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Hip-Hop in Khayelitsha, South Africa

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Hip-Hop in Khayelitsha, South Africa Revolutionary but gangsta: hip-hop in Khayelitsha, South Africa Sudiipta Shamalii Dowsett A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy National Institute for Experimental Art Faculty of Art & Design University of New South Wales March 2017 Abstract The global spread of hip-hop has taken shape through the localisation of hip-hop practices. Youth all over the world have taken up a hip-hop corporeal schema. A key question of this research project is: How does hip-hop enable youth to empower local culture, language and social practice through emceeing? This thesis presents the original findings of ethnographic fieldwork conducted in Cape Town from 2008 to 2013 on hip- hop in Khayelitsha, a predominantly isiXhosa-speaking township on the outskirts of the city. The main element of hip-hop practiced in Khayelitsha is emceeing. The literature on hip-hop is dominated by semiotic lyrical analyses. This thesis departs from this approach and develops a phenomenological model of hip-hop to account for the intercorporeality of hip-hop’s collective capacities. Emceeing is a specific embodied mode of vocality – of ‘doing’ words with the body. My research utilised a phenomenological and decolonising methodology in order to document this vital embodied capacity of emceeing and privilege the voices of participants. My thesis describes and analyses what youth in Khayelitsha are doing with hip-hop by considering the collectivity-making capacities of live events such as cyphers, open mics, and studio jams. Such live activities develop a new way of inhabiting the space of the township, thus transforming identity, belonging and locality. Rap in Khayelitsha is either in English or in a mix of urban Xhosa, tsotsitaal and ‘deep Xhosa’ (known as spaza hip- hop). The legacies of colonising missionaries, and oppression under apartheid, continue to play out in local language ideologies, in the education system and in tensions manifest in the local hip-hop scene. Younger members of the township of Khayelitsha understand what they are doing with hip-hop as an extension of Xhosa oral traditions, particularly the art of the imbongi (praise poet). They see hip-hop as a continuation of aspects of imbongi such as improvisation, the role of the poet, the experience of flow and praising ancestors. This thesis makes a key contribution to the study of hip-hop through a nuanced analysis of how youth are using emceeing to make sense of their worlds. i Isishwankathelo Ukunwenwa kwe hip-hop kumhlaba wonke jikelele kubenalo nehlumelo elibangelwe kukungenelela kwe zenzo ze hip-hop ekuhlaeni. Abantu abatsha kumhlaba wonke jikelele bayithabathe njengendlela yokuphila komzimba ihip-hop. Owona mbuzo ubalulekileyo woluphando ngulo: Ingaba ihip-hop inagalelelo lini kulutsha ekubeni lubenako ukuphuhlisa inkcubeko, ulwimi kwanendlela yokuphila ekuhlaleni ngokubangoo emcee? Le thesis iveza gabalala okufunyenwe kuphando olwenziwe nqo ngokungena-ngena kuphandwa eKapa ukusukela ngo 2008 ukuya ku 2013 malunga nehip-hop eKhayelitsha, eyilokishi yabatu abantetho isiXhosa cebu kuhle kwisixeko saseKapa. Eyona ntsika yehip-hop eyenziwa eKhayelitsha kukwenza i-emceeing. Uncwadi lwehip-hop lubangelwa ikakhulu ngamagama athethwayo nathi ixesha elininzi ibezizangotshe ezichaza okuthile. Le thesis isuka kuloo mbono ke ze iphuhlise ukuqulunqwa kwehip-hop nalapho kutyunjwa indima yomzimba njengomboniso okwazi ukwenza izinto eziliqela. I-emceeing yindlela ethile yokuthetha kusetyenziswa umzimba. Uphando lwam lusebenbzisa indlela engenabo ubukoloniyayali ukuze ndifumane iikcukacha ezizizo zalenkcubeko ibaluleke kangaga kubantu bayo, kwaye ndifuna ukubeka phambili abantu behip-hop ukuze ndifumane izimvo ezingangxengwanga. I thesis yam ichaza futhi ihlalutye oko kwenziwa ngabantu abatsha ngehip-hop eKhayelitsha kwaye ijongisisa ukusebenzisana kwabo ekuqulunqweni kwemisitho afana nee cyphers, open mics ne studio jams. Lemisitho yasesidlandalaleni iveza indlela entsha yokwenza intshukumo naphina elokishini, iveza ubuwena ikwabonakalisa indawo yakho apha ekuhlaleni. I-rap yenziwa ngesiNgesi okanye ngomxube wesiXhosa saselokishini, i-tsistitaal kwenesiXhosa esintsonkothileyo (ibizwa ngokuba si – spaza). Umzila woo somishini bama koloniyali kwanalowo wengcinezelo nobandlululo usabonakala kakhulu kwiilwimi, kwezemfundo kwaye kuyabonakala nangembambano apha kwi hip-hop. Uninzi lwabantu behip-hop eKhayelitsha bayayiqonda into abayenzayo ngehip-hop ekwandiseni ukufundwa kwesiXhosa ngendlela yesiNtu, ingakumbi xa kusetyenziswa uhlobo lwe mbongi yomthonyama. Ihip-hop bayibona njengendlela yokuqhubela phambili ohlubo lukubonga olusetyenziswa ziimbongi zomthonyama ngoba abakubhalanga oko bakuthethayo futhi