, ethnic tensions, corruption, and the legalization of marijuana. He is also one of the few MCs to seriously and consistently address the issues around refugees. Kenya is home to a lot of refugees from surrounding conflicts, including people fleeing violence in the Congo, Sudan and Somalia.

On the album Refugeenius he collaborated with 20 Refugees from Kakuma & Dadaab Refugee camps in Kenya.

Octopizzo is the founder of the youth group Y.G.B. (Young, Gifted, and Black), which is a collective of MCs, poets, graffiti artists, graphic artists, and dancers. He founded his not-for-profit Octopizzo Foundation in 2015 and through the Foundation, he tries to use culture and sports to reach the youth.

More recently he has joined other activists addressing police brutality in Kenya, and drawing parallels between police violence in Kenya & the US. Recently he was involved in protests in front of the US embassy in Nairobi, holding up a sign of people killed and injured by the police. Recently, there have ben reports of over a dozen deaths at the hands of the Kenyan police supposedly trying to enforce a dusk to dawn curfew put in place to slow  the spread of Corona.

The songs featured in the episode are "Nu Afrika" in the opening and "Another Day" in the closing.

Octopizzo can be found at: http://octopizzo.com/ | @OCTOPIZZO on Twitter & Instagram

Around the time of the 2009 elections in Gabon, Lord Ekomy Ndong released the singles “300”, “809” and “Engongol” (What a Shame).  The songs were critical of both corruption in Africa, and of France’s controversial presence in Africa.

In 2011, with his 11th studio album, Ibogaine, he once again took shots at France. In the song “Questoins Noires” (Black Questions), he talks directly to French President Nicholas Sarkozy about France’s military presence in Africa. His 2017 album, La Théorie Des Cordes (A Theory of Cords), he reflects on the global protests that took place in the Gabonese diaspora around the 2016 election in the song “Sur mon Drapeau” (By My Flag).

In this interview, we spoke about his career and hip-hop culture in Gabon. We also spoke about France’s occupation of Africa, and the implications of that occupation. We also talked about his outspokenness, and the price paid by musicians who speak out against corruption and politics. 

This past May, he released the album Petit Mutant Dans son Coin which can be found on online streaming platforms. 

Facebook: @LORDEKOMYNDONG

Instagram/Twitter/SoundCloud: @Ekomy

The video of this interview can be found on The Hip Hop African YouTube channel.

This is our second hip-hop palaver, with hip-hop creatives from around the continent. This time we continued the reflection on the COVID19 from the perspective of parenting. We also discussed hip-hop collaborations. Some that we had been a part of, and some that we are currently working on.

The discussion included members of the Global Hip Hop Exchange, all of whom have been involved in hip hop culture in their respective countries for several years:

1. Hustlajay Mau Mau/@Jay_maumau| Hustlajay MauMau is a socially conscious MC from Mombasa, Kenya. He raps mostly in Swahili, and has made a name for himself by not only rapping about social issues, but also getting involved in social and political issues in Kenya. He is currently based in Austria. The opening and closing song, Sign of Hope, is one of his new releases. | YouTube Channel
2. Fete Jen/@Fete_Jen | hip hop organizer & founder of The Lounge (open mic event) and producer of the upcoming mixtape | from the U.S., previously based in Tanzania, currently based in Pretoria. |YouTube Channel
3. Mikko of Planet Earth Planet Rap/@PEPRRadio | Mikko is one of the founders of Planet Earth Planet Rap, which is a segment on Chuck D's #AndYouDontStop radio show. They play, talk about and celebrate international Hip-Hop from all continents. | PEPR can be accessed 24/7 at https://rapstation.com
4. Msia/@Kibona | HHA host & hip hop professor, photographer, & author | from Tanzania, based in the Washington, DC area | Website: https://msiakibonaclark.com

In this interview we spoke about his life leading up to his 1999 performance, and the work he has done since then, including his recent album Forward Future. He recently traveled to Ghana, and is planning to expand his collaborations in Africa. As an artist whose perspective is grounded in hip hop as a Pan African expression, as a platform for Pan African dialogue, we wanted to expand the conversations we typically have on this podcast. There is definitely a desire to highlight and support further connections between African and Diaspora artists.

