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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 Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, Côte d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture.
Throughout Africa, artists use hip-hop both to describe their lives and to create shared spaces for uncensored social commentary, feminist challenges to patriarchy, and resistance against state institutions, while at the same time engaging with the global hip-hop community. In Hip-Hop in Africa, Msia Kibona Clark examines some of Africa’s biggest hip-hop scenes and shows how hip-hop helps us understand specifically African narratives of social, political, and economic realities. Clark looks at the use of hip-hop in protest, both as a means of articulating social problems and as a tool for mobilizing listeners around those problems. She also details the spread of hip-hop culture in Africa following its emergence in the United States, assessing the impact of urbanization and demographics on the spread of hip-hop culture. Hip-Hop in Africa is a tribute to a genre and its artists as well as a timely examination that pushes the study of music and diaspora in critical new directions. Accessibly written by one of the foremost experts on African hip-hop, this book will easily find its place in the classroom.
In the twenty-first century, Senegalese hip hop--"Rap Galsen"--has reverberated throughout the world as an exemplar of hip hop resistance in its mobilization against government corruption during a series of tumultuous presidential elections. Yet Senegalese hip hop's story goes beyond resistance; it is a story of globalization, of diasporic movement and memory, of imagined African pasts and contemporary African realities, and of urbanization and the banality of socio-economic struggle. At particular moments in Rap Galsen's history, origin narratives linked hip hop to a mythologized Africa through the sounds of indigenous oralities. At other times, contrasting narratives highlighted hip hop's equally mythologized roots in the postindustrial U.S. inner city and African American experience. As Senegalese youth engage these globally circulating narratives, hip hop performance and its stories negotiate their place in a rapidly changing world. In Hip Hop Time explores this relationship between popular music and social change, framing Senegalese hip hop as a musical movement deeply tied to both indigenous performance practices and changing social norms in urban Africa. Author Catherine Appert takes us from Senegalese hip hop's beginnings among cosmopolitan youth in Dakar's affluent neighborhoods in the 1980s, to its spread throughout the city's ghettoized working class neighborhoods in the mid- to late-'90s, and into the present day, where political activism and hip hop musicality vie for position in local and global arenas. An ethnography of the inextricability of musical and social meaning in hip hop practice, In Hip Hop Time charts new intellectual territory in the scholarship of African and global hip hop.
Hip hop music that empowers and engages youth in East Africa
“[A] magnificent study . . . adds to the burgeoning scholarship on global hip hop and furthers our knowledge of the African diaspora in Eastern Europe.” —Anthropology of East Europe Reviews Featured in NPR’s “Read These 6 Books About Ukraine” In Hip Hop Ukraine, we enter a world of urban music and dance competitions, hip hop parties, and recording studio culture to explore unique sites of interracial encounters among African students, African immigrants, and local populations in eastern Ukraine. Adriana N. Helbig combines ethnographic research with music, media, and policy analysis to examine how localized forms of hip hop create social and political spaces where an interracial youth culture can speak to issues of human rights and racial equality. She maps the complex trajectories of musical influence—African, Soviet, American—to show how hip hop has become a site of social protest in post-socialist society and a vehicle for social change. “This is a unique and admirable book that traces a complex trail from hip hop created by African migrants in Ukraine through remote African-American influences to their origins in Uganda and back again.” —Slavic Review “Portrays the music as a forceful influence on worldwide social and cultural expression.” —Slavonic and East European Review “A well-conceived study of the role and significance of hip hop in Ukraine. It joins the ranks of other very timely chronicles on the impact of hip hop in various societies around the world.” —Allison Blakely, Boston University
In It's Bigger Than Hip Hop, M. K. Asante, Jr. looks at the rise of a generation that sees beyond the smoke and mirrors of corporate-manufactured hip hop and is building a movement that will change not only the face of pop culture, but the world. Asante, a young firebrand poet, professor, filmmaker, and activist who represents this movement, uses hip hop as a springboard for a larger discussion about the urgent social and political issues affecting the post-hip-hop generation, a new wave of youth searching for an understanding of itself outside the self-destructive, corporate hip-hop monopoly. Through insightful anecdotes, scholarship, personal encounters, and conversations with youth across the globe as well as icons such as Chuck D and Maya Angelou, Asante illuminates a shift that can be felt in the crowded spoken-word joints in post-Katrina New Orleans, seen in the rise of youth-led organizations committed to social justice, and heard around the world chanting "It's bigger than hip hop."
Can't Stop Won't Stop is a powerful cultural and social history of the end of the American century, and a provocative look into the new world that the hip-hop generation created. Forged in the fires of the Bronx and Kingston, Jamaica, hip-hop became the Esperanto of youth rebellion and a generation-defining movement. In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style. Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.
In Hip Hop Time goes beyond popular narratives of hip hop resistance, exploring Senegalese hip hop as a musical movement deeply tied to indigenous performance practices and changing social norms in urban Africa.
This set covers all aspects of international hip hop as expressed through music, art, fashion, dance, and political activity. Hip hop music has gone from being a marginalized genre in the late 1980s to the predominant style of music in America, the UK, Nigeria, South Africa, and other countries around the world. Hip Hop around the World includes more than 450 entries on global hip hop culture as it includes music, art, fashion, dance, social and cultural movements, organizations, and styles of hip hop. Virtually every country is represented in the text. Most of the entries focus on music styles and notable musicians and are unique in that they discuss the sound of various hip hop styles and musical artists' lyrical content, vocal delivery, vocal ranges, and more. Many additional entries deal with dance styles, such as breakdancing or b-boying/b-girling, popping/locking, clowning, and krumping, and cultural movements, such as black nationalism, Nation of Islam, Five Percent Nation, and Universal Zulu Nation. Country entries take into account politics, history, language, authenticity, and personal and community identification. Special care is taken to draw relationships between people and entities such as mentor-apprentice, producer-musician, and more.