Explore every episode of the podcast The Hip Hop African

One of Ghana's premier lyricists joins The Hip Hop African Podcast for a conversation about faith, language, competition & Hip Hop, and staying true to his creative vision.

We first encountered Lyrical Joe's music through students in hip-hop courses at Howard University. In this conversation, the award-winning rapper reflects on his journey from leaving school at a young age to becoming one of Ghana's more respected emcees.

"God is not sitting somewhere on a throne looking at me. He's inside me."

Lyrical Joe explains why he resisted industry pressure to simplify his lyrics, discusses the role that faith and self-belief have played throughout his career, and shares how the annual 5th August series evolved into one of Ghanaian hip-hop's anticipated traditions.

The conversation also explores rap battles, writing in English, global audiences, and why lyricism continues to matter in today's music industry.

Lyrical Joe's socials:

• Instagram
• X
• Facebook
• YouTube

Originally released in 2018, this archival episode revisits the 2018 conversation about the role of Historically Black Colleges and Universities (HBCUs) in shaping the field of Hip Hop Studies.

Recorded at Howard University, the panel brought together scholars from 3 HBCUs in the Washington, DC area to discuss the significance of teaching hip hop in Black academic spaces, the relationship between hip hop and activism, and the responsibility of HBCUs to preserve, interrogate, and advance Black cultural knowledge.

In addition to the host, Dr. Msia Kibona Clark are:

• Dr. Greg Carr (Howard University)
• Professor Theodoros Williams (Bowie State University)
• Professor Jared Ball (Morgan State University)

Listening back nearly a decade later, many of the questions raised during this discussion remain just as relevant. Since this conversation was recorded, Hip Hop Studies has continued to grow as an academic field. Since 2018, Howard University launched a Hip Hop Studies minor and now hosts an annual Hip Hop Studies Conference.

If you have not, remember to go to hiphop.howard.edu for information on the Hip Hop Studies minor and upcoming conference (November 13-15, 2026.

In this solo episode of The Hip Hop African Podcast, Msia explores the question: What is Hip Hop Studies?

The episode approaches Hip Hop Studies from an African Studies and cultural studies perspective. Msia explains that Hip Hop Studies is not simply the study of rap music. It is an interdisciplinary field that examines hip-hop culture as performance, politics, language, identity, pedagogy, social critique, and global knowledge production.

The episode traces the growth of Hip Hop Studies in the academy, including Howard University’s historic role in hosting one of the first university hip-hop courses and conferences in 1991. It also discusses the rise of Hip Hop Studies programs at institutions such as the University of Arizona, Bowie State University, North Carolina Central University, and Howard University.

Msia highlights the field’s foundational texts and scholars, including James Spady, Tricia Rose, Joan Morgan, Bakari Kitwana, Imani Perry, Gwendolyn Pough, Jeff Chang, Samy Alim, Murray Forman, and Mark Anthony Neal.

A major focus of the episode is the place of Africa and the African diaspora within Hip Hop Studies. Msia argues that Africa should not be treated as peripheral to the field or only as a source of influence. Instead, African hip-hop scenes and scholarship must be understood as central to how Hip Hop Studies is being redefined globally.

• Nation Conscious Rap — James Spady
• Black Noise — Tricia Rose
• When Chickenheads Come Home to Roost — Joan Morgan
• The Hip Hop Generation — Bakari Kitwana
• Prophets of the Hood — Imani Perry
• Check It While I Wreck It — Gwendolyn Pough
• Can’t Stop Won’t Stop — Jeff Chang
• Roc the Mic Right — H. Samy Alim
• That’s the Joint!: The Hip-Hop Studies Reader — Murray Forman and Mark Anthony Neal

Link to our list of Hip Hop journals

Hip Hop Studies is not only about where hip-hop began. It is also about where hip-hop travels, how communities use it to narrate their realities, and how Africa and the Global South are reshaping the field itself.

Description: The stories told through Hip Hop's musical artists are unique when looked at through an African lens. This episode of Continental Cadences explores why African Hip Hop "hits different" by examining aspects of the genre's complex versions of identity and how they are portrayed through the musical artists' performances. The goal of this podcast episode is to break down three main points that are used as mediums to interpret African Identity: the use of indigenous languages, aesthetics, and political framing, which all contribute to African artists' self-expression and cultural understanding. We explore how language is used as a compass, where indigenous African languages speak to an artist's origins as they use their rap medium to tell their audience something. Artists' aesthetics move beyond the "poor and sickness-ridden" misconceptions placed upon Africa, giving artists an opportunity to represent their livelihoods through visual narratives of African life. Lastly, artistic political framing responds to African artists' relationships with their home countries' political systems and how that affects them. Through this conversation, Diandra, Abiba, and Aardashini stimulate conversation around how audience members are brought into the world of African artists through these points, which bring their identities to the forefront. With the art created by African Hip Hop artists being outstanding in the field of music, their work leaves viewers astonished and inspired to learn more. 

In this episode, we’ll talk about Hip-hop artists who have engaged in protest Literature and Combat Literature based on the analysis of Frantz Fanon’s Wretched of the Earth, as expanded Dr. Msia Clark in her book Hip Hop in Africa: Prophets of the City & Dustyfoot Philosophers.

Throughout the continent, Hip-hop has been used to stand up against injustice, but which artists and songs have engaged beyond critique? We’ll explore a track from South Africa, Fees will fall, which is standing up against the rise of tuition, also how Egyptian rappers such as MC Deeb fueled the Arab Spring/2011 revolution, and the way Somali rapper K'naan used rap to unite a war-divided country.

Theses artist illustrate that combat literature is when artists engage in struggle, instead of only joining in post-movement.  They do this by using music as their weapon to mobilize people in real time. One of the important patterns is how political context shapes the fight. Deeb used metaphors since the government had artists censored, while Gigi and K’naan were more direct in addressing the people with power as they call out the heavy injustice. Hip Hop has become the tool of resistance, where the microphone acts as a weapon to challenge power and amplify marginalized voices. This connects to the theme of resistance in the diaspora, especially when K’naan was speaking on Somalia from outside the country. People should care about this because these artists prove that young people can create real-world change and get involved in global issues. 

Thanks for listening to Buna After Dark. Be sure to check out the artists we talked about below:

Egypt (MC Deeb) –Masrah Deeb

South African (Gigi Lamayne)- Fees Will Fall

Somali K'naan- Soobox

This podcast is hosted by Shamma Alhammadi and Sandra Senpeteri, and it takes a closer look at Ghana through conversation, culture, and personal perspective. We talk about what makes Ghana unique beyond the usual facts, highlighting its history, identity, and the stories that give it real depth.

In this special introduction episode, The Hip Hop African Podcast launches a curated student series featuring standout final projects from the Hip Hop & Social Change in Africa course at Howard University and George Washington University.

These short podcast episodes highlight how students are critically engaging African hip hop as culture, politics, storytelling, identity formation, and resistance. The featured projects move beyond surface-level conversations about music to examine how artists across the continent use hip hop to navigate history, power, language, migration, and social change.

Hosted by Shamma Alhammadi and Sandra Senpeteri, this episode explores Ghana through culture, conversation, and lived perspective. The hosts examine the histories, identities, and stories that shape contemporary Ghana beyond stereotypical narratives.

Diandra, Abiba, and Aardashini explore why African hip hop “hits different” by examining:

• Indigenous African languages in rap
• Visual aesthetics and representation
• Political framing and self-expression

The episode investigates how artists use hip hop to communicate identity, challenge misconceptions about Africa, and create new cultural narratives.