For more information about his music, please check out his link tree. Jahi is also on Instagram and Twitter

In the first discussion, or palaver, several hip hop creatives from around the continent came together to talk about the impacts of the Corona virus on our lives, personally and creatively. The discussion also centered on income security for artists, how artists are finding ways to get through these difficult times, and how folks are feeding their creativity.

The discussion included members of the GHHE, all of whom have been involved in hip hop culture in their respective countries for several years. The roster of this, the first of what will hopefully be several, palaver is:

In this interview she talks about hip hop under the Arab Spring. While many talk about the role of artists in the Arab Spring, Medusa talks about the impacts of the Arab Spring on hip hop culture. She says the Arab Spring encouraged youth engagement, and that post revolution, many youth have moved into more commercial rap sounds. 

She has since moved to France, where she talks about her experience in the Parisian hip hop scene and her work with a new team of creatives. We met up with Medusa during a 2019 self-funded trip to the U.S. Medusa made to promote her work and establish contacts. 

During her trip, she visited the class of American University professor and hip hop scholar, Dr. Kendra Salois. Our interview took place after her guest lecture in Dr. Salois’ class.

Medusa is on Twitter, YouTube, Instagram, BandCamp, and SoundCloud.

Roma Mkatoliki has always been known for producing music that addresses social and political issues, beginning with his first single "Tanzania", which he released in 2007. The song was highlighted in the 2012 scholarly article Hip Hop as Social Commentary in Accra and Dar es Salaam.

In April 2017, Roma and some of his colleagues disappeared for 3 days. This incident has put Roma at direct odds with the government. More recently, in November 2019, Roma released the single “Anaitwa Roma”, which was a direct criticism of government policies.

Roma has been a source of division in Tanzania's hip hop community. There have been a lot of debates about who Roma is, and why he continues to be so vocal. His actions have shined a bright light on other artists who have also identified as being socially conscious. Many have chosen to criticize, or distance themselves from Roma. Some of this may be to avoid scrutiny over why they themselves have not been more vocal or active. Some artists may disagree with Roma's views, and have criticized his methods and intentions. And, some artists may support Roma, but may not have been publicly vocal in that support.

In this interview, however, it was clear that Roma Mkatoliki believes that he is doing the right thing. Our decision to interview Roma is not an endorsement of any one side. And, we are not able independently verify all of the information Roma provides during this interview. But, we feel it is important to have these conversations on diverse platforms. As a hip hop artists who is engaged in social and political commentary, it is important that Roma's voice be heard on this platform.

The interview is done in both Swahili and English. I have attempted to summarize Roma’s responses in English, though he switches between Swahili and English in his responses.

The song that opens and closes the episode is Mkombozi, which was released in January 2020. This link takes you to the version of the song with the English subtitles.

It was important that all of the artists and songs in this episode be submitted and voted on by serious hip hop heads, people who are active in hip hop communities. So, thank you to the hip hop heads and experts who contributed to making this mixtape possible:

Links to the artists in the mixtape are in the track list. Videos for all of 22 songs can also be found on an accompanying video playlist on Youtube.

Mikko talks about the emergence of Planet Earth Planet Rap (PEPR) and their work of curating hip hop music from across the globe. He also talks about his work in South Africa with Bush Radio, a legendary hip hop station out of Cape Town, and PEPR’s current relationship with Chuck D’s And You Don’t Stop radio network.

We talk about the power of NGO funding in African hip hop. Specifically, the role NGOs play in the direction and production of socially conscious hip hop music in Africa. This led to candid talk about race and privilege, and how Mikko, as a Finish hip hop head, has navigated his position to make a space available for hip hop from around to be heard, without artists having to deal with payola and the egos of radio & TV station tastemakers.

