Development of hip-hop music in Senegal

Cultural Influences of Music in the Senegal Hip Hop Scene

= Brief History of Hip Hop in Africa [Senegal] = The year was 1982 when the birth of hip hop took place in the country of Senegal. In the early 1980’s when Hip hop first hit the scene in Africa, it went from merely being a fad, to a more social and political movement. Amongst the most influential leaders of this movement where artist from the country of Senegal. With the modernization of the country, and the rise in media, the youth of Senegal where able to embrace a new form of expression. One of the main reasons why hip hop has become preeminent in Senegal is due to its’ mixture of sound and culture. “Senegal’s hip hop scene is distinctive and its artist extremely talented. The country has a history of strong musical traditions...” http://www.lexisnexis.com.resources.library.brandeis.edu/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T3710213629&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T3710213632&cisb=22_T3710213631&treeMax=true&treeWidth=0&csi=8320&docNo=1] Moreover, hip hop has not only become an aspect of life for the Senegalese people, but more importantly has translated to a way of life, gathering influence from the musical expression prior to it’s rise in Senegal, and understanding their past as it pertains heavily to it’s socially present state within music. Using varies artist from the Senegal scene I will attempt to identify Hip Hop as a culture.

= Colonization of Senegal = To understand Senegal’s popularity as a mixture of different sounds is understanding Senegal’s history of colonization. Modern Senegal is made up of an ethnically diverse group of people. “The largest of the city include the Wolof (44% of the population), Fulani and Tukulor (24%), Serer (15%), Diola (5%) and, Mandinka (4%).” During the 9th century the Tukulor settled in the Senegal River Valley and resided there until the 14th century. Within their rein, into the mid 11th century they converted to Islam. The Mali Empire expanded during the 14th century, and in the 15th century, the Wolf established the Jolof Empire in Senegal. The Portuguese settlers set up trading spaces for access to resources, but by the 17th century, the city was rid of the Portuguese by the Dutch and the French. The French resided there until 1895 when Senegal was established as a French colony. In the early 1960’s Senegal became an autonomous republic within the French community. Hence forward, the estate went through several forms of political oppression and reconstruction until finally Abdoulaye Wade was elected president (March 2000) and the Senegalese Democratic Party had finally won, bringing peace and improvement to the land. [http://www.bestpractices.org/hiphop/planet_hiphop.pdf Hip Hop Report ] ] “The development of modern music dates back to the musical traditions established by ‘griots’ in the days of the Mali-Songhay empires.” It can be noted that the first form of musical expression made in Senegal date back to the 14th century in the forms of griots.

= History of Griots = Prior to the wide-spread of hip hop in Senegal, traditional music was transcended through pre-ordained griots. The term griot, also known as gewel, can be defined as, “… traditional praise-singer, musician, social go-between, counselors, or dancer and acrobat,” http://www.jstor.org/stable/1160979 ] These individuals where born into, “endogamous, professionally specialized group often referred to as a ‘caste’.” Their position in Senegal society was that of much importance for griots where are also known for their abilities as oral specialist who, “…had to guarantee not only the survival of their people as a culturally and historically defined group, but also the social status of the nobles they were attached to.” Griots where culturally responsible for knowing their genealogies in speaking and in song, to recite for the nobles. Through they where not considered “upper-class”, they where given food, clothing, jewels, land and slaves for their work. “While they could attain high individual status through their work and their social behaviors, their social status as a group was low. They depended economically on the nobles who paid them for their services, they could not attain positions of political power, and they where not allowed to bear arms…” Understanding their role in society is understanding the importance of expression in Senegal. As historians, entertainers, and musicians, griots where influential in many ceremonies, such as weddings, funerals, births, religious parades, and politics etc., for they used song and speech to recite important information with the usage of praise songs.

Praise Song

These praise songs continue to be widely sung, and oftentimes express political and religious awareness. Below is an example of a praise song with both political and historical meaning song by a modern day female artist, Khar M’Baye Maadiaga from the gewel background. Democracy, democracy,yes, yes, democracy.Yes, yes the country wondersWhat did you go through, for the land to become meek?

Yes, you went the [right] way, Diouf;he passed through deliberation,and by speaking at the right moment. Yes. What makes a man is courage and seriousness.

