This episode features a conversation with Ghana's Minista of Agrikulcha (MOA). The multilingual, transnational MOA was born in Ghana, but lived in the Ivory Coast for several years. In the Ivory Coast he was part of that country's hip hop scene in the 1980s and 1990s. He moved to the US for college in the early 2000s, where he got involved in the undergraduate rap scene. He released his first album, Travelwyze in 2004, as a member of the rap duo Ambassadoz with fellow member Akan. In this interview, we talked about his experience in the U.S., especially in the early 2000s when there were several Ghanaian MCs in the US at the same time. We talked about his experience in the industry and his work with Nomadic Wax and his past appearances at the Trinity International Hip Hop Festival. We also spoke about the importance of language and incorporating different languages in his lyrics. We also touched out the influence of African MCs in US hip hop. MOA is on IG at https://www.instagram.com/the.official.moa/ The video version of this and other episodes are on our YouTube ChannelContinue reading

Hip Hop African Podcast

HHAP EP. 64: Minista of Agrikulcha (MOA) on the African presence in U.S. hip hop

This is the first in a special series of episodes being recorded lives with African Studies students at Howard University and George Washington University. The series is co-hosted with Words Beas & Life, who is also live-streaming the episodes on their Facebook page (facebok.com/wordsbeatslife) on Wednesday nights at 5pm EST. The schedule is on our website at hiphopafrican.com. A part of the “born free” generation, Gigi Lamayne grew up in Johannesburg, South Africa after the fall of apartheid. She graduated from Wits University with a Bachelor of Arts Degree in Media and Anthropology in the midst of the #FeesMustFall movement. Rapping since high school, she released the powerful track “Fees Will Fall” just months after graduation. Considered one of South Africa’s best lyricists, her music addresses topics like Black pride, gender-based violence, feminism, sexism, and the shadiness within the music industry. We first interviewed Gigi Lamayne in 2017. She has continued to find mainstream success while addressing serious topics in some of her songs. In the conversation, she talks about her career, her views on the resilience and activism of South African women, race in South Africa, the relationships between women in the industry, and the stigmas and views around mental health in Africa. The video version of this and other episodes are on our YouTube Channel: https://www.youtube.com/channel/UC43HnRR6MNq5DePBVKZZ7LQ Links https://www.gigilamayne.co.za/ https://www.facebook.com/Queen.Gigi.LaMayne https://www.instagram.com/gigi_lamayne https://www.twitter.com/gigi_lamayne https://www.youtube.com/channel/UCRvC54bgRUtn48RbCvuZJZA https://itunes.apple.com/us/artist/gigi-lamayne/1455356528?ign-gact=3&ls=1 https://open.spotify.com/artist/3405LTbL2jP8J0gVQK3087?autoplay=trueContinue reading

HHAP EP. 63: Gigi Lamayne on Representation & Dismantling Respectability Politics

HIPHOCALYPSE Fort-Knights was a radio show first produced on the campus of Rhodes University in South Africa in 1999, and made available on podcasting platforms in 2006. The podcast ran for about three years, releasing more than 20 episodes, some of which can still be heard on Podomatic. HIPHOCALYPSE Fort-Knights was the first regularly produced podcast on African hip hop. The show was the only place to get a variety of music from MCs across Africa, featuring early music from artists like Blitz the Ambassador, HHP, K’Naan, M.anifest, Modenine, and Yugen Blakrok. The show was also pioneering in that it played hip hop from all over Africa, from major hip hop scenes like South Africa to lesser-known hip hop scenes like Equatorial Guinea. The show was on podcasting platforms before most hip hop artists in Africa had a solid social media presence, and before podcasting became part of hip hop culture. While today there are streaming services, like PEPR Radio, there is still a void in terms of podcasts one can download to hear what’s happening with hip hop across Africa. In this episode I talk to Sensai T8, one of the founders of HIPHOCALYPSE Fort-Knights, about the show’s start and its evolution into a podcast. We discuss some of the artists that appeared on the show’s playlist, and the show’s legacy in documenting African hip hop during that period in time. Sensai T8 can be found on Instagram at @SensaitateContinue reading