The intro and outro song is “Quu Saa” by South African hip hop group, Driemanskap. The group was part of the “spaza” rap scene and perform mostly in isiXhosa: https://driemanskap.bandcamp.com

Elom 20ce also talks about his “Arctivism" project, and the importance of activism and hip hop. He talks about being introduced to the works of George Jackson, Frantz Fanon, and Cheikh Anta Diop, and others through hip hop. Through Arctivism, he hosts programs and workshops that facilitate dialogues around freedom of speech, development, and Pan Africanism. 

Elom 20ce is online at

• Website: http://elom20ce.com
• Twitter: https://twitter.com/Elom20ce
• Bandcamp: https://elom20ce.bandcamp.com
• YouTube: https://www.youtube.com/channel/UC-Mpn9hRpr8mUuNJ7adxMGg
• Instagram: https://www.instagram.com/elom20ce

In this interview we spoke about growing up rooted in both Ethiopian and African American communities, and representations of Ethiopians in the entertainment industry in America. She also discuses her decision to go vegan, and choices she has made regarding her health and diet. She also discusses her experiences in the music industry, and the relations between women MCs in the industry.

The episode starts with her single “Blah Blah”, and ends with her song “Grime". Lola Monroe can be found on all social media & streaming platforms.

Instagram: @Iam_QueenRoe Soundcloud: Iam_QueenRoe Twitter: Thee_LoLaMonroe

Shad also talks about hosting Hip Hop Evolution, the artists he’s interviewed, and some of the insight into hip hop culture that he gained in working on that project. He also talks about his approach to music, as well as the influences of his background and experiences in his music.

The intro song in the podcast is "FamJam”, the closing songs are “Magic” and “The Fool Part 2 from his most recent album, A Short Story About A War.

Phlow also talks about the struggles with longevity for women in the Nigerian hip hop scene, as well as the term “femcee” and the evolution of attitudes towards the term among women artists. In the conversation Phlow discusses the media’s focus on her ascetics, especially the reference to her as a “babe that can rap” by some media outlets. She discusses the pressure within the music industry that would like her to highlight her looks as a way to market her music. Phlow also points out that it is not only within hip hop that she experiences this type of objectification. She discusses being referred to as a “babe”, or a “beauty” in both hip hop circles and in her 9 to 5 job.

Phlow also tells us about her writing process and the inspirations for her material. Phlow discusses being a member of Str8buttah and the plans she has for her music. She is specifically interested in the question of representation, and allowing her music to speak to who she is. She speaks on incorporating different music styles, as well as the possibility of performing in other languages.

Phlow Online

• https://twitter.com/phlowetry
• https://www.facebook.com/Phlowetry/
• https://www.instagram.com/phlowetry
• /https://soundcloud.com/phlowetry
• https://str8buttah.bandcamp.com

Ya Minko spoke to us days before his presentation at the Apple Carnegie store in downtown Washington, DC. Where he performed his song “Tired” during a workshop on hip hop lyricism. 

The book was edited by Adam Haupt, Quentin Williams, H Samy Alim & Emile Jansen. The #IntheKeyofB EP was produced by Adam and Bradley and features Cape Flats MCs and vocalists, such as Nadine Matthews-Nunes, Naftali Solomons, Eavesdrop, Shameema Williams (ex Godessa), Natasha C. Tafari, Emile YX? (Black Noise, Heal the Hood), Amy Brown, Imie Vannie Delf, Dirtypro Agape Tadana, Stefan Benting, Razeen Haupt, Nathan Lodewyk, Zama Jimba and Jerome Rex.

