Hip-Hop in Africa: Prophets of the City and Dustyfoot Philosophers by Msia Kibona Clark (review)

Dotun Ayobade

Africa Today, Volume 67, Numbers 2 & 3, Winter 2020 / Spring 2021, pp. 191-194 (Review)

Published by Indiana University Press

For additional information about this article https://muse.jhu.edu/article/784683

[ Access provided at 22 Mar 2021 18:23 GMT from Indiana University Libraries ] africa today 67(2 & 3) 191 Book Reviews - - Sobukwe Odinga Sobukwe Between Homeland Between Alvin Tillery’s and University of California,University Angeles Los opens with a foreword by Quentin Williams, followed Williams, Quentin by foreword a with opens A Motorcycle on Hell Run A Motorcycle Vol. 67, No. 2 & 3 • Copyright • 3 & No. 2 The © Trustees of Indiana University 67, Vol. DOI: • 10.2979/africatoday.67.2_3.11 Clark’s treatment of hip-hop’s stylistic diversity exemplifies the rigor stylistic diversity exemplifies treatment of hip-hop’s Clark’s Hip-Hop in Africa in Hip-Hop . and Motherland Hip-Hop in Africa: Prophets of the City and Dustyfoot Hip-Hop in Africa: Msia Kibona Clark’s practice of cultural representation, African Philosophers contends that, as a hip-hop constructs (2). young audiences social reality for emcees and their through this book as a contemporaryAfrican hip-hop courses expression of a long history between the United of circum-Atlantic musical exchanges engaging text bristles with ambition, Africa. Clark’s States and postcolonial songs and emcees from an expansive array of places and communities, from Accra, and Dar es-Salaam. This range lends to Dakar, Atlanta and New York Hip-Hop in Africa: Prophets Clark, Msia Kibona. 2018. Hip-Hop in Africa: BOOK REVIEW of Press. 312 Philosophers. Athens: Ohio University of the City and Dustyfoot $32.95 (paper). pp. $80 (hardcover), Africa Today Africa directly attributable to hip-hop activism in countries like Senegal, Egypt, and by an introductory chapter 1, which lays out the book’s conceptual thrusts: by an introductory chapter 1, which lays out the book’s Chapter 2 maps the cultural representation, Pan-Africanism, and hybridity. historical trajectory of African hip-hop as an artistic neoliber- response to alism from the 1980s onward, underscoring successful political movements in Tanzanian hip-hop, versus the massive censorship of Ghanaian popular hip-hop, versus the in Tanzanian Border conflict (with Mauritania), music in the wake of the Rawlings era. shaped the textures of Senegalese economic crises, and emigration have is distinguished by the striking hip-hop culture, which, because of Islam, absence of references to sex, drugs, and alcohol (42–44). The nuances that make for an engaging read. Clark captures of place, culture, and politics Senegalese hip-hop (43). The interanimation of hip-hop aesthetics and socio Senegalese hip-hop (43). The interanimation extensive use of Kiswahili analysis of the political context undergirds Clark’s text is jargon free—a stylistic choice that coheres with Clark’s explicit com- explicit Clark’s with coheres that choice stylistic jargon free—a is text (207). Hip-Hop in Africa rendersmitment to accurate and accessible research digestible—for example, debates African cultural studies of key stakes the (mis)appropriation (199–205). Readers Afropolitanism (174–81) and cultural refreshing. treatment Clark’s familiar with these debates will find oblique political commentary, of her thinking. Ghanaian emcees embrace contrast with explicit criticism of enveloping critiques in proverbs, in vivid a traveling and encyclopedic quality that occasionally con Hip-Hop in Africa a traveling and encyclopedic quality that the book makes for a crucial resource however, cedes deepness. Ultimately, of Black/African