Seventeen parties, all in a jumble.They are shouting, but you keep your dignity.They are shouting, but you keep your calmness.It is by calmness that you can rule a country.But those who came to you also have their merit.They too hold their country in esteem.As far as democracy is concerned, Senegal is a model country.

Mbagnik Yacine BabaMassine Yancie BabaCaroline Yacine Baba…Oh Abdou… Madiatou Badara and MawadoNdiaye Diouf your father at Guet-Ndar.So, Elisabeth, a good wife has to be like you:

Modern Griots and Modern Music

After World War II, there was a rise in the night club scene where more diverse forms of music began to be played by foreigners. Coincidently enough, Senegal became very much interested in the new form of fashion. However, this allowed non-griots the opportunity to capture persons which was once the job of the griots. While there was much competition between the two, modern day griots used their positions as a way to incorporate modern day music. While in modern day Senegal, griots can be placed in three categories. “Those who have decided to refrain from practicing their hereditary profession and have taken up some other occupation; those who continue to perform, without innovation, and those who have managed to find or create a new kind of occupation that still seems to fit the traditional griots’ ethos adapting the art of their ancestors to modern requirements and possibilities.” The griot’s position in society, most relevant to modern day music, are those who use their song and dance as a new kind of occupation while still practicing the traditional legacies of past griots. These individuals are still highly respected for their responsibilities, and have also become incorporated in popular music culture. “Praise songs, far from being superseded, have instead become incorporated into popular music...” Today, “griots have found new meaning for old customs, and new functions for old skills,” Although they originated from a caste which held no political power, modern griots still hold much power and status and are better off in life then modern families.

Youssou N’Dour

Where else, but to start by introducing Youssou N’Dour and the music scene in Senegal. Youssou N’Dour is probably one of the most famous artists in Senegal. Having been born half griot, you can say he was destined for fame. “Youssou’s rise to fame in the late 1970’s was dazzling. There was already a strong movement in Senegal away from European cultural models; in musical terms, this meant going back to local musical styles and instruments, and singing in your own language.” http://www.jstor.org/stable/931277 ] While he mostly sang in Wolof, he also sang in Spanish. His versatile style, and up lifted beats intrigued everyone who listened. His presence captured your eyes, and his music was like heaven to your ears. He has undoubtedly earned his position in Senegal’s music industry, and will forever be remembered for his contributions to mlabax.

Dakar: Rise of Hip Hop

Picture this: Dakar, the capital of Senegal, and rightfully the birth place of Hip Hop into the country. Imagine it clearly, schools, homes, stores, restaurants, and people. You hear what you think is American rap, but you listen closely and identify that the rappers are rapping in their native language. What you hear is the combination of, “…traditional instruments, African hip hop artists using the music to talk about many crises facing African society, from corruption and HIV/AIDS to ethnic strife and poverty.” http://www.lexisnexis.com.resources.library.brandeis.edu/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T3710340944&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T3710340947&cisb=22_T3710340946&treeMax=true&treeWidth=0&csi=8110&docNo=6] This is your first account of hip hop in Senegal. Fortunately, this same hip hop scene has gained noticed in America. “It’s to build a bridge connecting Africa with what’s going on in the United States.” While musicians from Senegal strive to make gains for the country, there work is not going unnoticed. What sets aside the music of Senegal apart from many other place is its’ use of instruments. The most widely used instrument that the Senegalese use is the drum. Also, of importance is the language that these artists rap and sing in. Being that Senegal was colonized by the French is why we see some people develop their sound and rap entirely in French. Others choose to rap in Wolof, or English. “Wolof is the most widely spoken language of northern Senegal and it has rich and ancient musical culture performed by hereditary musicians (gewel).” Not to mention the fact that there sound is a collection from previous cultures and music styles infused in the Hip Hop culture. These are just some of the features you will only find in Senegalese Hip Hop.