In this episode, Bradley talks about his work with BVK and the involvement of the group in politics. BVK members were from the Cape Flats area in Cape Town,  and rapped in Kaaps, a Cape Flats dialect of Afrikaans. They released their first album in the late-1990s. The conversation in this episode looks at hip hop under apartheid, and the influence of apartheid of the development of hip hop culture in South Africa. We also discuss South Africa's history of protest and activism. Adam and Bradley discuss the failures of the post-apartheid government to live up to the promises of the movement, and their adoption of a neoliberal economic system, which “reinforced the racialized class divide”. Within this, Adam and Bradley say hip hop became, and still is, a vehicle to expose youth to progressive ideas The topics In the Key of B EP covers include  gang violence, toxic masculinity, the failures of the state, and gentrification Adam and Bradley also discuss bringing the various contributors together for this project, and their use of social media, especially WhatsApp, to communicate. In this project WhatsApp was a space for them to engage with social and political issues happening in South Africa, which would in turn, influence their work on the project. According to Adam, “It was also a way of demystifying the academic writing about the issues”.

The opening song is "Persevere" by Monishia Schoeman, Emile Jansen, Adam Haupt with additional vocals by Razeen Haupt, and the closing song is "Trickle Down" by Emile Jansen, Stefan Benting, Agape Dirtypro Tadana, Shameema Williams, and Adam Haupt. Both are on the album In The Key Of B

The book was edited by Adam Haupt, Quentin Williams, H Samy Alim & Emile Jansen. The #IntheKeyofB EP was produced by Adam and Bradley and features Cape Flats MCs and vocalists, such as Nadine Matthews-Nunes, Naftali Solomons, Eavesdrop, Shameema Williams (ex Godessa), Natasha C. Tafari, Emile YX? (Black Noise, Heal the Hood), Amy Brown, Imie Vannie Delf, Dirtypro Agape Tadana, Stefan Benting, Razeen Haupt, Nathan Lodewyk, Zama Jimba and Jerome Rex.

In this episode, Bradley talks about his work with BVK and the involvement of the group in politics. BVK members were from the Cape Flats area in Cape Town,  and rapped in Kaaps, a Cape Flats dialect of Afrikaans. They released their first album in the late-1990s. The conversation in this episode looks at hip hop under apartheid, and the influence of apartheid of the development of hip hop culture in South Africa. We also discuss South Africa's history of protest and activism. Adam and Bradley discuss the failures of the post-apartheid government to live up to the promises of the movement, and their adoption of a neoliberal economic system, which “reinforced the racialized class divide”. Within this, Adam and Bradley say hip hop became, and still is, a vehicle to expose youth to progressive ideas The topics In the Key of B EP covers include  gang violence, toxic masculinity, the failures of the state, and gentrification Adam and Bradley also discuss bringing the various contributors together for this project, and their use of social media, especially WhatsApp, to communicate. In this project WhatsApp was a space for them to engage with social and political issues happening in South Africa, which would in turn, influence their work on the project. According to Adam, “It was also a way of demystifying the academic writing about the issues”.

Teck-Zilla has a distinct style. Listen to his beats on his BandCamp page and you will hear his diverse musical influences, from soul and R&B, to Afrobeat, to hip hop. After DJing a breakdance battle in Nigeria, Teck-Zilla produced an entire mixtape of break beats, B-Boy Zilla (A B-Boy Breaks EP) in 2017. In the EP Teck-Zilla turns Afropop tracks into break beats! His BandCamp page also includes remixes and tributes dedicated to artists like Michael Jackson & the Jackson 5, and Nigerian music legends Fela Kuti and Sade. In addition to beats and remix EPs, Teck-Zilla's work includes production projects with several established and upcoming hip hop artists. 

Teck-Zilla moves between Nigeria, Canada, & the UK regularly. We were able to catch him while he’s in Lagos working on some new projects. We start the episode with his beat “Dear Summer”, then “Skelewu B-Boys” from the B-Boy Zilla EP. We end the episode with his beat “Summer Zilla” from his EP of the same name. Teck-Zilla also teamed up with Modenine for the recently release album Esoteric Mellow. All of these are available on his BandCamp page.