popular culture. Thefor hip-hop fans, as well as for scholars the ranks of standout works of history works of standout the ranks as Seth such science, and political Markle’s Chapter 4, “‘Femme de Combat’: Gendered Representation,” attends details about the reception of the songs by the addressee(s) and the public. details about the reception of the songs to “Riz One”? Did the son respond for instance, did the president’s How, obliqueness, could he? Also intentional president respond? Given the song’s contained in chapter 3 are the formal and informal infrastructures—the internet, festivals, TV and award shows—that undergird record labels, slam the local, regional, and continental circulation of African hip-hop (49–53). This chapter is a treasure trove of scholarly resources. contends Clark emcees. women of craft embodied and style, lyrics, the to that women emcees stage “African feminist challenges to patriarchy and . social constructions of gender. . . Even when women do not challenge challenge the they represent that directly in their lyrics, gender oppressions moment they decide to be hip-hop artists” (126). Clark argues convincingly passing desire for more probing analyses. Clark could be more generous withpassing desire for more probing analyses. Africa (53–54). Breakdancing and DJing persists in South Africa, for instance,in South Africa, for and DJing persists Breakdancing Africa (53–54). continent. the across decline their with contrast in African South The hip-hop which by processes the about me, for questions, raises example transformed,absorbed, become elements contexts. different in discarded or as they travel accumulate or empty in significance How do these elements analysis sparingly, Clark pursues this kind of across hip-hop communities? urban seamless assimilation into Senegalese of graffiti’s as in her discussion heels of an estab- that graffiti came to Senegal on the culture. Clark shows lished public art (58). movement known as set setal, “beautifying the city” cultural with existing elements hip-hop interanimation of out the Teasing forms hip-hop studies. Chapter practices holds promise for African and the discussion of national culture to unpacking 3 applies Frantz Fanon’s roles in shaping of hip-hop emcees, as well as their three stages of evolution imitate the style the first stage, assimilation, emcees public discourse. In of American counterparts. second, they indigenize their works to In the address social and political concerns within their communities. Emcees with themselves align they which in combat, stage, final the enter seldom reaching the highest potential for broader activist groups and aspirations, productive frame for interpreting the political mobilization. Fanon offers a emcees, but perhaps less so politically conscious trajectories of hip-hop’s commer- driven by of mainstream emcees through the works for thinking combat songs is particularly discussion of specific cial interests. Clark’s One,” a song in which Izzo Bizness, evocative regarding the candor of “Riz son to inform his father about emcee, asks the president’s a Tanzanian a series to to Senegal, pivots (45). Clark conditions living poor Tanzanians’ These President Abdoulaye Wade. of scathing songs critiquing Senegalese and capacity to draw analytical nimbleness two examples evince Clark’s national contexts. This nimble- illuminating parallels between distinctive narrative, even if it produces a ness gives movement and breath to Clark’s Tunisia. The evolution of hip-hop from a platform from of hip-hop evolution The to social dissonance for Tunisia. of discussion a in embodied is (35) representation of system extramusical an unevenly spread across author notes are which the five elements, hip-hop’s

