Identifying the "Local" in a globalized world An analysis of Southern African hip hop music and its appropriation of American rap
Chenjerai Rick Warambwa; Supervisor: Jonathan Stubbs
- Nicosia Cyprus International University 2014
- VIII, 104 p. table 30.5 cm CD
Includes CD
Includes bibliography (87-96 p.)
INTRODUCTION 1 Objectives of the Study 5 Thesis structure 6 Conclusion 7 CHAPTER 1: AMERICAN RAP AETHETICS 9 The Keeping it Real (Authenticity) Doctrine 9 An (UN) Likely Alliance : American Rap and the Capitalist Ideology 11 ''Pimps Up'' Hos Down '': An Assessment of the Portrayall of Women in American Rap 17 Eurocentric Standards of Beauty 19 Rap Musics as an Art Form: Unpacking the Genre's Aesthetics 19 Vocal and Writting skills 19 The Art of Sampling and Beat-making 21 Locating Hybridity in the Third Space 23 Manufacturing African Consent In The ''soft power'' Era 24 Conclusion 26 CHAPTER 2: THE SOUTH AFRICAN RAP HYBRID 31 Tracing the Footstep of South African Hip Hop 31 Rap's Participation in a ''New '' and ''Democratic'' South Africa 33 ''ZEF'' Culture and the Emergence of a White Basterdised Identity 34 Batting Nostalgia in the ''New'' South Africa: Do you remember when 36 Zef's attitude towards materialism 38 Introducing the New School 41 South Africa's version of 'Bling' rap 41 Money makes the World go Round 42 Honouring the Player/Ho dichotomy 45 Conclusion 48 CHAPTER 3: THE ZIMBABWEAN RAP HYBRID 52 Zimbabwe's Third chimurenga (Revolution): An Intersection of Politics and Rap 52 Between a Rock and a ''Familiar'' Place : Urban Grooves Identıty Crisis 56 The Representation of Women in Urban Grooves 61 Conclusion 65 CHAPTER 4: THE BOTSWANA RAP HYBRID 70 Unlockıng Botswana's Political Stability 70 Botswana Rap 'Spreads' its Wings 71 Gabs City to Mmabatho : The Motswako Music Empire 73 Global Sucess makes more Cents : An Analysis of Blig Rap in Botswana 76 Conclusion 79 FINAL REFLECTIONS 83 Introduction 83 Redefining history in the Contemporary Milieu 83 Striking a balance between the National and Global Youth Culture 84 Remixing the global or identififying the 'self' within Global Discourses 84 Hypermasculinity knows no boundaries 85 Troubling depictions of Women in the rap hybrid 85 Weakness of the Study 85 Recommendations 85 BIBLIOGRAPHY 87 VIDEOGRAPHY 97 DISCOGRAPHY 99 APPENDIX 100
'ABSTRACT This thesis revisits the discourse about America's influence on African cultural industries and the texts they produce. However, it diverts argumentatively from previous inquests by demonstrating the agency and creative know how of indigenous musicians. As such, my thesis is a direct challenge to the claim that Africans are docile in their interaction with American popular music. More specifically, rap, a genre that is popular with African artists due to its 'radical' and 'counter-hegemonic' themes. My sample consists of three countries (Botswana, South Africa and Zimbabwe) that differ politically and economically, even though they are situated in the same region (Southern Africa). It is this study's hope that these inconsistencies will be reflected in the narratives of the respective rap hybrids. That said, my analysis proceeds from an understanding that hybrid music forms are used to reconfigure historical as well as contemporary cultural identities. Such a framework is crucial to my core argument as it suggests that the appropriation of rap music is predominantly under the influence of local conditions. Although the validity of my thesis relies on a positive portrayal of indigenous rappers, I will not overlook or ignore their creative shortcomings. With this in mind, borderline (hybrid) performances are susceptible to the unsavoury elements of the global or foreign culture. This possibility may only be cancelled through developing an understanding of local cultural values. By analysing the tone and themes exhausted in the rap hybrid, I will be able to establish whether local artists are privy to this reality. Key words: Hybridity, Americanization, Hip hop, Southern Africa '