Tag: Enny
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HHAP Ep 79: Hip-Hop culture as a space where Black identities are negotiated and presented
The first episode of 2023 is a special episode on hip-hop as a cultural space where Black identities can be negotiated and presented. The research project was part of a larger seminar project with the University of Maryland College Park on African/Black Diaspora Studies. The larger project was funded by a grant from the Andrew W. Mellon Foundation. The overall project focused on: “the dynamics of race, ethnicity, gender, and interactions between and among first and second-generation African diaspora immigrants and native-born African Americans in the U.S.” My project explores representations of Black identities and shared experiences by African hip-hop artists in the US. The initial objective was to examine the music of 2nd generation African artists in America to understand how they Represent Black identities Discuss shared experiences Represent Africa This was done via a content analysis of their songs & interviews. The artists could be classified as Millennials and Generation Z artists. The music of these artists differed from the music produced by 1st generation African hip-hop artists. The early 2000s saw a small group of hip-hop artists who had all migrated to the US around the same time, usually for college, and would find varying degrees of success. Some of these artists stayed in the U.S., and others migrated home. Their presence was followed by an increase in African music on mainstream platforms, & collaborations between artists of 1st or 2gen African ancestry and artists of multi-generation African ancestry (African Americans). Hip-hop’s structure as a genre that is largely autobiographical lends itself to being a conduit for meaningful conversations around race, gender, sexuality, & politics. These artists were nuanced in their coverage of topics of immediate concern to other African & diaspora communities. We saw the articulation of African American & African connections among several African hip-hop artists who came to the U.S. in the early 2000s. Interestingly, many of those artists were Ghanaian. Artists like Blitz (the Ambassador) Bazawule, Wanlov the Kubolor, M3nsa, Minista of Agrikulcha, & M.anifest all arrived from a country whose place in Pan-African history had been well established. “In our simplicity we are elegant/so to us your coat and tie are irrelevant/give up my culture for your religion?, I can’t” Wanlov the Kubolor, “Gentleman” Other artists like, K’naan (Somalia), Krukid/Ruyonga (Uganda), and Shad (Kenya) also would speak to those connections. These artists may have impacted the growth of African music in the US. This growth led to the emergence of afrobeats artists like Davido, Burna Boy, Shatta Wale, & others. In looking at 2nd generation African artists, I identified 583 songs by 10 Millenial and Generation Z artists. Again, I wanted to find representations of Black identities, African identities, and shared experiences between Africans and African Americans. The artists were: Nipsey Hussle (1985): Los Angeles/African American and Eritrean parents Lola Monroe (1986): Washington, DC/Ethiopia Bas (1987): New York/Paris/Sudan Maxo Kream (1990): Houston/Nigeria Wale (1984): Washington, DC/Nigeria Amine (1994): Portland/Eritrea & Ethiopia Chika (1997): Montgomery (Alabama)/Nigeria Doja Cat (1995): Los Angeles/American and South African parents Earl Sweatshirt (1994): Chicago & Los Angeles/African American and South African parents Thutmose (1995): New York/Nigeria In the review of over 500 songs, very few had any references to African identities or shared experiences. Notable exceptions include Wale’s “My Sweetie” and Amine’s “Roots” During the research, it became clear that there needed to be a more global consideration of what African hip-hop artists are saying. There are artists in other parts of the Diaspora, especially in England, France, and Australia and they complicate Black identities even further. A more global perspective on Black identities helps us to fully understand hip hop’s role in shifting conversations around identity. Some of the European artists studied include. Sefyu (1981) France/Senegal Shay (1990) Belgium/Congo Bree Runway (1992) UK/Ghana Stormzy (1993) UK/Ghana Niska (1994) France/Congo Enny (1994) UK/Nigeria Little Simz (1994) UK/Nigeria Shaybo (1996) UK/Nigeria J Hus (1996) UK/The Gambia The songs played in this episode are “My Sweetie” by Wale “Roots” by Amine “I Want” by Enny “Woman” by Little Simz “En noir et blanc” by Sefyu “Gentleman” by M.anifest and Wanlov the Kubolor “Dollar & a Dream” by Blitz the Ambassador
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QUEERING THE CONTINENT
AFRICANS PAINT A PICTURE OF GENDER, SEXUALITY, AND THEIR RELATIONSHIP TO CONSENT Across the diaspora, the topic of homosexuality remains nothing short of taboo. Conversations about queer identity remain touch and go, as they often bring up mislead feelings of emasculation, fear, intimidation, and general discomfort. The hesitancy to embrace homosexuality, on the African continent
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Mixtape: The African Queens of Hip-Hop
Introduction Throughout the hip-hop industry women are constantly fighting to come up on top, no matter what country or continent they are on. With the patriarchal structure, it is usually difficult for women to make music the way they would prefer or most resembles who they are because they fear it will not be received
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Final Project Mixtape
Across the world, the hip-hop community is very male-dominated and now in the current years more female artists are breaking the barrier by becoming as successful as male rappers. Many African women rappers are coming into fame and are making music to empower women and make them feel more confident with themselves. Since the hip-hop
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“I Want” -Enny
By: Diego Austin In her 2021 song “I Want,” Enny exhibits both her British and Nigerian identities. Enny is a British-born rapper and the daughter of Nigerian immigrants. As a result, she identifies with Nigeria, the Nigerian diaspora, and Britishness, especially her home of Southeast London. Along with her Nigerian identity, this last point is
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Bring Out the Henny For ENNY
Chronicles of an average college student. I had a kickback at my apartment with my roommate and a few of our friends. I took this as an opportunity to play ENNY’s Under Twenty Five. I had to write an album review and I wanted to listen to it in a known pressure filled environment. After
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The UK through the lens of The African diaspora
For this mixtape, I focused on the modern rap scene in the United Kingdom, more specifically England. All of the artists in the mixtape are born to African parents and speak about their struggles living in the UK as young Black people but still being proud of their heritage. Much like the United States, the
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Breaking Societal Norms with the Beauties of Africa
https://youtube.com/playlist?list=PLIWKhlJkANWnAmsSMzPKUOZX4yRK2cOHW The Playlist highlights a plethora of hip hop styles from the women of Africa. All the artists help break a prevalent and ubiquitous norm typical in African Hip Hop today while still speaking of their own success using braggadocio. While watching the videos and listening to songs, you should think about first gender norms.
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Mixtape: 1st Generation Diasporic Rappers and Their Experiences
In their songs all of these artists explore their identities within the context of the larger societies they live in. Subtextually, all of these artists are rapping about the ways in which their existence as sons and daughters of African parents have affected their ability to relate to those around them. All of these artists
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“Peng black girls” cultural representation
English rapper, singer and songwriter Enny (who is of Nigerian heritage) is best known for her 2020 single “Peng Black Girls”. This single and music video does a great job of representing her ethnic background and the African diaspora. The first example of representation is seen as early as in the title of the song.