africa today 67(2 & 3) 192 Book Reviews africa today 67(2 & 3) 193 Book Reviews The final section, chapter 6, examines how African hip-hop artists word by Akosua Adomako Ampofo, who affirms Clark’s analysis of hip-hop’s analysis of hip-hop’s word by Akosua Adomako Ampofo, who affirms Clark’s cultural connection, negotiate international marketability, and express and express cultural connection, negotiate international marketability, cryrallying a in culminates book The views. political targeted after- an of artists who have only lived at home, or of African American artists American African have of who or artists home, at lived only have who under- for matters distinction This (149). States” United the in lived only animates their sonic and aesthetic standing how emcees’ lived experience of analytical brilliance, as when choices. There are remarkable moments in poetic musings on alienation Clark juxtaposes Léopold Sédar Senghor’s vernac- d’ombre,” with K’naan’s two poems, “Hosties noires” and “Chants in my Head.” same theme in “Voices ular and expletive-ridden take on the familiar sense of dislocation juxtaposition potently underscores the Clark’s and diasporic location (167). More that resonate across genre, generation, more satisfying. This section of these kinds of analyses would be infinitely fame following his 2010 worldwide culminates in a discussion of K-Naan’s Flag.” Global exposure precipitated the Cup performance of “Wavin’ World a growing distance from his most commercialization of his sound, signaling This discussion makes for a produc- faithful listeners, the Somali diaspora. tive reading of artists’ with aesthetics, community, shifting entanglements publics, and markets. navigate multiple cultural systems by code-switching among indigenous, European, and creolized languages. These largely multilingual artists deftly deploy language to claim authenticity (via the use of African American consolidate publics, their of sections specific target English), Vernacular alienation, and assimilation; nostalgia; and the ambivalence of return.alienation, and assimilation; nostalgia; These they differ from those of “African experiences are unique precisely because community, and trauma, and, when taken together, paint a portrait paint of and, when taken together, and trauma, community, do mainstream media portrayals.Somalia richer than Shaped by a hostile and climate, as well as advances in communication post-9/11 immigration post-2000 migrant artists such as K’Naan navigate social-media technology, and diasporic. These artists, as Somali, African, multiple nodes of identity, Clark suggests, portray economic struggles stories of and everyday racism, identify as queer stage explicit challenges to heteronormativity queer stage explicit identify as in the lyrical most cohesive the book’s This is arguably choices they make. and aesthetic review and rigorous literature between balance walks a fine chapter; Clark of concerns analysis to capture the range and depth lyrical and stylistic that Here, too, Clark on migration. 5 focuses emcees. Chapter preoccupy women with extant literature (on contemporarycontinues her engagement African up migration in analysis of music and emcees that take migration) and an 5 can be found in An evocative aspect of chapter meaningful ways (90–95). and emcee, craft of K’Naan, Somali-Canadian poet treatment of the Clark’s nostalgia, the memories and innocence of childhood, whose songs evoke that women emcees performwomen emcees that as braggadocio, acts, such masculine-coded deploy these space-clearing These women space for themselves. to make while asserting showcase lyrical talent rituals to the micro- their right to personas or masculine emcees who embrace men. Women phone alongside . Dotun Ayobade Dotun Ayobade Brown University Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music Popular Ghanaian in Entrepreneurship Celebrity and Hiplife: the Living The Hip Hop Wars: What We Talk about When We Talk about Hip Hop—and It Why Talk about When We Talk What We Hip Hop Wars: The robustly showcases the work of socially showcases the work in Africa robustly Hip-Hop Vol. 67, No. 2 & 3 • Copyright • 3 No. & 2 The © Trustees of Indiana University 67, Vol. DOI: • 10.2979/africatoday.67.2_3.12 Durham, NC: Duke Press. University . New York: Basic Books York: . New Matters Clark’s Clark’s makes for a rewarding read. It has the aura of a path- Hip-Hop in Africa makes for a rewarding , François Rwanda sous la Tutelle Colonialisme et Révolution: Histoire du REFERENCES CITED REFERENCES pendence in 1962. The argument for Belgian colonialism and the idea of colo- nial progress pervades the book: through a detailed summary events of the that led to independence and the first locally organized elections, Lagarde Today Africa BOOK REVIEW of Lagarde, François. 2017. Colonialisme et Révolution: BOOK REVIEW of Lagarde, François. 674 pp. €33 . 2 vols. Paris: L’Harmattan. Histoire du Rwanda sous la Tutelle (vol. 1; paper), €36 (vol. 2; paper). In Lagarde, a professor emeritus of French studies in the Department of French at Austin, offers a historical reading and Italian at The University of Texas protectorate until its inde- colonial experience under Belgium’s of Rwanda’s Rose, Rose, Tricia. 2008. 2013. Weaver. Jesse Shipley, toward a textual reading of hip-hop signals to future hip-hop scholars the of hip-hop signals to future hip-hop toward a textual reading extramusical evidence that lies in wait. trove of musical and to the clarity and masterybreaking text, a quality that testifies of Clark’s her thinking. undergirds that work ethnographic the extensive and analysis It is a page-turner. conscious artists,conscious builds advances social critiques, whose music emcees posited a scholars have mass action. Other or galvanizes consciousness, a broader range might take had it incorporated what shape Hip-Hop in Africa how or discourse, media social and newspapers local as such sources, of with fashion and album art,a consistent engagement as evidence, might the platforms insights about at these artists’ disposal. These enrich Clark’s hip-hop, as well as knowledge about local reception of sources would deepen methodological inclination its capacity to construct African realities. Clark’s a befitting culmination of a remarkable book, bubbles with optimism about bubbles with optimism remarkable book, culmination of a a befitting agents of change. improbable of hip-hop artists,the power Africa’s the and music popular Black/African between relationship complicated more 2013). I imagine and commercialism (Rose 2008; Shipley caprices of celebrity transformative ethos with Ghanaian examples of her own. Ampofo’s remarks, transformative Ampofo’s her own. of examples with Ghanaian ethos

africa today 67(2 & 3) 194 Book Reviews