Modenine discusses the history of hip hop in Nigeria and the diversity you find across Nigeria. He also has strong views on the direction that hip hop is going in, as well as the music industry in Nigeria. This includes an interesting discussion on how Nigerian artists are treated compared to U.S. artists, and how some U.S. and Nigerian artists have handled that unequal treatment. 

Modenine also retells his experience in Nigeria with WaPi (Words and Pictures), a program through the British Council that promoted hip hop culture through the British Council in several countries.

He also explains grime music! Grime a genre of music related to hip hop, which emerged among African and Caribbean migrants in England. Grime music is very similar to hip hop, and many grime artists are also hip hop lyricists. 

You can find the new album, Esoteric Mellow, by Modenine and producer Teck-Zilla on iTunes music, Amazon music, and Bandcamp (https://str8buttah.bandcamp.com/album/esoteric-mellow)

Modenine is on social media at

• Facebook: https://www.facebook.com/modenineofficialpage
• Twitter @modenine
• Instagram @modenine_polimaf

Nigeria has the largest Black population in the world, and has the 7th largest population in the world. The country’s music and film industries are two of the largest in the world. In the series of episodes on Nigerian hip hop, we get several different perspectives on hip hop in one of Africa’s powerhouses. 

The conversation covers several topics, including the history of Rap Radio Africa and Bionic’s experiences in the Nigerian hip hop scene. Bionic discusses the programming on Rap Radio Africa, and how that came about, especially via connections with U.S. based artists like Chuck D from Public Enemy. Rap Radio Africa has partnerships with other internet-based hip hop programs, which helps diversify their content and gets their content heard on other platforms.

Bionic also discusses the differences between hip hop and the pop music industry in Nigeria. Nigerian pop music (Davido, Wizkid, P Square, etc..) is often labeled hip hop, which can be confusing when you’re trying to hear what’s happening in the Nigerian hip hop community. Bionic addresses those challenges and how those misconceptions are impacting Nigerian hip hop.

Bionic also discusses the future direction of Rap Radio Africa, and some of the things that are being planned. We also discuss some of the fundraising efforts that they are undertaking to help sustain and expand Rap Radio Africa.

You can find Rap Radio Africa on their website: https://www.rapradioafrica.com

They are also on Facebook, Twitter, and Instagram @RapRadioAfrica

*Intro beat by Duke Tachez: https://soundcloud.com/duke-tachez

Keko is on Twitter at @KEKOTOWN

Her film works can be found on VIMEO at https://vimeo.com/user85283017

Mohamed also discusses research on the connection between the Battle of Algiers film and hip hop, as well as cultural diplomacy and hip hop, as well as challenges around hip hop studies in Algeria.

Mohamed’s Soundcloud page: soundcloud.com/mohamedaminebenloulou Facebook: https://www.facebook.com/DJAMINE47beatmaker/

The episode features the song "Allo le Système!" by Algerian emcee Raja Meziane. https://www.youtube.com/watch?v=o-ajCGiDlrg (w/English subtitles). Facebook: https://www.facebook.com/pg/rajamezianeofficielleTwitter: https://twitter.com/RajaMeziane

This interview took place after he screened his film at the New African Film Festival this past March in Silver Spring, Maryland. It was great to sit down again with Blitz, 12 years after I first interviewed him for allAfrica.com in May 2007. Then, he was among the first generation of African MCs making their presence known on the underground scene in the US. In that interview we spoke about how Pan African his music was, and how lyrically, he blended elements of African and the Diaspora. His music has evolved into a showcase of African and Diaspora influences, including collaborations with artists from across Africa and the Diaspora.

In this interview we again spoke about the Pan African perspectives and sounds that continue to be present in his music. Blitz attributes much of his outlook to his upbringing, the legacy of Kwame Nkrumah’s ideologies, and his experiences in the Pan African Studies Department at Kent State University.