This episode examines African hip hop as protest and combat literature through the lens of Frantz Fanon and resistance movements across the continent.

The discussion includes:

• The Fees Must Fall movement in South Africa
• MC Deeb and the Arab Spring in Egypt
• K’naan and hip hop’s relationship to diaspora, conflict, and national identity in Somalia

Together, these projects demonstrate how hip hop functions not only as music, but also as political critique, cultural memory, and a tool of resistance across Africa and the diaspora.

Hip Hop & Social Change in Africa is an interdisciplinary course examining African hip hop cultures through history, politics, gender, identity, globalization, and social movements. The course is taught collaboratively between Howard University and George Washington University.

Follow The Hip Hop African Podcast for more conversations on African hip hop culture, scholarship, and global Black cultural movements.

In this episode of The Hip Hop African Podcast, we sit down with South African hip-hop pioneer Osmic Menoe to explore the history, evolution, and future of hip-hop culture in South Africa. From founding Back to the City, Africa’s largest hip-hop festival, to building the South African Hip Hop Awards and developing the continent’s first hip-hop museum, Menoe reflects on archiving and institution building. We also discuss AI in music production and what he thinks it means for the future of hip-hop.

“Every step of my journey has been about documenting and archiving the culture.”

Is Afrobeats hip hop? In this solo episode of The Hip Hop African Podcast, Msia breaks down one of the most persistent debates in global music: the confusion between Afrobeats and hip hop.

While the genres often overlap — and frequently collaborate — they are not the same. This episode explores the structural, historical, and political differences between African hip hop and Afrobeats, from breakbeats and cyphers to groove-driven production and dance-centered arrangements.

Msia examines how streaming algorithms, global music marketing, and even academic scholarship have blurred the lines between Nigerian hip hop, Ghanaian hip hop, and Afrobeats. She argues that collapsing the genres erases African hip hop’s activist traditions, lyrical depth, and cultural elements like deejaying, breakdancing, and graffiti.

If you’re interested in African music, global hip hop culture, Afrobeats history, or the politics of genre classification, this episode offers critical context and clarity.

Afrobeats is global. African hip hop is powerful. But they are not the same.

Listen now.

This episode of The Hip Hop African Podcast features Dokta, a pioneering Senegalese graffiti artist, cultural organizer, and hip-hop activist whose work has been central to the development of African graffiti and street art since the late 1980s. Coming to hip-hop through graffiti, breakdancing, and MCing, Dokta represents an early generation of African hip-hop practitioners who understood the culture as a tool for education, community engagement, and social critique.

“I don’t make art just to make it beautiful. I make art to talk to the people.”

As a founding member of the Doxandem Squad and the creator of FESTIGRAFF, one of Africa’s most significant international graffiti festivals, Dokta has helped position African graffiti within global hip-hop networks while maintaining its grounding in local realities. In this conversation, he explains how graffiti in African contexts functions differently than in Europe or the United States—serving not only as visual culture, but as a form of public pedagogy that speaks directly to everyday social and political conditions.

“Graffiti is respect—respect for the community, and respect given back.”

Dokta discusses mentoring youth, resisting artistic imitation, and the responsibility of hip-hop artists to remain accountable to the communities they represent. His reflections offer valuable insight into African hip-hop as a lived practice, an archive of urban experience, and a form of knowledge production.

In this episode of The Hip Hop African Podcast, Dr. Msia Kibona Clark sits down with South African hip hop pioneer DJ Ready D — legendary turntablist, founding member of Prophets of Da City (POC), cultural educator, community builder, and one of the most important figures in shaping Cape Town’s hip hop identity.

“We were the first generation, so nobody understood this music — they watched their kids transform in front of their eyes.”

Ready D reflects on discovering hip hop during the final years of District Six, just before families were forcibly removed under apartheid. He discusses how hearing Rapper’s Delight for the first time created an unexpected bridge between U.S. hip hop and his own lived experiences, and how the trauma of displacement and the political climate of the 1980s deepened his connection to the culture.

From the rise of Cape Town’s early B-boy crews, to the formation of an African-centered hip hop movement, to his powerful contributions as a DJ, radio host, mentor, and intergenerational collaborator, Ready D offers a rare and deeply personal account of hip hop’s development in South Africa. He also looks forward — reflecting on the evolution of DJing, the challenges of the contemporary scene, and the community-based projects he’s building today.

“If you want to be good, you must be prepared to be a student for life.”

This is a rich conversation about culture, politics, craft, and legacy — from one of hip hop’s most respected global pioneers. 

In this episode, we talk with Simon, rapper and co-founder of Y’en a Marre, the Senegalese movement that turned hip hop into a force for political change. Simon reflects on the group’s impact during the 2011 elections, their call for a “New Type of Senegalese,” and his new project Rapping History, which uses hip hop to decolonize education and reclaim African narratives.

“We realized the fight was not only political — it was also about changing mentality.”

Simon discusses his early introduction to hip hop and political awareness through Public Enemy and The Roots, the creation of Y’en a Marre and their role in mobilizing youth during Senegal’s 2011 elections, the idea of the “New Type of Senegalese (NTS)” — reshaping national consciousness. He also discusses government backlash, arrests, and personal risk in political hip hop activism

“Patriotism is not just voting; it’s wearing, eating, and building African.”

In this episode, we’re bringing you a special mixtape featuring 24 tracks released in 2024 and 2025 by MCs from across the continent, including Ghana, Nigeria, Rwanda, South Africa, Tanzania, and Zimbabwe.

The mix highlights:

• Languages: English, Swahili, Ga, Yoruba, and more.
• Artists: Established names like Modenine, M.anifest, Nadia Nakai, alongside rising voices you may be hearing for the first time.
• Sounds: From classic boom bap and Afrobeats-inspired beats, to high-energy club tracks, to conscious and introspective flows.

Inspired by U.S. hip hop podcasts that spotlight new music, this episode aims to showcase the incredible range of hip hop being produced internationally.

The mix begins with South Africa’s Zulu Mecca—who will also be speaking at this year’s conference—and closes with Yugen Blakrok, from her powerful new album The Illusion of Being. Check out the full playlist and links to the featured artists:

• ZuluMecca "Iller Than"
• Modenine "Adidas"
• Wakazi "Crooked Crown"
• Eno Barony "No Manual"
• K. Keed "Dilemma"
• Fid Q & Mex Cortez "Simba"
• Sarkodie "Hustlers Dream"
• Gemini Orleans "Gasoline"
• Stamina "Bado Nipo"
• AYORKOR RONZY "Darkovibes"
• Falz the Bahd Guy & Shaybo "Popping Tonught"
• Angel Mutoni "Ousaah"
• Cassper Nyovest "Kusho Bani"
• Gigi Lamayne "COME OUTSIDE"
• Nadia Nakai & Moozlie "Sipthipithi"
• Eva Alordiah "I Look Good"
• Awa Khiwe "Rap Gandaganda"
• Ugly Dray "Not Love"
• Kweku Smoke "Agyekum"
• Yanga Chief "What If"
• Erigga "Just Breathe"
• MOJO AF "Samson"

In this episode of Let Her Cook called Unapologetic, two of our students dive into the world of African women in hip-hop. They discuss artists from West, East, and Southern Africa: Eno Barony (Ghana), Keko (Uganda), Gigi Lamayne (South Africa), and Reespect (Nigeria), women who aren’t waiting for permission to speak; they’re taking the mic and making space for themselves. From Keko’s fearless visibility as a queer rapper in Uganda to Gigi’s protest-driven lyrics in South Africa, these women use their voices as both art and activism. They also talk about braggadocio, that classic hip-hop confidence, and how African and African American women flip it to challenge what society says they should be. This episode is all about power, presence, and being unapologetically loud. 