HHAP Ep. 62: Sensai T8 and The HIPHOCALYPSE Fort-Knights Podcast

In this palaver, we have a lively chat with Ghanaian hip hop/hiplife scholar Dr. Nii Kotei Nikoi. We talked about the hiplife and hip hop music industry in Ghana, especially one of the country's most popular artist's Sarkodie. Nii discusses the structure of Ghana's music industry, the way artists construct their images, and the role of class (and language) in Ghana's popular music scene. We also get into an interesting conversation around collaborations between African and Diaspora artists in Beyonce’s Black is King project and the depictions of Africa in the Black Panther film. Nii Kotei Nikoi is an assistant professor of Global Media and Digital Studies at The College of Wooster in Ohio. He studies African popular culture, and has a special focus on how popular culture reinforces and challenges existing ideas around race, gender, and sexuality. His work is influenced by his background in graphic design and documentary photography. Currently, his research examines development discourse in Ghanaian popular culture. Check out his latest article, "Hiplife Music in Ghana: Postcolonial Performances of the Good Life." in the International Journal of Communication  14 (2020): 19. He also hosts the podcast Our Culture. Season 1 of the podcast includes on several reflections on a range of topics. EPISODE CONTENTS 1:50 The performance of material success in popular music in Ghana 8:08 The popular use of Ghanaian languages and clothing in the Ghanaian music scene 15:00 An analysis of the class divides and language choices in the beef between Sarkodie and M.anifest 26:20 The participation of women in hiplife 33:17 African scholars doing (hip hop) research at home 48:03 I try to get Nii to take the bait and engage in the discussion on Nigerians “borrowing” music from Ghana 52:52 Beyonce & the collaboration with African artists on the Black is King project 1:03:03 Black Panther & the homogenization of Africa, and the presence of Africa film industry in generalContinue reading

HHAP Ep. 61: An African Hip Hop Palaver

Dope Saint Jude is a South African hip hop artist who was born and raised Cape Town. A former Political Science student at the University of Cape Town, she started her hip hop career in 2011 as a drag king. Her drag king persona was Saint Dude, and resembled rapper Lil Wayne. After releasing several singles, Dope Saint Jude’s first EP, Reimagine, was released in 2016, Her second project, Resilient, was released in 2018. It included the song "Grrrl Like”, which opens this episode and has been one of her biggest hits. The song was also featured in the teaser for the Netflix original series Blood & Water https://youtu.be/OV9Ma4F_xyA. Dope Saint Jude has also performed at Afropunk, been featured in Vogue & Marie Claire, and been part of major advertising campaigns. In this conversation we discuss the social relevance of her music. Well versed in the politics of intersectionality, Dope Saint Jude is very intentional in what she does. In her music she weaves intersecting identities into lyrics that challenge listeners to reconsider their ideas about who they think Black, Coloured, queer South African hip hop women should be. You can find Dope Saint Jude's music on streaming platforms. She is also online at dopesaintjude.com, twitter.com/DopeSaintJude, instagram.com/dopesaintjude, and youtube.com/channel/UCdGiyFXiSgtTCXu1AGUeK3A.Continue reading

HHAP Episode 60: The Dope Saint Jude Episode

Moonaya is an extremely talented MC in one of the strongest hip hop scenes in the world. A Pan Africanist, her background represents her political views. Moonaya is originally from Benin, but she grew up in Senegal. While her father is Senegalese, her mother is Togolese, and one of her grandmothers was Nigerian. She grew up in a musical home where she heard a range of African music, as well as music from across the Diaspora. While she went to school to study law, she’s been writing hip hop music for almost 20 years. Her debut album, A Fleur 2 Mo was released in 2009. Her more recent project, the EP Petit Oiseau, was released in 2019. In 2017, she became the 1st Senegalese artist to sign with Sony. Over the years, her music has dealt with a range of topics. In “J’déprim” (I’m Depressed) she discusses the impacts of depression, in "Il est temps” (It’s Time) she talks about Pan Africanism and Black liberation, and in the song “Qui” (Who?) she samples Malcolm X’s speech and talks about self hatred and Black peoples. Moonaya also spoke a lot about European, American, and even Chinese imperialism in Africa. She spoke about the exploitation of Africa’s resources, European hands in African conflicts, and the continued colonial relationship between France and francophone Africa. She also spoke about the struggles being faced by Black people all over the world. "We are the richest continent, but we are the poorest people, and this is not normal!" Moonaya In this interview we also discussed the hip hop scene in Senegal. Senegal has a few women’s hip hop collectives, which have served as a resource for artists willing to work to build their careers. Moonaya talked about her experiences with these collectives as well as how helpful they have been to other artists. We also discussed the influences on her work, especially the growth of her own social and political consciousness. We also discussed the role of Western researchers in Senegal. Senegal has one of the most researched hip hop scenes, outside of the United States. Most of these researchers are White, and come from Europe and the US. A lot of the research that is produced on Senegalese hip hop is problematic. There are some American researchers, like Catherine Appert and Colleen Neff, who have done extensive work on hip-hop in Senegal, and have also pointed out the problematic ways that other Western researchers have written about hip hop in Senegal. Often because of language, Black scholars often choose to go to anglophone countries, and few do work in Senegal. Moonaya and I talked about the fact that more Black scholars need to go to Senegal, and we discussed some of the ways to overcome the language barriers: Hire a translator! While there is tons of scholarship on Senegalese hip hop, there is a need for scholarship on hip hop’s Pan African connections in Senegal. On how through hip hop culture, the Senegalese are in conversation with the African Diaspora. To hear more of Moonaya’s music, she is on social media in all of the usual places: https://www.youtube.com/channel/UCTKkp-gOdxcmRBV7faC7w0Q https://www.instagram.com/moonaya221/ https://www.facebook.com/MoonayaOfficiel https://twitter.com/moonamuzik https://itunes.apple.com/us/artist/moonaya/1435034416 Continue reading

