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Hip-hop is a culture. In East Africa it is not any different. Many have grown up listening to it and have naturally fallen in love. Zillions of ill tracks have not hit commercial status but have still remained favourites to some. The fans are loyal and they purchase the records even if it means from the artists themselves. Its never gold or platinum its a few hundred copies in some cases and at the far East African coast sandwiched partly by the Indian ocean thousands get sold out. Record labels, their scarcity at that, and the reluctance of the few in place have forced many an East African artist to remain at stage presence, rather than break through to organised status. It is common to find one as their own producer and PR executive. Revolutionary tracks have been produced urging hip-hop heads to "grab their mics" and take over the scene. Such sentiments are expressed by Ugandan hip-hop soldier Krazy Native. The song's title Tuja Babya (we'll burst 'em) only needed a clock's tick before it took over as slang. Never mind that non hip-hop heads too took it into their daily conversation. The song's matching raw street video ( Watch Tuja Babya) was first played at Kampala's karaoke nook, Sabrina's Pub. The audience reaction was amazing. The situation obviously lay in between startled and impressed. When its last clip played on the big projector speaker, thunderous applause succeeded the tomb dead silence. Hip-hop conferences have been organised and compilation albums have been put together. Though still elusive the East African cooperate world seems to slowly be drawn to the hip-hop cause. Take for example Uganda Telecom that supported Uganda's Hip Hop Canvas- a collection of the country's hip-hop elite. About those that sampled the album, the reaction is another tale. Then there are those torn between pursuing careers their parents and guardians always wanted them to pursue, and the impatience and thirst for a record label signup in the first world hip hop scene. Although it is still not too famous with the majority of East Africans, hip-hop culture exits. Ladies and gentlemen, boys and girls welcome to East Africa's hip-hop scene. TANZANIA- BONGO FLAVA
Bongo means brain intelligence in kiswahili (Tanzania's widest spoken language).But its the street word for Dar es Salaam (Tanzania's metropolis). It has been a melting pot of history, culture and identity. Although bongo flava is purely a Tanzanian phenomenon, its use of swahili and its strong roots in East Africa means that the music translates across borders. Bongo flava now has a growing fan base throughout the East African region. Most of the artists on this scene are from or based in Dar es Salaam.The flava they create is varied and cutting edge and its unique to the city and its people. Their clothes and attitude denotes its existence from American hip-hop culture. It's global now isn't it? The swahili lyrics and phrases tackle the usual East African hip-hop subjects like poverty, ambition, success, money, HIV and AIDS, education and experiences we can all relate to such as love, education, beauty or loneliness. One of Tanzania's pioneer hip-hop heads was Professor J, formerly known as Nigga J, whose braggadocio metaphors popularised bongo flava in the early ninetees.
On a visit to the Tanzanian city of Dar es Salaam in 2004, I got to find out that the flava boasts of a huge following. Tickets more or less sell out for events such as the annual "King of Rhyme" competitions. Tanzania has the biggest number of hip hop artists amongst the three East African nations and the rate of upcoming artists is equally alarming. "Man in TZ if you took a fortnight off the scene, ten guys would take up your spot," said a Tanzanian hip-hop artist while on a visit to Uganda.
Rah P- the Queen of Bongo. Read more>>
UGPulse Promo
Bongo beats are raw with a lucid street flow characteristic. Compare them to guru's partner Dj Premier "Premmo" street anthems. Tanzania's most recognisable bongo flava producer P-Funk has produced 85percent of the flava's beats on tanzanian airwaves.
Jay Moe: Photo by Lydia Martin
Read more Other recognisable Tanzanian bongo artists include Mwana Falsafa aged 24, Jay Moe aka Mo Tekniks aged 25, Solo Thang aged 26, Crazy GK aged 28, Mike T aged 24, Man Dojo and Domo Kaya aged 25 and 20 respectively, Ay,Snare, O-Ten, Afande Sele (one time Tanzanian king of rhyme), Juma Nature formerly Sir Nature and now part of the Crowdy Mwana Ume click and many others.
Mike T: Photo by Lydia Martin
Read more The completion and liberalisation of the media in Tanzania in the post president Nyenrere r.i.p era gave the opportunity to emerging Tanzanian hip-hop artists to be heard across the country and the East African region via radio and tv.
Man Dojo and Domo Kaya: Photo by Lydia Martin
Read more KENYA
Only seven years ago it was unthinkable for a Kenyan to earn any money, let alone earn any living, from hip-hop. Today Kenya's hip-hop scene is amongst the most vibrant if not the most in Africa. The Kenyan television network was the pioneer in promotion of Kenyan hip-hop in the early ninetees.
