Kenyan hip hop

Kenyan Hip-Hop music has become very popular among local youth lately. Many Kenyan mainstream artists blend rap with ragga, r&b and dance-pop. In fact some artists generally classified as Kenyan Hip hop may not have much to do with hip hop in its strict sense. Mixing of Swahili, English and tribal languages is common (see also an article on Kenyan street language, Sheng).

Development of the style

Early Kenyan hip-hop imitated the styles of the United States, wearing American clothes and rapping in English. [ [http://lclark.edu/~soan/alicia/rebensdorf.capital.html rebensdorf.3 ] ] According to the documentary “Hip-Hop Colony,” the beginnings of Kenyan hip-hop were like a “new breed of colonialism,” transplanting the original styles from the Westernized world to Africa. [ [http://www.hiphopcolony.com/ HIP-HOP COLONY: The African Hip-hop Explosion - A film by Michael Wanguhu Emerge Media Films ] ] But unlike colonialism, Kenya has embraced hip-hop and made it their own. Since its explosion in the mid-1990s, Kenyan hip-hop is now generally written and performed not only in English but also in Swahili and in Sheng, a slang combination of the two. [ [http://findarticles.com/p/articles/mi_qn4176/is_20070706/ai_n19359563/pg_1 Kenya's hip-hop revolution captured | Oakland Tribune | Find Articles at BNET.com ] ] The language a Kenyan rapper chooses for his/her lyrics can make a political statement about the 'real' language of Kenya.

Jimmy Gathu was one of the earliest known rappers on the Kenyan scene with his hit song "Look, Think, Stay Alive" [http://www.youtube.com/watch?v=-N8P0aZRAi8 Jimmy Gathu Song] ] released in 1991, a song dealing with road safety. However, the first major commercial hip hop hit came in 1996 with "Uhiki" by Hardstone (Harrison Ngunjiri) which sampled a Kikuyu folk song and Marvin Gaye's sexual HealingThe Standard, June 9, 2007: [http://eastandard.net/archives/index.php?mnu=details&id=1143969692&catid=123 Stars of our time] ] , produced by Tedd Josiah of the then Audio Vault Studios (now, Blue Zebra). Other popular pioneering acts were Kalamashaka with their national hit "Tafsiri Hii" b] , K-South with "Nyabaga Kodo Gakwa"," (which was also sampled from a Kikuyu folk song like Uhiki by Hardstone) and also the late Poxi Presha with his break out hit "Dhako Kelo" b] . Gidi Gidi Maji Maji emerged in 1999 with their hit "Ting Badi Malo" and released the debut album, "Ismarwa" the following year. They went on to released their popular and politically charged hit "Unbwogable" in 2002. Other emerging styles are R&B style music, as sung by female singer Mercy Myra.

Into the new millennium, many new groups and solo artists have emerged and the scene musically diversified. Some of the most famous artists are Necessary Noize, Redsan, Nameless, Nonini, E-Sir and Wawesh, among others.

Production

Most artists affiliate themselves with a production house which serves the same function as a record company. Some popular production houses include Ogopa DJ's, Homeboyz, Mandugu Digital, Calif Records, Samawati Studios, Blu Zebra among others. The music industry continues to grow with different production houses developing distinguishing sounds. There is Ogopa DJ's who term their style of music as "boomba" or "Kapuka" while Calif Records initiated a new style known as Genge. Most of these sub-genres differ very slightly, sonically; however coinage gives the music a localized identity which adds a little spice. Genge, which roughly translates to 'large crowd of people,' reinforces a foundational ethos of hip hop as a music for and by the people. In this context, production and consumption are closely connected and symbiotic (much more than other mainstream international music) in the sense that producers emphasize the importance of local politics and culture rather than simply striving for profit maximization. Although, the motive of production seems to highlight local culture and community, Kenyan hip hop similarly to hip hop more generally battles the more individualistic forces of technology and musicianship. [ [http://lclark.edu/~soan/alicia/rebensdorf.body.html rebensdorf.5 ] ]

Technology, more specifically the internet, is a vehicle for growth and enrichment of the principles of hip hop and local, indigenous culture and community. Even though the internet clearly advocates for the globalization of hip hop culture, the internet itself can serve as a sort of cultural homogenization or Americanization especially within cultures that lack technological advancement. Keeping this in mind, many local Kenyan artists are essentially forced to jump on the technological bandwagon in order to compete and even participate at all. While traditional forms of hip hop culture stem from a resistance to socio-political hegemony and therefore an acculturation of the collective unit (i.e. family, community, society), more recent images of gangster rap and the social realities that follow along with it elucidate a more individualistic, violent form.