Check out our 2019 interview with Keko on Episode 38: Keko on Hip-Hop V. The Politics of Sexuality in Uganda.

Or our 2021 interview with Gigi Lamayne on Episode 63: Gigi Lamayne on Representation & Dismantling Respectability Politics.

• “Becky” by Amine
• “Hello Africa” by Blitz The Ambassador
• “Never Fight an African” by Styles P
• “Sue Me” by Wale

“Sue me, I’m rootin’ for everybody that’s Black.” This lyric embodies more than a mindset as it reflects a movement rooted in solidarity. The African diaspora refers to the global dispersion of people of African descent, beginning with the trans-Atlantic slave trade and continuing through modern-day immigration. According to The African Diaspora: History, Adaptation and Health, the term first appeared in literature in the 1950s and refers to global communities whose ancestors migrated as early as the 15th century (Rotimi et al.). This term is often closely linked to Pan-Africanism–an ideology emphasizing solidarity and unity of people of African descent. 

The global popularization of hip hop aided in creating a platform for artists of African descent, specifically those who migrated to the United States, to express their pride in their identity as well as resistance to racism in their countries. This mixtape explores how first-generation artists from the United States, like Style P, Aminé, Blitz The Ambassador, and Wale, use their music to reflect the complexity of belonging to the African diaspora, highlighting their heritage while speaking out against systemic oppression faced by Black people. 

Since its origin in the Bronx, New York, hip hop has always been an outlet for speaking out about racial disparities and politics. One song on the mixtape, “Never Fight an African,” comes from David R. Styles, famously known as Styles P, who was born to a South African mother and Jamaican father in Queens, New York City, and has never shied away from speaking out about U.S. politics and resisting systemic oppression. In his song, “Never Fight an African,” Styles says:

“Not a Trump supporter, not a Clinton supporter, and Obama slipped too, we need to get it in order…if one brother starves, we ain't eat right” - Styles P

...highlighting a disillusionment with politics, across of parties. His main concern is the advancement of Black people, but in a country where systemic oppression is prominent, he refuses to align with any leader, even the first Black president, if meaningful progress is lacking. Aminé, an Ethiopian artist from Portland, Oregon, similarly addresses the idea that justice for Black people is not dependent on politicians or modern-day America in another song on the mixtape, “Becky,” when he says, “I'm fed up with the looks that we get in restaurants…I'm fed up with a world that I know I can't change.” His lyrics reflect the exhaustion from mistreatment due to his skin tone. Aminé, outwardly, spoke against the injustices in the U.S. during 2020, a year of civil unrest and an increase in Black Lives Matter protests. In an interview about the album done for French Fries Magazine, Aminé states

“My beliefs on these issues have always been the same. The music industry has amplified and spread the messages I believe in. I don’t hold back from letting my fans know what I stand for.” Amine

Together, Styles P and Aminé use their platforms to critique America’s failures in politics and affirm their identities as Black men in society by speaking out against the struggles they go through and reflecting a shared experience of systemic oppression throughout the diaspora. 

This episode is from a 2024 interview with Malal Talla—better known as Fou Malade—a legendary figure in Senegalese hip hop and co-founder of the activist collective Y’en a Marre. A key voice in Senegal's social and political landscape, Fou Malade shares his journey from early musical influences and socially conscious lyricism to organizing protests and grassroots mobilization through music.

In the interview, we explore:

• His early days as an MC influenced by Pan-Africanism, figures like Kwame Nkrumah and Thomas Sankara, and groups like Positive Black Soul
• The evolution of Senegalese hip hop from political consciousness to mainstream commercialization
• The rise and impact of Y’en a Marre and its influence across Africa, including his arrest in the DRC
• How governments have tried to co-opt or silence politically engaged hip hop movements
• The role of hip hop festivals in fostering Pan-African artistic and political collaboration
• His vision for a “new type of African”—one rooted in ethics, activism, and social responsibility

Whether you’re into hip hop, social movements, or Pan-African politics, this episode offers a powerful look into how culture can be used to inspire change across the continent.

We are back after a 1-year hiatus. It was difficult to maintain the production schedule as it was, so we will be scaling down a lot. We will continue to release conversations about Hip Hop in Africa and the African diaspora.

Our first episode back will be an interview with Senegalese hip hop artist and co-founder of the activist collective Y’en a Marre, Malal, aka Fou Malade. He is a major voice in Senegal's social and political landscape. Fou Malade shares his journey from musical influences and lyricism to organizing protests and grassroots mobilization through music. This includes his role in the Y’en a Marre movement and his arrest in the Congo in 2015.

Over the next couple of weeks, we will also be posting two bonus episodes, a podcast, and a mixtape created by students in the Hip Hop & Social Change in Africa class. Additional student mixtapes & podcasts can be found on hiphopafrican.com. This year, gender and the African diaspora were major themes in the projects.

The mixtape The Sound of the Diaspora: Identity and Resistance in African Hip Hop, features the following songs

• “Becky” by Amine (Eritrea and Ethiopia)
• “Hello Africa” by Blitz The Ambassador (Ghana)
• “Never Fight an African” by Styles P (South Africa and Jamaica)
• “Sue Me” by Wale (Nigeria)

In the podcast Unapologetic: African Women in Hip-Hop, two student hosts discuss the power behind the works of several artists, including Ghana’s Eno Barony, South Africa’s Gigi Lamayne, Uganda’s Keko, and Nigeria’s Reespect. The hosts like how these women aren’t waiting for permission to speak, but are taking the mic and making space for themselves.

Again, the podcast will continue to post interviews and conversations around hip hop in Africa and the African world. The goal is to return to the monthly format, with shorter episodes, less than 20 minutes. This is more sustainable. On our website, we will continue to feature additional content and press releases, including information on hip hop events, releases, and news.

ZuluMecca, also known as Mandisa Nduna, has made a name for herself as a rapper and actress. With a unique style and powerful lyrics, ZuluMecca is a versatile artist who transitions between music and acting. A talented lyricist and actor, ZuluMecca's presence in the entertainment industry has continued to grow. She most recently released the EP Seams. This conversation with the podcast and our students took place in April, about 2 months before the EP dropped.

Look, I am in no physical condition to listen to wack shit

The episode opens with the track "Iller Than" and ends with the track "Job Not Finished", both from the new EP. In the episode, ZuluMecca discusses her entry into Hip Hop and some of her influences. She reflects on the balance artists must make between staying true to themselves and servicing the industry. She also talks about having a successful acting career and the relationships between her music and acting skills and interests.

ZuluMecca also talks about her spiritual journey and how that has impacted her career. During COVID-19, ZuluMecca reflects on her creative journey and taking the time to work on her writing and incorporating spirituality into her music. ZuluMecca became an ordained spiritual healer, using this background to inform her hip-hop and bring spirituality to her music.

I gave you prophesy, showed you the God in me I gave you knowledge, gave you Garden routes I gave Harlem Streets, I gave you Carter III, God MC I gave you Vaudeville, all the skill in my discography

Go to the announcements page for information on events and albums discussed in the episode.

In this episode, I break down the road to breakdancing at the 2024 Paris Olympics. I also have a solo debate about the topic of appropriation, referencing Ada Enechi's 2023 article: Are Black People Being Pushed out of Hip Hop?

I also discuss the online hubbub about South African artist Tyla's racial identification, referencing Marti Bowser's article in Blavity.

There are also a few milestones to recognize.