HHAP EPISODE 59: Moonaya on Dakar’s hip hop collectives, hip hop Pan Africanism, & Western imperialism in Africa.

The Lounge Tanzania Mixtape Volume 1 is a project that brings together Tanzanian and Diaspora singers, rappers, and poets. The project features artists that are internationally known, as well as artists just starting their careers. In this conversation with seven of the artists, we talk about the evolution of the project and how the project reflects hip hop and popular culture in Tanzania. We also discussed the message the project sends to the music industry in Tanzania, which has tended to only promote one style of music. We talked about the collaboration between English and Swahili performing artists, the lack of East Africa representation in recent projects like Black Panther and the Lion King, and how this project shows East Africa's engagement in Pan African projects as well. The seven artists interviewed in this episode are Mike Tareto/IG: @miketareto Joe Legendary/IG: @joelegendary Shamsa/IG: @vikombeviwilivyakahawa Fete Jen/IG: fete_jen Ronny aka Ty Charls/IG: @ronnycharlz Mex Cortez/IG: mex.tz FG Tony/IG: @fg__tony The episode begins with "Tougher" by Lo SayAloha Ski and Mex Cortez and "Wale Wale" by Zenji Boy. The episode ends with "No Time For Trash" by Mex Cortez. The video version of this episode can be found on our YouTube Channel The mixtape can currently be streamed on the following platform: https://soundcloud.com/fete-jen/sets/the-lounge-mixtape-vol-1 The artists on the project are Mex Cortez Frankie Maston Joe Legendary Chi Lufu Mike Tareto V.I.C. Zamdazitta Lo SayAloha Ski Zenji Boy Sima FG_Tony Ty Charlz Mteganda H ShamsaContinue reading

Hip Hop African Podcast Episode 58: The Tanzanian and Diaspora Artists Behind The Lounge Tanzania Mixtape

An MC, activist, and actor, Octopizzo was born in Nairobi, in the notorious Kibera slums, one of the largest slums in the world. His mixtape and album releases include: The Come Up V 1 (2008; Mixtape), El Classico (2014; Mixtape), Chocolate City (2014; album), LDPC (2015; album), Refugeenius (2016, album), and Next Year (2018; album). He addresses a lot of social issues, including poverty, ethnic tensions, corruption, and the legalization of marijuana. He is also one of the few MCs to seriously and consistently address the issues around refugees. Kenya is home to a lot of refugees from surrounding conflicts, including people fleeing violence in the Congo, Sudan and Somalia. On the album Refugeenius he collaborated with 20 Refugees from Kakuma & Dadaab Refugee camps in Kenya. Octopizzo is the founder of the youth group Y.G.B. (Young, Gifted, and Black), which is a collective of MCs, poets, graffiti artists, graphic artists, and dancers. He founded his not-for-profit Octopizzo Foundation in 2015 and through the Foundation, he tries to use culture and sports to reach the youth. More recently he has joined other activists addressing police brutality in Kenya, and drawing parallels between police violence in Kenya & the US. Recently he was involved in protests in front of the US embassy in Nairobi, holding up a sign of people killed and injured by the police. Recently, there have ben reports of over a dozen deaths at the hands of the Kenyan police supposedly trying to enforce a dusk to dawn curfew put in place to slow the spread of Corona. The songs featured in the episode are “Nu Afrika” in the opening and “Another Day” in the closing. Octopizzo can be found at: http://octopizzo.com/ | @OCTOPIZZO on Twitter & Instagram The video version of this episode is on our YouTube channel: https://youtu.be/ZOu5ILtZ-VcContinue reading