Blitz the Ambassador also talks about his experiences with the entertainment industry in the U.S., and how he has managed to maintain creative control over his music and film projects. In this sense, Blitz the Ambassador is vigilant about the integrity of his work, acknowledging the importance of representation, and of creating your own narratives.

The two songs featured in the episode, “Hello Africa” and “Internationally Known”, as well as all of Blitz the Ambassador’s music, can be purchased here: https://blitzambassador.bandcamp.com.

Blitz on social media

Facebook: https://www.facebook.com/BlitzAmbassador/

Instagram:https://www.instagram.com/blitzambassador/

Twitter: https://twitter.com/BlitzAmbassador

LLT is celebrating its fifth anniversary on the 23rdof March, in Dar es Salaam. The organizers have established a fundraiser to help with the costs of putting on the event and bringing in artists to perform. 

Through her networks with hip hop communities in the Diaspora and throughout Africa, Fete Jen has been involved in or helped to establish several hip hop based projects. In this call we talk about her experiences with the Tanzanian hip hop scene and starting Lyricist Lounge, her views profanity and the use of the N-word in hip hop, the increase in Blacks from the Diaspora moving to Africa, and relations on the continent between Africans and Blacks from the Diaspora. 

You can find Fete Jen on Facebook or Instagram.

*Intro beat by Duke Tachez

The episode begins with Reggie Rockstone’s song “Proactive” and ends with his song “Woso”, both on his 2010 album Reggiestration, which is available on iTunes https://itunes.apple.com/us/album/reggiestration/412457159.

Reggie Rockstone can be found on Instagram @reggierockstone711 and Twitter @ReggieRockstone


In this episode, we begin with a look back, musically, at Manifest’s career. We begin with the song “Africa Represent” from his 2007 album Manifestations, then “Motion Picture” from the 2011 album Immigrant Chronicles: Coming to America, and his 2016 single “God MC”. We will end the show with the song “Hand Dey Go, Hand Dey Come” from his 2016 album Nowhere Cool. 

• Website: manifestmc.com

• Facebook: manifestations
• Twitter: manifestive
• YouTube: manifestmc
• Instagram: manifestive

Wakazi’s music can be purchased on iTunes at https://itunes.apple.com/us/artist/wakazi/928220403 Nomadic Wax Super MC: https://nomadicwax.bandcamp.com/track/super-mc-v2

Wakazi is online at Twitter @Wakazi Facebook @wakazimusic Instagram @wakazimusic Youtube @wakazimusic

We met up at their studios at Nafasi Art Space (nafasiartspace.org) in Dar es Salaam and talked about graffiti culture in Tanzania. We discussed the origins of Wachata Crew with WAPI (Words and Pictures) at the British Council in Dar es Salaam back in 2007. Wachata Crew sheds light on how many Tanzanians see graffiti culture in Tanzania and the connections between graffiti and hip-hop culture in Tanzania. 

Graffiti culture differs all over the world, the members of Wachata Crew talk about the cost and qualities of spray paint cans in Tanzania, v. other places. The artists also discuss their connections with graffiti beyond Tanzania, and the participation of women in graffiti culture in Tanzania.

You can find Wachata Crew on Instagram @wachata07 and each member at @muabaka, @kalasinga24, @mejahmbuya, @localfanatics

Duke talks about how he became involved in hip hop in Tanzania, his involvement with the founding of Tamaduni Muzik and the Hip Hop Kilinge (cyphers) they used to host. These cyphers used to bring hundreds of youth from around Dar es Salaam to listen to the DJs, hear MC rhyme, participate in cyphers, buy hip hop fashion made by local artists. Duke also talks about issue of copyright and the art of sampling and the role of the producer in hip hop. We also discuss sounds, the role of the boom bap sound, as well as chopping up other sounds to create a unique sound that represents Tanzanian hip hop. He also talks about the top five artists outside of Tanzania that he would love to work with, as well the directions he sees hip hop in Tanzania going today.