30 years ago...In Ghana, Reggie Rockstone & others were starting the Hiplife movement. In Senegal, Positive Black Soul Recorded their 1st  track "Boul Faale" ("Don't worry") in which they denounced the corruption of the local political system, and the groundbreaking group Daara J is formed. 20 years ago... K'naan released his 1st studio album, My Life Is a Movie. In Nigeria: Mode9 released his 1st album, Malcolm X. In Tanzania, X Plastaz released their first and only album Masai Hip Hop, which put Tanzanian hip hop on the map.

I'm doing a PhD in Streetology, in the University of Life

Breeze Yoko is an internationally known South African graffiti artist. Breeze Yoko grew up in Cape Town, in Gugulethu and Nyanga East. He is known for his vibrant and thought-provoking street art, and for bringing a unique perspective to the urban art scene. His work often showcases a blend of cultural influences and social commentary, sparking conversations and challenging perceptions. With a bold and fearless approach to art, Breeze Yoko's creations have made a lasting impact on the streets of South Africa and beyond, inspiring others to see the world through a different lens.

Breeze Yoko on the graffiti scene in South Africa post-apartheid...

The domination of walls became very, very, very white at some stage, you know, and I think that also influenced what I wanted to reflect on the walls, I thought shit, you know, put on more us on the wall. We're in Africa after all. And slowly that gave birth to what is now slowly becoming a uniquely South African style. There’s crews in Joburg as well, who are adding Ndebele elements into their graffiti. You know, were were starting to learn how to borrow from our cultures in order to develop what we had seen somewhere else. And so, so yeah, the scene grew from that.

Breeze Yoko's work often addresses topics such as inequality, poverty, and the struggles of marginalized communities. One of the remarkable aspects of Breeze Yoko's art is his ability to engage with the local community and involve them in the creation process. He often collaborates with residents, youth groups, and schools to create murals that resonate with the area's history and context. This approach not only beautifies the surroundings but also empowers the community to take ownership of the art and the messages it conveys. His dedication to using art as a platform for change and empowerment sets him apart as a talented and socially conscious artist in the street art scene in South Africa.

Breeze Yoko on the dilemma artists sometimes face when offered money for work that doesn't feed their spirit or takes them away from their goals ...

... that "gotta eat" has fucked us over. As a nation. As a generation. As a race. That "gotta eat" shit. That "gotta get the bag shit"... awe man, we're dying. And our creativity is dying from that as well

• Twitter
• Instagram

Political protests, breakdance competitions, U.S. artists and Africa, new book on London hip hop, call for papers, events on women & hip hop, The Grammys recognizes African hip hop, the Rock & Roll Hall of Fame inducts hip hop, and...

There are also upcoming Hip-Hop events happening in Accra, Johannesburg, Jinja/Kampala, Brussels, and Brooklyn.

In this conversation, Kat and I had the pleasure of speaking with Cameroonian international student and hip-hop artist Astrid Mafogang about her experience in the music industry today as a part of the African diaspora. We dove into the complexities of identity and representation, gaining insight into Astrid’s music-making process and how she views and incorporates her Cameroonian identity into her music, despite living outside the continent and making much of her music in London. 

A special thanks to Astrid for joining us and engaging in this great conversation! She is out on all platforms as Mafogang, please feel free to check her out!

"All of these different cultures are a part of me. I didn't want to limit myself to one sound."

SixSaidIt is a multifaceted artist who seamlessly flows across the borders between hip-hop’s hottest subgenres to create a sound that is uniquely her own. In this wide-ranging conversation, I had the opportunity to speak to Six about the cultural influences that compelled her to rap, her experiences navigating the music industry as an artist who refuses to be put in a box, her songwriting process, and more. Along the way, you’ll hear clips from her two singles “GOAT” and “Bite Size,” as well as her newest release “Japa 2 Japan” which is available now.

For more on SixSaidIt, you can follow her on Instagram, TikTok, and X @sixsaidit and stream her music on Apple Music, Soundcloud, Spotify, and YouTube. Want to learn more? Check out our previous article “Representing The Black Atlantic World: SixSaidIt” on the Hip Hop African blog now.

Special thank you to Six for being part of this episode.

This year, our Spring Series covers South Africa. In this episode, we have a conversation with South African Hip-Hop pioneer Emile YX?. Emile is part of the pioneering Hip Hop group Black Noise, one of the earliest Hip Hop groups in South Africa. He later co-founded the Hip Hop NGO Heal the Hood, which is based in the Cape Flats community of Cape Town, South Africa. A Hip Hop elder statesman, scholar, and educator, Emile visited the Hip Hop in Africa class to talk to us about his work and his scholarship.

A WordPress.com website

This episode is a sit-down conversation with Toni Blackman. Toni is an artist, hip-hop activist, writer, and cultural ambassador. She holds the distinction of being the first hip-hop ambassador to the U.S. State Department, and her work has had a significant impact on the global perception of hip-hop.

She has decades of experience in the U.S. and throughout Africa. She is one of the most well-traveled and experienced hip-hop artists out there and her work has earned her recognition and respect in hip-hop communities around the world.

We met up at the King Fahd Hotel in Dakar, Senegal this past December to talk about her work and to get her thoughts on hip-hop culture globally and the implications of changes in the industry for hip-hop artists. She talks about the idea of “conscious capitalism" and artists balancing art, business, and social impact.

You can make money and make social impact at the same time… I want more artists to know that and understand that.

She also talks about the relationships between hip-hop artists in the Diaspora and hip-hop artists in Africa and offers advice for both. As an artist and activist dedicated to promoting the positive impact of hip-hop and mindfulness, she is recognized for her innovative work and contributions to hip-hop culture. She inspires and engages audiences through her art, education, and social entrepreneurship. Toni Blackman has left an indelible mark on the world of music and cultural diplomacy.

Music and art play a functional role in the lives of people of African descent.

You can find Toni on all major social media platforms, including Instagram and Twitter as @ToniBlackman, and her website at ToniBlackman.com.

Apple Music is celebrating the 50th anniversary of hip-hop with the “Hip Hop DNA” series. One episode is focused on South Africa. The Hip Hop DNA series shows the diversity of hip-hop sounds, histories, and communities worldwide through radio episodes, playlists, and album selections. This episode on South Africa spotlights the country’s hip-hop scene. It dives into the roots of hip hop in South Africa, looking at the early days in the 1980s and 1990s when legendary Cape Town groups like Prophets of Da City and Black Noise gained prominence. It also mentions groups like Skwatta Kamp and Teargas that achieved radio success in the 2000s and early 2010s. Also covered are the more recent hip hop stars – AKA, KO, and Cassper Nyovest – and a new generation of “kwasi-trap” rappers, such as Bravo Le Roux.

SABC – released a series of documentaries to celebrate hip hop’s 50th anniversary internationally and 40 years in SA. The documentaries were shown on Sundays and ran from November 12th – 26th, with a special broadcast of this year’s Back to the City music festival. The first documentary, directed by SPeeKa, was titled “Slaghuis Joint Elements” and told the story of one of the country’s most impactful hip-hop movements, Slaghuis. The next documentary, “Ladies First Women in SA Hip Hop” looked at the gendered dynamics of rap in SA and how women have both shaped and been affected by the music. The final documentary, “Champion’s League,” looked at SA’s battle rap scene and focused on issues of freedom of speech and how youth culture has influenced the art form.