HHAP Episode 57: Octopizzo on Hip Hop, Refugees, and POlice Brutality in Kenya

Lord Ekomy Ndong, has been a leading voice in the African hip hop scene since 1990, when he founded the Gabonese group Movaizhaleine. Movaizhaleine's 1999 debut album was Mission Mbeng. He released his 1st solo album, L’Afrikain, in 2003. It is considered by many to be a hip-hop classic. Over his career, he has done collaborations with several artists, and released numerous studio albums. Around the time of the 2009 elections in Gabon, Lord Ekomy Ndong released the singles “300”, “809” and “Engongol” (What a Shame). The songs were critical of both corruption in Africa, and of France’s controversial presence in Africa. In 2011, with his 11th studio album, Ibogaine, he once again took shots at France. In the song “Questoins Noires” (Black Questions), he talks directly to French President Nicholas Sarkozy about France’s military presence in Africa. His 2017 album, La Théorie Des Cordes (A Theory of Cords), he reflects on the global protests that took place in the Gabonese diaspora around the 2016 election in the song “Sur mon Drapeau” (By My Flag). In this interview, we spoke about his career and hip-hop culture in Gabon. We also spoke about France’s occupation of Africa, and the implications of that occupation. We also talked about his outspokenness, and the price paid by musicians who speak out against corruption and politics. This past May, he released the album Petit Mutant Dans son Coin which can be found on online streaming platforms. Facebook: @LORDEKOMYNDONG Instagram/Twitter/SoundCloud: @Ekomy The video of this interview can be found on The Hip Hop African YouTube channel. Continue reading

HHAP Episode 56: Lord Ekomy Ndong on Gabonese Hip-Hop & French Politics

South Africa is almost indisputably leading the pack right now in terms of quality hip-hop music produced on the continent. South African rappers, more so than any other African rappers I’ve researched, have that distinct level of lyrical ability and production quality which makes hip-hop great. In an article highlighting some of the top African Hip-hop artists, Joey Akan says that “the power of hip-hop lies in the South of the continent, as rappers from South Africa continue to drive the pulse of the culture. Much of the hip-hop in South Africa is derived from Western beats and samples mixed with localized rhythms and accents and drives the urban culture of the continent.” As I dove into the discography of different South African artists, I could almost immediately identify an American hip-hop song that I felt it paralleled. Some artists rapped over more mainstream style beats, whether it’s upbeat with African drums or bouncy r&b vibes. Most artists in this mix rap in their native languages- including Zulu, Swahili, and Xhosa. They mix in AAVE fluently. Sometimes verses will be all English. There are different factors that determine what language an artist speaks. Most of the time, it is just what depends on how they are most comfortable delivering the message. In the case of more mainstream artists, they will rap/sing in English to reach larger audiences. In All of the songs I selected for this mixtape, I felt the artists were right “in the pocket” in their verses. Being “in the pocket” in both music and dance means to be rhythmically in sync and fluid. Each of these songs I felt had complex cadences, fluid transitions, and essential elements of quality hip hop. Speeka- “Party ya Mapantsula” The first song on this mix of very talented South African artists is “Party ya Mapantsula” by Speeka featuring Noks Matchbox, Sfilikwane, Mthizo & Jef. Speeka is a well-known producer in South Africa who collabs with many rappers. Rappers are eager to hop on his beats. Most of the song is in Zulu and what sounds like some Xhosa- both are South African languages. Mapantsula is a Zulu slang term meaning petty gangsta. So the song title means Party with petty gangstas or Party of petty gangstas. The vibe of the songs parallels group songs by American artists like- “Mercy” which features Big Sean, Pusha T, 2chainz, and Kanye Wet, or “Down Bad” which features JID, J cole, Bas, and Nudy. “Party ya Mapantsula” takes on the general braggadocio style rap, where rappers talk their shit- explaining their come-up, lifestyle, and origins for 16 plus bars. Sfilikwane- “Vandal” Next in the mix is Sfilikwane’s “Vandal’”. I selected this song purely because of the sonics. Most of the song is in Zulu, and does not have a translation online. However, Sfilikwane’s delivery and flow throughout the song is masterful. It stood out to me because I felt the execution was equal if not superior to that of American artists. The instrumental has an old school boom-bap vibe, but the lyric cadences are complex enough to make it sound modern. In other words, Sfilikwane was right in the pocket on this record. Many of the comments on this video read something including “uyakhafula” which means “You spittin”. Sho Madjozi- “John Cena” Sho Madjozi represents for the ladies on this mix with her song- “John Cena”. This song embodies that upbeat braggadocio style of rap, but with more of an identifiably African style beat. The song is mostly rapped in English. The hook goes, “ Some wanna act rough like John Cena, Some wanna get buck like John Cena! He use to be cool when I use to come through now you wanna act tough like John Cena!” She performed this song on the popular American internet music show- Colors. The performance got her mainstream recognition from artists like Missy Elliot and Pharell. It also got reposted by John Cena himself. Sho Madjozi sits in that braggadocio pocket very well. Her lyrical ability also made me include her in this mix with her very talented peers. Gigi Lamayne- “Stoners Prayer” South African artist Gigi Lamayne joins the many artists who have made songs that are odes to marijuana. Gigi’s “Stoners Prayer” is her own take on this common theme in hip-hop. The lyrics go, “ Dear Lord, thank you for the herbs you grew, Dear Lord, thank you for the munchies too.” The theme of the song immediately made me think of Jhene Aiko’s “Sativa” – where she sings and raps about Sativa strains of weed and their effects. I also thought of Wiz Khalifa’s “Young Wild and Freee” where the lyrics repeat- “So what we get drunk, so what we smoke weed, we’re just having fun, we don’t care who sees.” Gigi mostly performs in English and makes music with more mainstream themes. Nonetheless, she is just as skilled her more conscious or lyrical peers. AKA & Anatii – “10 Fingers” Last on the mix I’d thought I’d end it out with a banger. “10 Fingers” is a collaboration between internationally recognized artist- AKA and Anatii, both from South Africa. 10 fingers is the typically “ I’m getting money, I’m living the life” type of hip-hop record. Anatii adds some R&B flavor to the song. From just the song, you couldn’t really tell that the artists are South African. They speak all English and fluently use AAVE in their lyrics. Their sound is very attractive to mainstream radio stations. There is low profanity, upbeat tempos, and, of course, catchy hooks. All in All, the songs on this list fit into that effortless braggadocio style of rap. The cadences and delivery in these songs are on point, and truly embody what I believe is the essence of hip hop. All of the artists featured in the mix are also very technically skilled rappers, and it was possible to determine that just based off sonics for those songs performed in African languages. Continue reading