Haya ni mahojiano na Duke, prodyuza wa muziki wa hip hop Tanzania, mwanzilishi wa M Lab Records, Tamaduni Muzik, na Hip Hop Kilinge (cypher). Mahojiano yako zaidi katika SWAHILI, lakini tumechanganya na English kidogo. The Hip Hop African Podast inawakilisha nguzo mbalimbali za hip hop, lakini haya ni mahojiano yetu ya kwanza na prodyuza wa hip hop.

Duke anazungumzia jinsi alivyohusika katika hip hop nchini Tanzania, kushiriki kwake na kuanzishwa kwa Tamaduni Muzik na Hip Hop Kilinge. Kwenye Kilinge, vijana vyengi kutoka Dar es Salaam walikuja kusikiliza muziki uliochezwa na DJs, kusikia sauti ya MC, kushiriki katika cyphers, kununua bidhaa za mitindo ya hip hop. Duke pia anazungumzia suala la hakimiliki na sanaa ya sampling na jukumu la prodyuza katika hip hop. Tulizungumzia pia sauti ya boom bap, na pia kuchop sauti nyingine ili kutengeneza sauti ya kipekee ambayo inawakilisha hip hop ya Tanzania. Pia anazungumzia kuhusu MCs watano wa nje ya Tanzania ambao angependa kufanya kazi nao. Pia tulizungumzia muelekeo wa Hiphop ya Tanzania katika nyakati hizi.

*Music by Duke Tachez

Nazlee Saif is a spoken word and hip hop artist originally from Durban, who moved to Cape Town and attended the University of Cape Town (UCT) during the height of the #RhodesMustFall movement. Nazlee, who was already a socially conscious artist, was an activist and organizer in the movement on the UCT campus. Nazlee, as a queer identified, Muslim, MC, also brings those intersecting identities into the hip hop, a culture that has historically been very patriarchal, very misogynistic, and hostile to queer voices.

In the conversation Nazlee Saif talks about several topics, including the #RhodesMustFall movement at UCT, intersectionality, being Black & Coloured, queer identities, being a Muslim & queer MC, Steve Biko and Black consciousness, the term “Hoteps”, and feminism.

Nazlee Saif's presence in hip hop challenges hip hop's masculine, heteronormative culture. Nazlee Saif expresses strong stances on topics of race, sexuality, and religion. The artist's discussion of a level of frustration with Black Consciousness, as well as the term "Hoteps", may put Nazlee Saif at odds with some Pan Africanists.

Nazlee on YouTube: https://www.youtube.com/channel/UCwNoj0WTO0fAoKG0fagDFxQ

Nazlee on Twitter: @NazleeArbee

Readings

Clark, Msia Kibona. 2014. “Gendered Representations among Tanzanian Female Emcees”. In Ni Wakati: Hip Hop and Social Change in Africa, edited by Msia Kibona Clark and Mickie Koster. Lanham, MD: Lexington Press.

Haupt, Adam. 2016. Queering Hip-Hop, Queering the City: Dope Saint Jude’s Transformative Politics. M/C Journal, 19(4).

Smith, Marquita R., 2014. “Or a Real, Real Bad Lesbian”: Nicki Minaj and the Acknowledgement of Queer Desire in Hip-Hop Culture. Popular Music and Society, 37(3), pp.360-370.

ABC Bboys

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In this interview, we sat down at a local restaurant near Abena’s home in Tema, outside of Accra and talked about a lot of different topics. Abena Rockstar discusses the visibility of women in Ghanaian hip hop, the pressure to sing instead of rap, ideas of how women should behave, and her views on the category of “female rapper”. She also talks about her views on Hiplife, her participation in the “Gh Female Rappers Cypher” project, and the music industry in Ghana.

In 2014, Abena Rockstar released the EP “Only Few Can Relate” and in 2017 she released the EP “MAFIA”. The songs featured in this podcast include the singles “I’m Ready”, “Abena”, and “Broke Nyass Brodas” is a commentary on male and female relationships. We have included links to her music, website, and social media profiles.