Kendrick Lamar has teamed up with the philanthropic organization Global Citizen on an effort to establish a music touring circuit across the continent. A kickoff event for the “Move Afrika” tour will take place in Kigali, Rwanda at BK Arena on Dec. 6, with Lamar as headliner performing alongside other artists from Tanzania and Rwanda. Lamar is also working with his creative partner Dave Free and his company, pg Lang, on the tour, which has agreed to curate annual shows across the continent for the next five years as part of the initiative. Global Citizen focuses on eradicating poverty, so the Move Afrika project comes with a focus on job creation and attracting other of the world’s greatest artists to the continent. You can get tickets for the December show in Rwanda at moveafrika.org.

THE 21ST ANNUAL CELEBRATION OF THE B-GLOBAL INDIGENOUS UGANDA HIP-HOP SUMMIT will be held in Kampala. This year it will be held December 20-23, and they will be celebrating hip hop's 50th this year. The B-Global Indigenous Uganda Hip Hop Summit is an educational platform that celebrates and encourages indig

A new play by French rap legend, Kery James and French director and writer Marc Lainé. In À huis clos, Kery James plays Soulaymaan, a lawyer whose brother is murdered by the police. Soulaymaan decides to take justice into his own hands and takes the judge who released his brother's murderer hostage. The play debates ideas around democracy, love, and forgiveness; and two visions of the world collide at the heart of a fascinating political drama.

Held during the congressionally recognized Hip-Hop History Month, this conference will take place in Atlanta, GA on November 6- 7, 2023.   The goal of this conference is to celebrate, acknowledge, and promote the importance of Hip-Hop culture in our lives and society. Specifically for this conference, we are interested in highlighting questions around Hip-Hop culture’s inclusion in different regions, southern women emcees and Hip-Hop, Hip-Hop’s future including the role of AI, the continued global expansion of the genre, and numerous other topics. This conference is especially beneficial and relevant in Georgia as Atlanta is now deemed the “Hip-Hop Mecca.” 

The 2023 Global Conference on Hip Hop Education will expand upon our previous theme, which focused on the foundation of the culture and explore how this culture both migrated out of New York to states like California (i.e. the Golden State), and into popular culture and academia in the late 1970s to mid-1980s. Our conference theme “From the Golden Era to the Golden State,” will guide us as we explore the foundation of this culture, understand what brought about an increase in cultural diffusion, and how lessons learned from the golden era can inform current pedagogies, interventions, research, scholarship and practices.

From Toronto to Havana, to London and Stockholm, we will consider the relationships between hip-hop street culture practices, archiving and preservation. Hip-Hop Diaspora: Archiving and Celebrating 50 Years of the Culture will focus on how global hip-hop voices collective marginalities through decolonial historiographic efforts and forges lasting people-to-people relations that echo economies of Black teaching beyond US borders.

Howard Journal of Communications Special Issue: Exploring the Past, Present and Future of H

The 2023 WDSF Africa Breaking Championship took place in Rabat, Morocco, May 6-7. 58 Breakers took part in the Championships, which was officiated by nine international judges, including Kaweesi Mark from Uganda and Vee from South Africa. Moroccan b-girl Elmamouny and b-boy Billy become the first athletes to qualify in the Olympics for breaking.

Moroccan b-girl Elmamouny defeated South Africa's Midian Leah to take the women's title and Moroccan b-boy Billy defeated Moroccan b-boy Tawfiq for the men's title, both winning the inaugural African Championship.

The World Breaking Championship 2023 took place in Leuven, Belgium on September 23-24. The WBC featured 115 b-boys and 92 b-girls from 62 countries, including Algeria, Botswana, Cameroon, the Democratic Republic of Congo, Morocco, Senegal, and Tunisia.

Victor Montalvo (USA) won the men’s competition, Philip Kim, “B-Boy Phil Wizard,” (Canada) came in second place, and Nakari Shigeyuki (Japan) came in third. Dominika Banevic (Lithuania) won the women’s competition, beating Ayumi Fukushima (Japan).

South African hip hop legend Emile YX? hosted a series of talks, discussions, and exhibitions in South Africa, celebrating 40+ years of hip hop in that country. Emile YX? is a member of one of South Africa’s oldest hip hop crews, Black Noise. Emile led these “Hip Hop as Healing” conversations to celebrate the impact of hip hop on youth. The event kicked off at the University of Cape Town (September 28th-29th) and closed at the Back to the City Hip Hop Festival in Johannesburg (October 7th).

The Jam Cypher Battles were held on October 7 in Lagos, Nigeria. Loudbase Ent hosted Top 8 Street Dance Battle Nigeria edition. Top 8 Street Dance Battle was founded in Ireland and funded by the Arts Council of Ireland. The event includes workshops and dance battles and brings together breakers, rappers, DJ,s and graffiti artists.

Fashion Killa: How Hip-Hop Revolutionized High Fashion by Sowmya Krishnamurthy

MC Caro My Way (Liberia)

Wale the Sage Running from Time (Nigeria)

Wordz People Forget to be People (South Africa)

Alfdaniels Mabingo (2022) Re-Contextualising Breakdance Aesthetics: Performance, Performativity, and Re-Enaction of Breakdancing in Uganda, Journal of African Cultural Studies, 34:4, 404-421, DOI: 10.1080/13696815.2022.2132473

In this episode, we speak with Dr. Alfdaniels Mabingo who wrote a fascinating article on breakdance in Uganda for the Journal of African Cultural Studies. Uganda has one of the largest breakdance scenes in the world, and Mabingo examines how the youth have reconfigured, localized, and re-interpreted breakdance aesthetics in that country. He argues that as breakdance spread, and youth innovated the art form, breakdance became part of Ugandan culture. In this sense, breakdance is no longer just a Western import, but Ugandans have evolved a breakdance into a Ugandan art form.

I always say, maybe breakdance is kind of this baby that arrived (in Uganda) by clinging on to the back of this mother that was rap.

The central thesis of Mabingo's article is to show how Ugandans have been able to localize breakdance and make it their own. He also talks about his research methods and his interest in what he refers to as “the jua cali theory”, which is about taking the imported and the local and repurposing them to create something new.

As a scholar and practitioner, Alfdaniels Mabingo was always fascinated as he watched young boys and girls who walked long distances to dance and share talents. He saw this as not just a practice but also a movement. He felt that these self-driven young individuals added character to the city of Kampala.

Alfdaniels association with breakdance groups such as Breakdance Project Uganda (BPU) in the last fifteen years, deepened his interest, and hence decided to interrogate breakdance. He realized that the more he investigated and researched breakdance, the more he noticed how breakdance also provides certain social services within the communities in Kampala and beyond. This service he calls the "functionalities of breakdance." Breakdancers such as B-boy Abdul, worked to inject locally manufactured ideas to make the breakdance responsive and understood in communities. He saw dancers explore ways of blending elements of breakdance and some elements of indigenous Ugandan dances, customs, and music.

The arrival of hip hop culture through breakdance, music, and fashion in Uganda influenced performers such as B-Boy Abdul. Alfdaniels says that in the 1990s, there was a desire among people from Uganda to imitate what was happening in the United States of America. Young Ugandans were heavily influenced by MC Hammer and 2Pac. Later, there was a desire to create something locally that spoke and appealed to Ugandan youth. B-Boy Abdul realized this after attending a competition in the United Kingdom with the "Top Floor" dance crew when their dance was categorized by the judges as not being breakdance. After his return to Uganda, B-Boy Abdul saw the need to take breakdance in Uganda to the next level by fusing breakdance with some elements of indigenous Ugandan dance.

The strength of breakdancers in Uganda, and …across the African continent… is the ability to look beyond the contours of their own space and their own aesthetics and imagination.

Dr. Alfdaniels Mabingo is a dance researcher, scholar,

A new exhibit opens at the National Museum in Ghana in Accra. The exhibit runs from August 27 - December and focuses on hip hop’s global influence and the influence and contributions of Ghana in the global culture of Hip Hop.