Mixtape: In the Pocket: South Africa’s Spittas

This is an episode of Hip Hop & Chill with Ife, Fatima and Itohan. In this episode, we discuss Falz The Bad Guy's latest album, Moral Instruction (2019). We will discussing three songs from the album, and giving our opinion on this wonderful album. Continue reading

Hip Hop and Chill with Ife, Fatima and Itohan

This is a special episode of the Hip Hop African Podcast. It is a collaboration between the HHA Podcast and the Global Hip Hop Exchange (GHHE), which is an online network/community of hip hop creatives who are primarily from, or based in, Africa. This is our second hip-hop palaver, with hip-hop creatives from around the continent. This time we continued the reflection on the COVID19 from the perspective of parenting. We also discussed hip-hop collaborations. Some that we had been a part of, and some that we are currently working on. The discussion included members of the Global Hip Hop Exchange, all of whom have been involved in hip hop culture in their respective countries for several years: 2. Hustlajay Mau Mau/@Jay_maumau| Hustlajay MauMau is a socially conscious MC from Mombasa, Kenya. He raps mostly in Swahili, and has made a name for himself by not only rapping about social issues, but also getting involved in social and political issues in Kenya. He is currently based in Austria. The opening and closing song, Sign of Hope, is one of his new releases. | YouTube Channel 2. Fete Jen/@Fete_Jen | hip hop organizer & founder of The Lounge (open mic event) and producer of the upcoming mixtape | from the U.S., previously based in Tanzania, currently based in Pretoria. 3. Mikko of Planet Earth Planet Rap/@PEPRRadio | Mikko is one of the founders of Planet Earth Planet Rap, which is a segment on Chuck D’s #AndYouDontStop radio show. They play, talk about and celebrate international Hip-Hop from all continents. | PEPR can be accessed 24/7 at https://rapstation.com 4. Msia/@Kibona | HHA host & hip hop professor, photographer, & author | from Tanzania, based in the Washington, DC area | Website: https://msiakibonaclark.comContinue reading