Artist

I. Daara JThe group Daara J is probably one of most well known hip hop groups, not only in Senegal, but indeed internationally. The trio group (made up of Ndongo D, Fadda Freddy, and Lord Aladji Man) first made an entrance to the hip hop scene in 1995. They hit the hip hop scene with fusions of different sounds from different cultures and where accepted openly. “Daara J’s mix of African, Latin, soul and reggae influences with strong social themes has gained attention at home and abroad.” http://www.lexisnexis.com.resources.library.brandeis.edu/us/lnacademic/search/homesubmitForm.do] What deems this groups’ popularity is the fact that they are culturally diverse, and rap in French, English, and Wolof. “The name Daara J comes from ‘daaradji’ which means ‘school of life’...” Basically, in retrospect to their name, Daara J are ever so presently teaching and learning all the while. This group prides’ itself of the fact that they have not traveled to Europe to faster produce their music. They understand that African may be a bit slow to rise on the technology, but fully appreciate their heritage, their sound, and their music for what it truly is; authentic Senegalese hip hop. II. Positive Black Soul Positive Black Soul, also known as PBS, is amongst the most widely known groups in Senegalese Hip Hop. The group named itself in the light to portray a positive image for that of the Black Soul; in a world where everyone thinks of Africans as starved, Aids infested people. PBS has set their mark in the music industry in Senegal. What makes this group special is their ability to touch all types of people in the country by rapping in Wolof, English, and French. “PBS also puts large value on the fact that they would never attack someone because of a difference in opinion. They try to convey to the youth the importance of tolerance.” Not to mention the political messages within their music. “What makes Daara J’s songs more then just sonic collage are the lyrics, which express various aspects of African life-struggle, hopes, fears. You can’t separate politics and Hip Hop..” [ [http://www.lexis.nexis.com.resources.library.brandeis.edu/us/lnacademic/search/homesubmitForm.do Library and Technology Services | Brandeis University ] ] Coincidently, around the same time that hip hop artist where evolutionalizing the country with their sounds, the powers that ruled Senegal where changing also. Hip hop artist in Senegal paired up with then President Abdoulaye Wade’s campaign, and were very influential in allowing his win; demonstrating the power of music and politics.

Underground Hip Hop

Of relevance is the powerful underground hip hop that takes place in Senegal. “While mainstream artist address important social and political issues, it is the underground rap artists in Senegal that go the furthest. Some have even addressed the taboo subject of the country’s marabouts* and the power and political influence they hold in the country.” Now while it may take more time for this artist to be heard by everyone, their music still holds much influential power as these artist take political stances and addresses the issue they are facing. Discouraging enough, though Senegal can be praised for its’ ecstatic hip hop scene, sadly enough the solo female artist has no place in Hip Hop in Senegal. Though there are a number of female artist within the mbalax music scene, these women are generally apart of a group, and to this day there has not been a release of a solo female rap album. “The only female rap artist to have made an impact on the Senegelese rap scene is ALIF, the country’s first all-female rap group.” With the strides Senegal is making as a modernized country, only time will tell before the first female solo album is released and praised for its’ political context, and social advocating for change.

= Social Change through Music = Interestingly enough, we see how some Senegalese artist use their fame as ways to bring empowerment and social change to the continent of Africa. Senegalese singer-guitarist Baaba Maal is highly acclaimed for his music stardom on a global level, however his contributions as youth emissary for the United Nations has earned him more acclaim in the pursuit for social justice. “For Maal, the solution isn’t throwing money at the crises, it is holding governments accountable.” Maal knows the ample amount of resources and technology here in America and feels that if we could just spot light these areas, then maybe governments would straighten up.

= Hip Hop as a Culture in Senegal = Craig Watkins says it best in his article, “Why Hip Hop is like no other” when he notes, “No youth trend is more visible around the world today than hip hop.” http://web.ebscohost.com.resources.library.brandeis.edu/ehost/detail?vid=1&hid=105&sid=0e69c817-d6aa-48ee-a75f-c6ff7a8ad24d%40sessionmgr107] Starting of in the Bronx in the early 1980’s as d-jaying, break dancing, graffiti, and rapping has ultimately transformed itself into a global culture like no other that resonates with everyone who hears it. “But the most interesting element driving hip-hop’s it its cultural and political resonance. Yes, hip-hop has been an astonishing money maker, but it has been an equally astonishing source of youth expression and empowerment. Perhaps unlike any other form of popular culture in recent memory, hip hop has become the voice of choice for young people who finds themselves on the margins.” Hip Hop on a global level has given a voice to those who have long before suffered to really express to the governments its’ feelings of poverty, corruption, and Aids. “Hip hop empowers and transforms people’s lives..” Hip Hop in Senegal has through the years transformed an entire state of living. Time will only tell the great heights music and hip hop will take these people, but since it’s birth the Senegalese have accepted Hip Hop and its’ political attributions it has made for the country.

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