They will be exhibiting texts on hip-hop, including Ice Cold: A Hip-Hop Jewelry History by Vikki Tobak, Back In The Days by Jamel Shabazz, Living the Hiplife by Jesse Weaver Shipley, Hip Hop Africa: New African Music in a Globalizing World by Eric Charry, and The Hiplife in Ghana: West African Indigenization of Hip-Hop by Halifu Osumare, and Hip Hop in Africa: Prophets of the City & Dustyfoot Philosophers by Msia Kibona Clark.

They will also be screening films showcasing Hip Hop’s influence globally and Ghana’s influence and contributions to The Culture

An upcoming event in the UK will "highlight how global hip hop practitioners and hip hop scholars remember, historicise and archive the culture locally". It will highlight the local Milton Keynes hip hop scene from the late 1980s to the mid-1990s.

"Apart from standard academic talks and keynote addresses, the conference will also feature novel formats of knowledge production and dissemination, such as knowledge-droppin cyphers, graffiti literacies, or scratch-in-the-surface of ideas sessions. We want to emphasize that knowledge production within hip hop is both an intellectual and an embodied practice, so we explicitly invite participants to experiment with novel ways of presenting their ideas - in a hip hop way."

The International Council for Hip Hop Studies/le Conseil International Pour Hip Hop Et Recherche: CIPHER is a public scholarship project mapping hip-hop knowledge from communities across the world. The conference will be held at the University College in Cork, Ireland. Proposals due: September 2023

These are some of the artists featured in the article:

ZuluMecca | https://www.instagram.com/zulumecca

K.Keed | https://www.instagram.com/whodat_keed/

Dope Saint Jude | https://www.instagram.com/dopesaintjude

Mx Blouse| https://www.instagram.com/sandiblouse

Keko | https://www.instagram.com/kekotown1

Noti Flow | https://www.instagram.com/notiflowmusic

Jude Lemfani Abaga, also known as M.I. Abaga He is a Nigerian rapper, songwriter, and music producer. He was born originally in Jos, Northern Nigeria, and released his debut album in 2008. He was the CEO of the label Chocolate City from 2015 to 2019 and then started his label in 2020 with incredible music. Before getting into the music industry, he studied in the U.S. for a while, then came back to Nigeria and got his music career launched in 2003.

“Hip-hop, as an art form, requires integrity for you to be respected.”

He has received several music awards, including the MTV Africa Music Awards and BET Awards. He is also involved in different initiatives to bring about social and political change in Nigeria; he was declared the U.N. Office of Drugs and Crime Goodwill Ambassador against the smuggling of migrants in 2012. In his role, he was charged with speaking out on and drawing attention to the smuggling issue in Nigeria’s most recent election; his organization TASCK, a creative agency in the last general elections launched a campaign encouraging people to vote.

Having been in the industry for over two decades, M.I. has nuggets of wisdom to share with people in or who are eyeing the music industry. He believes that all upcoming artists should not limit themselves to one genre of music but should instead try different things to find out what they are most comfortable with.

“Every artist has to pick their point, be true to it, and make a case.”

In this episode, M.I. takes us through his music career journey. From how he got into the industry, the challenges he has encountered, how he is mentoring young talents, his experience working with other artists, to his relationship with Afrobeats. He will also enlighten us on the tension between success and integrity for artists. Where do they draw the line?

M.I. is on a mission to solve a big problem in Africa. He is working towards ensuring that creatives starting their careers don’t have to go through traumatic experiences. Through his agency, he is offering them support and infrastructure to help them build sustainable businesses for them from the onset.

Listen to learn more from MI.

“The goal is not to attempt to be perfect. The goal is to attempt  to create with integrity, trust and know, and when you get feedback that doesn’t agree, learn, and grow.”

Peter King Ubiebor also known as Dhoro Styles is a Nigerian street and graffiti artist. He holds a bachelor’s degree in environmental biology from the University of Benin in Edo state, Nigeria. Dhoro Styles has a strong focus on drawing, painting, graffiti writing, and creating murals with spray paints and paintbrush techniques.

In our conversation with him, Dhoro Styles told us that his interest for drawing started at the age of 4, and continued throughout secondary school. He added that it was in secondary school that he did his first graffiti writing with spray paint. Dhoro Styles states that he draws inspiration from contemporary urban cultures, street arts, Chicago murals, and graffiti from the 1980’s and 1990’s. As well as from Uprising, the well-known graffiti artist from Nigeria, and Eminem, the American-based rapper.

“When We Express Ourselves on the [Bridges], We are Living”

Graffiti, according to Dhoro Styles, is a medium of communication. He adds that apart from graffiti addressing social issues, “when we express ourselves on the walls we are living.” This means that graffiti is a culture and a style of a people. Dhoro Styles indicated that he does his graffiti writing and painting on bridges in Lagos, the home of graffiti in Nigeria. 

This is the first episode in our Spring Series, which focuses on Nigeria this year. In this episode, we talked to Victor Uwakwe Izuchukwu, the founder of Loudbase AF Entertainment, a hip-hop community organization formed in Nigeria in 2018. Loudbase is a platform “for creatives in the hip-hop community to nurture and groom skills.” They hold a yearly Hip-Hop conference, most recently in November 2022. The conference brings together hip hop heard from around the world, especially Africa, to celebrate all aspects of hip hop culture. They not only focus on music, but also hip hop dance, DJing, graffiti, and knowledge.

On the 15th of February, 2023, M.anifest visited Howard University, also known as The Mecca, for a historical conversation around the importance of his music and Hip Hop culture as we celebrate 50 years of Hip Hop. M.anifest is one of the most prolific MCs of his generation and came for a conversation at one of the world's most historic Black institutions of higher education. Of M.anifest, the media has called him...

"the foremost rapper on the continent."

M.anifest's first two albums were released while he was in the U.S., where he was part of a generation of African MCs influencing the “underground” hip-hop scene at the time. In the mid-2000s, M.anifest, along with artists like Blitz (the Ambassador) Bazawule and K’Naan, marked the first time that so many African MCs would make an impact on the underground hip hop scene in the U.S., paving the way for the entry into the mainstream of afrobeats artists a decade later.

“is widely considered an icon”

Since M.anifest’s return to Ghana in 2012, he has become an important voice in West African music. He has released several projects and earned recognition at the Ghana Music Awards and the Channel O Music Awards. His collaborations have included songs with artists as diverse as Erykah Badu, Burna Boy, and Vic Mensa. He was recently among the handful of artists that headlined the January 2023 Black Star Line Festival in Ghana hosted by Chance the Rapper and Vic Mensa.

In this short episode, we introduce you to our student assistant producer, Miranda, who will be working with us this semester.

We also discuss plans for the show, plans to propose a new Hip-Hop Studies minor at Howard University, and an upcoming visit by Ghanaian hip-hop artist M.anifest. The episode starts with the song "Too Bad" from M.anifest's latest album From Madina to the Universe.

This is a short episode we recorded to send out a couple of announcements and to acknowledge the 50th anniversary of Hip Hop.