HHAP EPISODE 55: HIP HOP PALAVER, V.2

 The HHAP's conversation with Jahi from Enemy Radio. This episode features MC Jahi, who is a member of Enemy Radio with Chuck D, DJ Lord & S1W's. He is also an MC, a DJ and an educator. Originally from Cleveland, Ohio, Jahi launched his professional career in 1999 as the opening artist for a show that was headlined by Public Enemy at the Rock & Roll Hall of Fame. Soon after, he connected with Chuck D and has since worked with him on several projects. Jahi is also an educator, who has worked in K-12, university, and community classroom settings. In this interview we spoke about his life leading up to his 1999 performance, and the work he has done since then, including his recent album Forward Future. He recently traveled to Ghana, and is planning to expand his collaborations in Africa. As an artist whose perspective is grounded in hip hop as a Pan African expression, as a platform for Pan African dialogue, we wanted to expand the conversations we typically have on this podcast. There is definitely a desire to highlight and support further connections between African and Diaspora artists. For more information about his music, please check out his link tree. Jahi is also on Instagram and Twitter Continue reading

HHAP: Episode 54: A conversation with MC Jahi from Enemy Radio

This is a special episode of the Hip Hop African Podcast. It is a collaboration between the HHA Podcast and the Global Hip Hop Exchange (GHHE), which is an online network/community of hip hop creatives who are primarily from, or based in, Africa. In the first discussion, or palaver, several hip hop creatives from around the continent came together to talk about the impacts of the Corona virus on our lives, personally and creatively. The discussion also centered on income security for artists, how artists are finding ways to get through these difficult times, and how folks are feeding their creativity. The discussion included members of the GHHE, all of whom have been involved in hip hop culture in their respective countries for several years. The roster of this, the first of what will hopefully be several, palaver is: Dumi Right/@DumiRight | MC & Member of the veteran rap group Zimbabwe Legit | from Zimbabwe, based in the Washington, DC area | Bandcamp: https://phmusic.bandcamp.com Fete Jen/@Fete_Jen | hip hop organizer & founder of The Lounge (open mic event) and producer of the upcoming mixtape | from the U.S., previously based in Tanzania, currently based in Pretoria. Lebo Mochudi/@LeboMochudi | MC, singer, & producer | from South Africa, based in Johannesburg | YouTube: https://youtu.be/hzJUY8SJhaw Msia/@Kibona | HHA host & hip hop professor, photographer, & author | from Tanzania, based in the Washington, DC area | Website: https://msiakibonaclark.com Synik/@SynikZim | MC & producer | from Zimbabwe, based in Lisbon | Bandcamp: https://synikzim.bandcamp.com Teck-Zilla/@TeckZilla108| DJ, Producer, & Member of hip hop crew Str8 Buttah | from Nigeria, previously based on Montreal, currently based in Lagos | Bandcamp: https://str8buttah.bandcamp.comContinue reading

HHAP EPISODE 53: Hip Hop Palaver, v.1

Medusa is a Tunisian artist who emerged as an MC in Tunisia’s hip hop community around the time of the Arab Spring of the 2010s. Her career as an MC has followed an interesting path, as she often found herself in the role of “conscious MC”, being one of the few women in the Tunisian hip hop community and speaking out on important social issues. In this interview she talks about hip hop under the Arab Spring. While many talk about the role of artists in the Arab Spring, Medusa talks about the impacts of the Arab Spring on hip hop culture. She says the Arab Spring encouraged youth engagement, and that post revolution, many youth have moved into more commercial rap sounds. She has since moved to France, where she talks about her experience in the Parisian hip hop scene and her work with a new team of creatives. We met up with Medusa during a 2019 self-funded trip to the U.S. Medusa made to promote her work and establish contacts.  During her trip, she visited the class of American University professor and hip hop scholar, Dr. Kendra Salois. Our interview took place after her guest lecture in Dr. Salois’ class. Medusa is on Twitter, YouTube, Instagram, BandCamp, and SoundCloud. Continue reading

HHAP Episode 52: Medusa, Navigating Hip Hop in Tunisia & France

The podcast features discussions on African hip hop music & culture. The podcast is produced & hosted by Msia Kibona Clark and students in the Department of African Studies at Howard University and students in the Elliott School of International Affairs at George Washington University. You can access all of our podcasts and blog posts on hip hop in Africa at www.hiphopafrican.com.

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Hip Hop African Podcast

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