Abena Rockstar was among several artists featured in the “Gh Female Rappers Cypher”. Other artists featured on the project were Eno, Esbee, Porsche, EyiRap, Xcot, Mila, and Scrach. The track can be heard at http://youtu.be/ztRX0qbOU4I

Abena Rockstar's website: http://abenarockstar.com Twitter: @AbenaRockstar Facebook: AbenaRockstar

*This episode was produced and mixed by Howard University student @Yashua7Rashad

Wanlov the Kubolor is a smart, introspective artist who is very much aware of the social relevance of his music. He often makes social commentary, whether via his music or social media, and infuses that social commentary with humor. Wanlov’s humor (and he’s genuinely funny) often has fans laughing before realizing that there is a message in the madness. Wanlov has detractors, people who take issue with his music or behavior. But, agree or disagree with his views, Wanlov the Kubolor is not afraid of expressing himself in unconventional ways.

Wanlov’ the Kubolor’s music reflects his diverse background and experiences. It is difficult to put Wanlov the Kubolor into one category of music. He is an MC, but he also blends several different sounds and styles in his music. He’s a versatile artists who has crafted a career as a successful, internationally known artist.

His solo albums are Green Card, Yellow Card, Brown Card: African Gypsy, and Orange Card: Fruitopian Raps

Wanlov is also one half of the group Fokn Bois (his partner is M3nsa), which has released two films film Coz ov Moni and Coz ov Moni 2. They also released the soundtracks to Coz ov Moni and Coz ov Moni 2. The groups also released FOKN Wit Ewe and FOKN Ode to Ghana. Wanlov has also released several EPs.

Wanlov the Kubolor’s music can be found on iTunes: https://itunes.apple.com/us/artist/wanlov-the-kubolor/id455218010

He’s also on social media Twitter: @wanlov‏ and Facebook: Wanlov the Kubolor

Episode Playlist :40 “In Ghana” 2:53 Episode Intro 6:48 “Sometimes” 8:00 “Brkn Lngwjz” 10:00 “Mek We Rap” 11:58 “Trotro Blues” 13:25 “No Borders” 14:58 Interview with Wanlov the Kubolor

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Photo: Seth Markle

Producer: Kalalea (www.kalalea.com)

*Special podcast episode recorded at the Trinity International Hip Hop Festival, by guest host Seth Markle and guest producer Kalalea

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Confrontations of sexism, patriarchy, domestic violence, and post-apartheid politics are themes throughout her music. In this conversation Gigi Lamayne talks about her music and influences, and her decision to address controversial, sensitive topics.

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The event brought together activists for a discussion on two pivotal movements for Black lives in the U.S. and South Africa: Black Lives Matter in the U.S. and #FeesMustFall/#RhodesMustFall in South Africa. Both movements are changing dialogues around race, gender, class, violence, and oppression.

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This episode features a conversation with Kenyan hip hop artist Hustlajay Mau Mau. A conscious hip hop artists from Mombasa, Kenya who is part of an informal collective of conscious hip hop artists in East Africa. These artists, based in Nairobi and Mombasa, Kenya; in Kampala, Uganda; and in Dar es Salaam and Arusha, Tanzania continue to build on more than a decade of East African collaborations, forming grassroots organizing collectives and working on hip hop based initiatives that work with youth in those areas.

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This episode focuses on some background information on studies of hip hop and studies of hip hop in Africa. We discuss some of the scholarship that has been produced on hip hop.

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We are introducing a new podcast show titled The Hip Hop African podcast. The podcast will feature interviews with artists and conversations around certain social and political issues that hip hop in Africa addresses. The podcast will be produced by Msia Kibona Clark in the Department of African Studies at Howard University, as well as students in her Hip Hop and Popular Culture in Africa course. This episode is just a brief introduction to the podcast.

Video can also be found on VIMEO