The initial objective was to examine the music of 2nd generation African artists in America to understand how they

1. Represent Black identities
2. Discuss shared experiences
3. Represent Africa

 "In our simplicity we are elegant/so to us your coat and tie are irrelevant/give up my culture for your religion?, I can't"

The artists were:

1. Nipsey Hussle (1985): Los Angeles/African American and Eritrean parents
2. Lola Monroe (1986): Washington, DC/Ethiopia
3. Bas (1987): New York/Paris/Sudan
4. Maxo Kream (1990): Houston/Nigeria
5. Wale (1984): Washington, DC/Nigeria
6. Amine (1994): Portland/Eritrea & Ethiopia
7. Chika (1997): Montgomery (Alabama)/Nigeria
8. Doja Cat (1995): Los Angeles/American and South African parents
9. Earl Sweatshirt (1994): Chicago & Los Angeles/African American and South African parents
10. Thutmose (1995): New York/Nigeria

Some of the European artists studied include.

1. Sefyu (1981) France/Senegal
2. Shay (1990) Belgium/Congo
3. Bree Runway (1992) UK/Ghana
4. Stormzy (1993) UK/Ghana
5. Niska (1994) France/Congo
6. Enny (1994) UK/Nigeria
7. Little Simz (1994) UK/Nigeria
8. Shaybo (1996) UK/Nigeria
9. J Hus (1996) UK/The Gambia

The songs played in this episode are

• “My Sweetie” by Wale
• “Roots” by Amine
• "I Want” by Enny
• “Woman” by Little Simz
• “En noir et blanc” by Sefyu
• "Gentleman" by M.anifest and Wanlov the Kubolor
• "Dollar & a Dream" by Blitz the Ambassador

Eavesdrop is a multi-hyphenate artist who is an MC, a producer, a director, and an actor. She has been active in Cape Town's Hip-Hop scene for almost 2 decades and as a lyricist she often produces meaningful lyrics, expressing ideas that have depth.

In this interview, we had an important conversation with Eavesdrop about the importance of representation and authenticity. We talked honestly about sometimes feeling conflicted on how best to support younger artists, especially women. Strength and confidence are a prerequisite for being a Hip-Hop artist, and we reflect on how to support other women while encouraging them to rely on their own strength and confidence to excel.

“If you need me to hold this door open for you, how are you going to learn the weight of this door?”

We also discuss South Africa’s political history and how that influences the presence and participation of women in Hip-Hop. Eavesdrop introduces us to the concept of “imbokodo” (“rock” in Zulu”), which emerged during the anti-apartheid movement. A common chant during the movement was “Wathint’abafazi, wathint’imbokodo!” (“You strike women, you strike a rock!”).

“As an MC you’re seen as imbokodo, you’re seen as that rock, you’re seen as that pillar, and you are somehow helping to preserve that legacy that your country is known for … for its strong women”

We also talk about the cost of authenticity. Eavesdrop says that being authentic to yourself as an artist is freedom. It often does not mean wealth, but it does mean freedom. In an industry where some equate talent and success with material things, placing higher importance on wealth than on the actual art or the message, Eavesdrop reflects on the importance of being her authentic self

“When you live in the ghetto, your TV is never off… It’s just constantly running a program on you.. we have a lot of work to do in terms of rewriting that code”

Eavesdrop is on Facebook and Weebly

DJ Azuhl is a prominent South African DJ with Beat Bangaz, a DJ collective out of Cape Town. He was born and raised in Cape Town and has been involved in the Hip-Hop community in Cape Town since the 1980s. 

DJ Azuhl started out breakdancing with the legendary Breaking crew Brasse Vannie Kaap (BVK). He’s a co-founder of the Beat Bangaz DJ Academy and Beat Bangaz Radio. He also works with Hip Hop Education South Africa. 

In this interview, DJ Azuhl talks about the early years of Hip-Hop in Cape Town, especially during the years that South Africa was under apartheid rule. DJ Azuhl also shares his perspective on DJing and Hip-Hop culture in South Africa, and the art form of the Hip-Hop DJ. Cape Town’s old-school artists are often heavily involved in mentoring young Hip-Hop heads, and DJ Azuhl talks about the importance of reaching back and giving back to the culture. 

Ghanaian hip hop duo FOKN Bois use satire to convey important social commentary on religion, politics, and sexuality. In this episode, they share their experiences and the thoughts that have gone into music and the messages they deliver.

The duo talks about their decision to rap and write in Pidgin English, which they say stems from needing to “express more of self” to reach their own people. For them, rapping and writing in Pidgin English “brought a new sense of freedom and originality”.

Wanlov and M3nsa also discuss their reputations for being rebellious and the need to incorporate humor into their conscious rhymes; and how they sneak “difficult conversations” into their comedic rhyme schemes to reduce resistance to the message that they come to deliver to their people.

“It’s extremely cathartic to be able to turn your problems into laughter”.

Additionally, in responding to student questions, FOKN Bois share with the students their creative process and influences, and the things that keep them going.

FOKN Bois are online on Twitter and Soundcloud @foknbois

In this episode of The Hip-Hop in Africa Podcast, we interview Ghanaian Hip-Hop artist Keeny Ice, from the bordertown of Aflao in the Volta Region of Ghana. Keeny Ice, whose lyrics are fast-paced, and rhymes complex, mixes languages, but primarily raps in Ewe. The talented lyricist joins us for part of our special spring podcast series with Words Beats & Life.

The conversation opens up with Keeny Ice sharing his experience of growing up in Aflao, where there was a lack of jobs and opportunities for Keeny Ice. He chose the music route as it was better and offers him an opportunity to use the platform to uplift the voiceless.

The conversation flows into Keeny’s style of rap. Being a versatile rapper, Keeny shares with us the different languages he employs to spread his message. When asked about how he goes about picking the language he uses in his delivery Keeny exclaims, “Birds Speak Bird Language”, which translates to his “need to do music in his language, a language that he’s comfortable in,…in order to represent his people”. He primarily uses Ewe, but sometimes blends English into his music.

“Music is a global language”

Students engage Keeny Ice directly with thoughtful questions, and Keeny Ice replied to students’ questions with authentic, honest answers. For example, when asked: “What part of the music does he enjoy?”, Keeny Ice says, “performance”. He takes his performances seriously. More than just a single-word response, Keeny Ice dives into how he envisions how his performance will appear, which in instances, aids him in the manner by which he constructs his rhymes.

Keeny Ice knows his craft, and opened up and shared with the audience about his life journey and how he overcame his doubts about pursuing his passion. He expresses his love for Hip-Hop and enjoyment of art in general. Additionally, more than just talking about music, Keeny Ice talks about the KICA Foundation; an NGO that he is involved with that encourages teaching and learning of creative arts in schools.

The intro song is "Living Dead" and the outro song is "Made in Aflao"

Keeny Ice is online at:

• SoundCloud: @keenyice
• FB: @KeenyIceGH/
• IG: @keenyice

The episode was produced by Kilimanjaro Studios in Beltsville, MD

In this episode of Hip-Hop in Africa Podcast, have a long-awaited interview with Tanzanian artist, Fid Q. The conversation begins with a discussion of Fid Q's legacy in Tanzanian Hip-Hop and his impact on the genre. We discuss his connection to Tanzanian youth and his impact with his music as he relates to his listeners on a deeper level. The conversation continues to discuss his previous projects that have been influential to his career and how he plans to move forward with similar Hip-Hop projects.

We also discuss the future of Tanzanian Hip-Hop, and about his collaborations and his thought process behind collaborating with the various artists he worked with. Fid Q also touches on how he pays homage to legendary MCs in the pioneering Hip-Hop group Kwanza Unit. He explains his perspective on the differences between the older generation of MCs versus the younger generation.

