On Hybridity in African Popular Music: The Case of Senegalese Hip Hop Author(s): Catherine M. Appert Source: Ethnomusicology , Vol. 60, No. 2 (Spring/Summer 2016), pp. 279-299 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: https://www.jstor.org/stable/10.5406/ethnomusicology.60.2.0279 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:21:01 UTC All use subject to https://about.jstor.org/terms Vol. 60, No. 2 Ethnomusicology Spring/Summer 2016 On Hybridity in African Popular Music: The Case of Senegalese Hip Hop Catherine M. Appert / Cornell University Abstract. This article critically considers the legacy of hybridity in African popular music studies and questions whether contemporary African engage- ments with diasporic popular musics like hip hop call for new interpretations of musical genre. Through ethnographic research with hip hoppers in Senegal, I explore how practices of musical intertextuality reinscribe global connections as diasporic ones and challenge the conditions for musical hybridity.