Image Source: www.jimmigathu.com Famous tv show host Jimmi Gathu introduced some of Kenya's trail blazing artists including himself. Today however, hip-hop is serious business for producers, rappers and studio owners. In Nairobi (Kenya's metropolis) for example the top ten club and radio playlists have been dominated by hip-hop since 1999.
Hardstone
Click here to play Hardstone video Haters Hip-hop group Hardstone took the artist of the year accolade for their song Uhiki at the 1997 Kisima Awards. Their success was followed by artists like Poxi Pressure and songs like Kalamashaka's Tafsiri which in 1999 elevated Kenyan hip-hop. They had earlier on recorded "Au Siyo" which while excellent, the number failed to catch the public's imagination. Month's later they perfomed at American rap star Coolio's concert. Artists like Maji zee, Dali P, Issah r.i.p, K-rupt etc impressively followed. Today some notable Kenyan hip-hop artists include Doobies, Nonini (who introduced Kenya's genge sound through his Carlif records), Prezzo who is East Africa's definition of bling bling much for his flashy lifestyle.
The late Poxi Pressure. Image Source: Popular rap singer dies
Prezzo Kenyan hip-hop covers kiswahili, kikuyu, kikamba and maasai lyrics and unlike the Tanzanian hardcore anthem-like sound, the Kenyan hip-hop sound tends to bend more toward a party atmosphere. UGANDA
The Ugandan hip-hop scene has been active since the early ninetees with the first hip-hop record done by Jimmy Bageire aka MC Afrik r.i.p who doubled as a radio announcer at Capital 91.3 fm. Although its commercial success is dismal it boasts of a loyal following since its start back then.
Jimmy Bageire aka MC Afrik. Image Source: Uganda Hip-hop Foundation Hip-hop organisations like the Uganda Hip-hop Foundation have managed to keep the culture alive and kicking. Of course there has been conflict at some point about how it has been run at times but to many its all about the love for the activities of the organisation. The airplay it received has been as scarce as Osama bin Laden and in the past Ugandan hip-hop artists have thrown tantrams to radio programmers through song. In his song Tujya Babya (We'll Burst 'em) artist Krazy Native lashes at those trying to put the culture down through carelessness. 80 percent of Ugandan hip-hop is recorded in English and the rest in Uganda's widest spoken local language- Luganda. The style has come to be known as Luga-flow. It is a sometimes-wacky style and through it the artist tends to throw much appraise for themselves. The media has also through the years not paid too much attention to the hip-hop scene in Uganda, and besides a few concert updates you'll be hard pressed to find a hip-hop artist's album review in one of the major newspapers. Maybe its a culture thing that causes the limited fan base. Since Luganda is the most widely understood language, perhaps then comes the reason to like and support for of the afro-beat Luganda songs than the complex hip-hop. Today however, with the Luga-flow (localised hiphop) introduction many non hip-hop heads have come to appreciate ugandan hip-hop because they can relate more to what the artists are saying.
Sylvester and Abramz Read more>>
"Lemerako" meaning "Hang On"
Many Ugandan artists have become more adventurous by fusing hip-hop beats with their mother tougue. On upcountry radio playlists, languages like luo, lusoga, lunyoro, ateso and more, have not missed out on the mix.
Urban Life. Source: musicuganda.com Ugandan hip-hop has gone on to prove it is a force to the masses when the group Urban Thugs later Urban Life won a recording deal at the famous 2001 Sanyu Music Carnival amongst the hordes of artists that performed on that sunny afternoon. Artists like Lyrical G, Msb and Young Nik, Saint Ca, Gnl, Lady Ryke, Sylvester and Abram,Emma Katia, Klear kut, Lethal Joe, Bsg aka Gipiri, The Nightstormers, Krukid, Shillings etc... have gone on to create a mark as far as Ugandan hip-hop is concerned. Ugandan hip-hop beats vary from the party sound to the bumpy club sound. However, many Ugandan hip-hop heads prefer keeping it street if they want to be taken as loyal to the culture. Albums like the Hip-hop Canvas, Live from East Africa, K-Squared, Barbie - Natie, Raising in the Sun could as well catch the ear of Def Jam, So So def or Aftermath. What's next
What remains as an obstacle is the lack of proper promotion and managerial standards and agents to place these Ugandan hip-hop artists where they are meant to be. Indeed many Ugandan, Kenyan and Tanzanian hip-hop artists have left their countries for whatever reasons, but with a record deal signup-wish in the back of their heads. "I am finally on my way to stardom," one said before his departure to the United States. "Im going to keep doing this thang," he continued.
And if the hunger and zeal they had right from the start is anything to go by, the world should prepare for East African blood in their boom box and television screens. 'Real for real.
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