The discussion continues onto the controversy surrounding languages used in the Tanzanian music industry. This moves the interview to speak on globalization and how it has changed Tanzania to speak English and other languages. Fid Q does mention that it is imperative to be proud of tradition as well, regardless of the choice of language used in an artist’s music. While globalization has caused controversy regarding language, we touch on how music is able to travel beyond borders to reach wider audiences, even mentioning how Fid Q’s music has become international. Fid Q mentions how his music is listened to and his struggle with streaming. The interview ends with questions around Tanzanian Hip-Hop artists being invited to perform in the U.S.

Fid Q is on Twitter & Instagram

Part of the interview was recorded at Kilimanjaro Studios.

In part 2 of our conversation with Dr. Sipho Sithole, he discusses the regional differences in South African hip hop. He talks about the hip hop scenes in Cape Town, Durban, and Johannesburg. He also discusses the linguistic differences in South African hip hop and the role ethnic identity plays in the styles and languages artists utilize. He also looks at the evolution of pop music in South Africa, from kwaito, to gqom, to amapiano.

Sipho also discusses the dynamics within Coloured communities in South Africa, and the relationships between Black and Coloured South Africans. He provides history of the origins of Coloured South Africans among the Khoi & San (first nation) communities, and their forming close-knit communities. The hip hop that came out of those communities, largely based in Cape Town, addressed the social ills happening in the Coloured townships. In looking at the divisions between Black and Coloured South Africans, we compare it to the relationships between African Americans and African immigrants in the U.S.

There are not many discussions around Black & Coloured relations in South African hip hop, so it was important to get a perspective on the history of those relationships.

Intro song: "Yesterday" with Zakwe, Zuluboy, & Zola

Dr. Sipho Sithole (@DrSiphoSithole) is a Research Fellow at the Johannesburg Institute for Advanced Study (University of Johannesburg) and holds a PhD in Anthropology, a B.Sc in Political Science and International Relations, and an M. Sc in Industrial Relations and Personnel Management. Dr. Sithole’s research revolves around language identity, culture, migration, and integration. Sithole has a long career in hip hop & is the founder and owner of an important and multi-award-winning music production house, Native Rhythms Productions, & Native Rhythms Records.

Dr. Sipho Sithole (@DrSiphoSithole) is a Research Fellow at the Johannesburg Institute for Advanced Study (University of Johannesburg) and holds a PhD in Anthropology, a B.Sc in Political Science and International Relations, and an M. Sc in Industrial Relations and Personnel Management. Dr. Sithole’s research revolves around language identity, culture, migration, and integration. Sithole has a long career in hip hop & is the founder and owner of an important and multi-award-winning music production house, Native Rhythms Productions, & Native Rhythms Records.

"You must never romanticize poverty"

Sithole has is credited for helping mainstream hip-hop in South Africa when he signed Skwatta Kamp in 2003, the first group to achieve platinum sales. He held what he says is the 1st African hip hop summit in 2005 He is also a producer, winning awards for his production work on Thandiswa Mazwai’s debut album, Zabalaza (2004).

In this interview, he talks about his involvement in the growing hip hop scene in South Africa in the early 2000s. It was a time when kwaito's mainstream popularity was declining, and Sipho Sithole talks about the decision to begin working with hip hop artists. He also talks about the role of the township in producing and shaping the South African hip hop scene, as well as social consciousness.

"In South Africa, you may be the best rapper & you may have the best rap album, but if your song cannot be understood and played in the village, similar to the way it would be played in the township or in the city, it's just a good hood hip hop song."

In part 2 of this interview, we delve into a discussion of race and identity in South African hip hop, and the spaces within hip hop that Black and Coloured South Africans occupy.

Born in Zambia, Sampa the Great lived in the United States, Australia, and Botswana. With multiple African and Diaspora experiences, her music and style are very Pan African. Her work is Pan African in a very organic way. It does not claim to be conscious or preach about Pan Africanism, it just is. Because of this, as a listener, there is joy in listening to music that speaks to our multicultural Black identities. In this interview, she talks about existing as a Black person in different cultural spaces and her interactions across the continent and in the Diaspora.

Sampa the Great also talks about her experiences with racism and self-identification while studying in the US in the early 2010s, and later after she moved to Australia. She also talks about the differences between racism in the US and racism in Australia. She delves into the differences in the social unity of Black people in the US and in Australia, where in the US there is a division between Black immigrants and multi-generation-US-born Blacks and in Australia there is an understanding of the importance of Black unity in the face of living in societies that are held up by institutional racism.

As an artist, Sampa the Great released her first mixtape in 2015 while living in Australia. Several singles, EPs, and mixtapes later, she released her debut solo album, The Return, in 2019. The album peaked at No. 12 on the Australian music charts. She went on to win Best Hip Hop Release at the 2019 and 2020 ARIA Music Awards, Australia’s top music award. In 2020, she also won the ARIA award for Best Female Artist and Best Independent Release.

Sampa the Great has been very outspoken about racism in Australia through her music and performances. She has also been outspoken about the role of women in hip hop and the importance of representation as an African artist on an international stage.

Sampa the Great in Instagram and Twitter as @Sampa_The_Great

This episode is the last of the special series that we did in partnership with Words Beats & Life. The series was recorded and live-streamed with students in the Hip Hop in Africa class at Howard University and George Washington University.

Xidus Pain is a Zimbabwean artist who grew up in the UK. He’s based in London MC who has been involved and influenced by the UK hip hop scene since he was a young kid. He currently works in schools, universities, communities centers, and prisons as a hip-hop educator. He's been doing this for over ten years. As an artist, he has worked with musicians from around the world from members of the Royal Philharmonic Orchestra to Rap Legend Special Ed. 

Xidus Pain is also a Director at Beat This, a community-based organization that works with young people in London, and a manager with Generation HipHop UK, a global empowerment and development program. He connected with The Hip Hop Africa via Hip Hop Loves, a hip-hop NGO that works with hip-hop artists and activists globally.

In this episode, we have a great conversation with Xidus Pain about the history and growth of hip hop in England. He talks about the development of the various hip hop elements in the UK, as well as the drill and grime music scene. Grime is a genre created by Black artists in England that comes out of UK hip hop culture.

Xidus Pain also talks about the influence of religion on his music and his decision to not use profanity in his lyrics, his lyric writing process, and what influences him. He also talks about the impact of Brexit on the hip hop scene in the UK.

Xidus Pain is on Instagram and Twitter

This episode is part of the special series that we did in partnership with Words Beats & Life. The series was recorded and live-streamed with students in the Hip Hop in Africa class at Howard University and George Washington University.

Buddha Blaze is a Kenyan blogger, podcaster, and music industry insider with over 20 years of experience. He has worked throughout the continent and the diaspora with artists and producers from around the world. He was a major part of the British Council's WaPi (Words & Pictures) initiative, which showcased hip hop, poetry, fashion breakdance, and graffiti culture in Nairobi. He has also consulted numerous artists in the business and worked on several projects with international artists and producers.

A major figure in the Kenyan hip hop scene, he was recently seen on the Nairobi-based What’s Good Africa?, the only show on P. Diddy’s RevoltTV to focus on hip hop culture in Africa and one of the only shows airing on a US network to focus on hip hop culture in Africa.

In this conversation, Buddha Blaze talks a lot about the changes he's seen in the industry over the years and some of the skills artists need to navigate the industry today. He also talks about his involvement in the growth of the cultural scene in Nairobi, which has grown to become the largest music, film, and contemporary art scene in East Africa.

Buddha Blaze is Twitter @ItsBuddhaBlaze and Instagram @buddhablazeworld

Intro and outro beat by Nigerian producer @teckzilla108

This episode is part of the special series that we did in partnership with Words Beats & Life. The series was recorded and live streamed with students in the Hip Hop in Africa class at Howard University and George Washington University.

Interview in Video