Hip Hop and Social Change in Africa: Ni Wakati

by Msia Kibona Clark and Mickie Mwanzia Koster

Now available in paperback & on Kindle

https://www.amazon.com/Hip-Hop-Social-Change-Africa/dp/1498505805

This book examines social change in Africa through the lens of hip hop music and culture. Artists engage their African communities in a variety of ways that confront established social structures, using coded language and symbols to inform, question, and challenge. Through lyrical expression, dance, and graffiti, hip hop is used to challenge social inequality and to push for social change. The study looks across Africa and explores how hip hop is being used in different places, spaces, and moments to foster change. In this edited work, authors from a wide range of fields, including history, sociology, African and African American studies, and political science explore the transformative impact that hip hop has had on African youth, who have in turn emerged to push for social change on the continent. The powerful moment in which those that want change decide to consciously and collectively take a stand is rooted in an awareness that has much to do with time. Therefore, the book centers on African hip hop around the context of “it’s time” for change, Ni Wakati.

Hip Hop and Social Change in Africa: Ni Wakati

by Msia Kibona Clark and Mickie Mwanzia Koster

Now available in paperback & on Kindle

https://www.amazon.com/Hip-Hop-Social-Change-Africa/dp/1498505805

This book examines social change in Africa through the lens of hip hop music and culture. Artists engage their African communities in a variety of ways that confront established social structures, using coded language and symbols to inform, question, and challenge. Through lyrical expression, dance, and graffiti, hip hop is used to challenge social inequality and to push for social change. The study looks across Africa and explores how hip hop is being used in different places, spaces, and moments to foster change. In this edited work, authors from a wide range of fields, including history, sociology, African and African American studies, and political science explore the transformative impact that hip hop has had on African youth, who have in turn emerged to push for social change on the continent. The powerful moment in which those that want change decide to consciously and collectively take a stand is rooted in an awareness that has much to do with time. Therefore, the book centers on African hip hop around the context of “it’s time” for change, Ni Wakati.

Continue reading “Hip Hop and Social Change in Africa: Ni Wakati”

Journal of Pan African Studies: Hip Hop in Africa

I’ve recently edited a special edition of the Journal of Pan African Studies on hip hop in Africa. With articles by myself and a diversity of other scholars writing on Kenya, Nigeria, Senegal, South Africa, Tanzania, and Zimbabwe.

● The Struggle for Hip Hop Authenticity and Against Commercialization in Tanzania  by Msia Kibona Clark

● Urban Guerrilla Poetry: The Movement Y’ en a Marre and the Socio-Political Influences of Hip Hop in Senegal by Marame Gueye

● “Chant Down the System ‘till Babylon Falls”: The Political Dimensions of Underground Hip Hop and Urban Grooves in Zimbabwe by Katja Kellerer

● From Compton to Cape Town: Black(faceless)ness and the Appropriation of Gangsta Rap in Die Antwoord’s “Fok Julle Naaiers” by Lanisa Kitchiner

The Hip Hop Revolution in Kenya: Ukoo Flani Mau Mau, Youth Politics and Memory, 1990-2012 by Mickie Mwanzia Koster

● Swag’ and ‘cred’: Representing Hip-hop in the African City by Caroline Mos

● Hip Hop Music as a Youth Medium for Cultural Struggle in Zanzibar by Shani Omari

● Troubling the Trope of “Rapper as Modern Griot” by Damon Sajnani

● “The Blueprint: The Gift and The Curse” of American Hip Hop Culture for Nigeria’s Millennial Youth by Stephanie Shonekan

Check out the issue: http://www.jpanafrican.org/archive_issues/vol6no3.htm
Cover photo is Thiat from the Senegalese group Keur Gui performing at the Trinity International Hip Hop Festival. Photo by Msia Kibona Clark. jc_vol6no3_big