baqwalasela indima yembongi, amava nokutyibilika kokubetho kolwimi kubongwa izinyanya. Le thesis inegalelo kufundo lwehip-hop ngokuthi ii kujongwe oko kwenziwa ngabantu abatsha ukuveza indlela abayibona ngayo impilo kumaxesha abaphila ngawo, konke ke oko bakuveza ngokuba ngoo emcee. iii For my beautiful son Malachi I refused to let the pain of losing you be a reason for not finishing this thing. You were too light and beautiful to carry such a weight. iv Acknowledgements Participants – my sincere gratitude to everyone who participated in this research and shared their stories with me. People in Cape Town hip-hop were overwhelmingly welcoming and supportive of my research. Special thanks to people who introduced me to other artists, accompanied me to events, engaged in long discussions and collaborated on documenting hip-hop in Khayelitsha – Metabolism, Kideo, Mafiyana, Luyanda, Indigenous. I am indebted to your generosity. I am also grateful to Indigenous, Metabolism, Steel, Mashonisa, Phoenix, Kideo and Zanzolo for your thoughtful reflections and candid discussions. Big thanks to Saturn and Arsenic for the beats, and to Phumzile for the use of your recording studio! To my Supervisors – Jennifer Biddle, for being so very, deeply understanding and supportive throughout the epic journey this has been and to Uros Cvoro – you came on board at the perfect time and helped get me through the last 18 months, thankyou. Thank you to the Anthropology Department at Macquarie University with whom I started this journey – special thanks to Greg Downey and Kalpana Ram for the initial encouragement and inspiration. I am grateful to the College of Fine Art, UNSW (now Art & Design, UNSW) for financing my fieldwork, and for two Postgraduate Research Student Support Conference Travel Fund Grants (2011 and 2013). Thank you to James G. Spady for blessing me with a scanned version of the intro to your personal copy of Tha Global Cipha when I was struggling to get a hold of your works in Australia. Thank you to Nick McClean for the in-depth discussions. Special thanks to Tamar Cohen for the anthropology talk and the Amazing Map and for just being awesome. Thank you to Linnet Pike for your support and encouragement. Myf and Jason, collectively you are my rock without which I surely would have been swept away. Special thanks to my mum for financial support and all the child care. Molly and Jish for your love, support and play dates. Thanks to my dad, and little brother Sariel for hanging with son, and to my brother Sam for encouraging me and helping out where you could. All the friends who have put up with my benign neglect and for the continuous encouragement and support: Atikah, Naeema, Gugu, Emma, Leona, Bloss, Sean, Shivaun, Elowyn, Alexander. And most of all to my precious son Micah – for being a super sweet, considerate, and supportive little champion in the last few hectic months. And especially for enduring the last 3-week extension! I promise to never, ever, ever start another PhD ever. v Contents Abstract ............................................................................................................................. i Isishwankathelo ............................................................................................................... ii Acknowledgements ......................................................................................................... v List of Images ............................................................................................................... viii List of Figures ................................................................................................................. ix List of Participants .......................................................................................................... x Introduction ..................................................................................................................... 1 Positionality .............................................................................................................................. 6 Storytelling ............................................................................................................................. 10 Background on hip-hop ........................................................................................................ 13 Khayelitsha and amaXhosa .................................................................................................. 17 Chapter breakdown ............................................................................................................... 23 Chapter 1 Revolutionary but gangsta ......................................................................... 27 Hip-hop as a revolutionary reaction to rupture ................................................................
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