Furthermore the production of hip hop in Nairobi is all about taking the original form of hip hop songs and lyrics and mixing it to a more local version that can relate to the audience. They are actively and tangibly taking commodified music, putting it on a turntable and reinserting their changes on its form. [ Rebensdorf, Alicia. “‘Representing the Real’: Exploring Appropriations of Hip-hop Culture in the Internet and Nairobi.” Senior Thesis, Lewis & Clark. (BROWSE)] Another article titled hip hop scene argues that Kenyan hip hop scene popularity is increasing and it constantly working towards producing Kenyan rap that draws its inspiration from American and hip hop reggae. [ [http://www.kenyapage.net/music/kenya-hiphop.html Kenya's vibrant hip hop scene ] ] Kenyan hip hop is also produced outside of Kenya by members of the dispora. One example is Social Misfit Entertainment, a management, production and recording label formed in January 1998 in the UK. Social Misfit Entertainment is managed by Patrick Waweru (aka Sir Prestige). Waweru was born in Nakuru and immigrated to London from Nairobi mid-1986. [ [http://www.africanhiphop.com/crew/socialmisfits.htm Africanhiphop.com presents: Hip Hop in Kenya ] ]

Radio

Most of the radio hardly plays hip hop. But one show ("Da Joint") that did was taken off the air; it had a huge following. It used to be hosted by Emcee Mwafrika on YFM, before he moved on. Currently there are plans to establish 'ghetto radio' - a community radio of sorts.In addition to what has been mentioned above, the show by Mwafrika was stopped for several reasons. His show was strictly targeting consumers/fans who were really interested in what one would call ‘underground hiphop’, specifically one that is hardcore. Despite the fact that his music/show was not associated with women, alcohol and all the bragging that is inevitable by most, especially male, rappers, he did not quite satisfy the taste of the average Kenyan hip hop consumer. Thus did not get enough support for his show not to mention, no one really understood his motives. According to some sources like the one below, [ [http://greamhouze.blogspot.com/2006/08/whoz-mwafrika-debate-that-was-in.html Greamhouze: Whoz Mwafrika: Debate That Was In The Papers This Was My Say ] ] it should however still be noted that despite Mwafrika’s "Da Joint" being stopped, he is still viewed as a huge icon/crucial ingredient to history of Kenyan Hip hop. The radio played an important role in promoting Mwafrika’s mission as it still does with other rappers in today’s Kenya. The radio is also a tool used to reach out to several people in Kenya. In other words, Hip hop is spread to other people in Kenya through use of the radio. According to Rebensdorf Alicia, in her article [Representing the Real’: Exploring Appropriations of Hip-hop Culture in the Internet and Nairobi] under the section pertaining to Hip hop, the internet and the capital Nairobi [ [http://lclark.edu/~soan/alicia/rebensdorf.capital.html rebensdorf.3 ] ] she justifies the view that the radio has and still is a huge catalyst to the growth of Hip hop in Kenya.

Notable Kenyan Artists

There are plenty of Artists who are well known in Kenya for there style and methods of Hip Hop. Bamboo, born Simon Kimani grew up in Inglewood, California where he was running with the wrong crowd. As a result of his “naughtiness”, he was sent back home to Kenya to get his “head together”. There he continued with hip hop music and realized that he could actually use this music to report the angst and insecurity that many Kenyan youths were going through. Bamboo is an artist who bridges the gap between Swahili and English while ensuring that both audiences are entertained and informed. He is also an artist with more than 3 best selling albums under his belt. Bamboo has performed on the same stage with 2 face idibia from Nigeria and has performed to an audience of close to 50,000 people. His music is heavily played on radio stations in Kenya, Uganda, Tanzania. Bamboo is widely traveled having spent a significant amount of years in West Africa. [ [http://www.africanloft.com/bamboo-kenyan-hip-hop-artist-on-africanloft/ Bamboo - Kenyan Hip-Hop Artist on AfricanLoft - AfricanLoft ] ]

Fashion

Continuing a now common hip hop trend worldwide is the creation of fashion made for Kenyans who love hip hop by Kenyan hip hop fashion designers, the leading brand being Jamhuri wear which is now based in New York and worn by the likes of Jay-Z, and was founded by a Kenyan born and raised designer. Another is MAU MAU University Clothing Co. founded by hip hop entrepreneur Kevin Ombija. His t shirts have developed a cult following in Kenya and with Kenyans abroad. Set to be developed as a fully fledged clothing brand from 2007. Other notable Kenyan hip hop fashion brands include Fundi Frank, Stitch Styles and Ruff Wear.

Awards

Achievement and contribution to hip hop in Kenya is recognized through the Kisima Music Awards and the CHAT (Chaguo la Teenies - which means Teens' Choice) Awards. The Groove Awards are for songs in the gospel category.

Marketing and piracy

Due to the high rates of piracy in Kenya, poor music distribution mechanism, ineffective music copyright policies, and poor marketing, few hip hop artists have been able to make a living from their music. Many artists depend on doing performances to make a living due to the poor music sales, in the case of those who can afford to make a cd. Other artists who do not have the capital to record whole cds make music on a single by single basis. The primary market for Kenyan Hip Hop is composed of relatively privileged youth. This is due to the availability of internet access amongst more privileged youth. [ [http://lclark.edu/~soan/alicia/rebensdorf.capital.html rebensdorf.3 ] ]

Jeff Chang, in an essay about global hip-hop for Foreign Policy magazine, discusses the conflict between marketing of local artists and global (mainly American) ones. Local, socially conscious music is supported by communities themselves, by organizations such as Words and Pictures, which attempts to build connections between hip-hop artists, and by media such as MTV Base Africa, which endeavors to have half of its programming be African. On the other hand, local and foreign-owned radio stations tend to play and market American rap, like 50 Cent, a fact that many Kenyans resent [Chang, Jeff. “It’s a Hip-hop World.” Foreign Policy 163, Nov/Dec 2007, 58-65.] . One such station, British Capital FM, features Kenyan media on its site, but lists many American artists, such as Lil Wayne, on its top ten list [ [http://www.capitalfm.co.ke/capitalRadio/ :: Capital FM :: ] ] .

References