Senegalese hip hop is a form of hip hop that originated in Senegal in the early 1980s. 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 were artists from the country of Senegal. With the modernization of the country, and the rise in media, the youth of Senegal were 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..." 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 its rise in Senegal, and understanding their past as it pertains heavily to its socially present state within music.
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 1960s 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 in March 2000 and the Senegalese Democratic Party had finally won, bringing peace and improvement to the land. "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," These individuals were born into, "endogamous, professionally specialized group often referred to as a 'caste'." Their position in Senegal society was that of much importance for griots were 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 were culturally responsible for knowing their genealogies in speaking and in song, to recite for the nobles. Though they were not considered "upper-class", they were given food, clothing, jewellery, 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 were not allowed to bear arms..." Understanding their role in society is understanding the importance of expression in Senegal. As historians, entertainers, and musicians, griots were influential in many ceremonies, such as weddings, funerals, births, religious parades, and politics, 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 often 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 wonders What 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 Baba Massine Yancie Baba Caroline Yacine Baba... Oh Abdou... Madiatou Badara and Mawado Ndiaye 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. Coincidentally 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 than modern families.
Hip-hop galsen Following an historical process of appropriation of American popular music by Senegal,For e.g. Jazz as well as Latin American music such as salsa or pachanga were popular in Senegalese cities from the 1940s and until recently. hip hop emerged in the Senegalese capital city in the early mid- 1980s. Although hip hop galsen is now famous for its diverse musical productions, the movement there spread out from its dancing appeal rather than from its musical one. Indeed, Senegalese hip hop artists initially participated in this movement as smurfer, breakdancer, B-boy in general performing during organised podiums. Schools, nightclubs and other temporary public stages thus played an essential role in amplifying this movement in Dakar. Besides, and in contrast to American hip hop, which grew from the youth in the inner city ghettos, hip hop in Dakar began among a somehow middle-class youth who was able to access and/or introduce in their home place new ideas and new cultural expressions coming from abroad. Indeed, hip hop became popular in the capital city through the intensive through informal circulation of VH7 cassettes and recorded videos, which were imported from USA (Africa Bambaataa) or France (hip hop dance TV show HIPHOP animated by Sydney) by diaspora people.
Quickly, podiums enlarged their performances from dancers only to rappers as well. It was a time when soon-to-be hip hop artists were still mimicking American artists they actively used to listen to such Africa Bambaataa, Grandmaster Flash, Furious Five, Delight, Doug E. Fresh or Public Enemy for the most well-known. Indeed, rap, the MC performance, was still then a phonetic repetition, a copycatting of either American rappers or, with hip hop booming in France in the 1980s, of French hip hop artists such as Assassin, NTM, IAM or Mc Solaar. Without the real capacity for translating the movement and its expressions in Senegalese terms yet, the mid-1980s in Dakar were however definitively hip hop. And whenever the classical hip hop film Beat Street was circulating in local cinemas, young people were following the movie from showroom to showroom in order to view it again and again and to know by heart the famous lyrics of Grandmaster Flash.
Evolution of a culture (1989–1994) Nevertheless, this copycat period did not last long, and getting inspired by the French example, Senegalese hip hop artists soon started to write their own texts in their languages,Kool Kocc 6 is known for being the first to rap an entire text in Wolof; a song that Baye Fall sings in praise of Serigne Touba (Ahmadou Bamba). forming groups or collective with school peers and starting to get known and recognised in their neighbourhoods. In 1989, two groups mainly dominated the Dakar scene: Syndikat initiated by Didier Awadi and King MCs led by Duggy Tee. Rather than keeping on challenging themselves, they decided to get together to create Positive Black Soul (PBS) with the desire to promote a positive image of Africa. Indeed, at that time, the first years of the structural adjustments imposed by the IMF had considerably worsened the living conditions of the Senegalese, leaving a limited choice to the younger generations: facing unemployment or, for the wealthier, leaving the country in order to study abroad. A new image, a positive one was most needed and Hip Hop appeared as an emancipating mean of expression for a disillusioned youth. From its dancing expression, hip hop's appeal then definitively moved to its musical expression with artists voicing out the dual anger and hunger of Senegal's younger generations. Through its music form, hip hop stood as a language as well as a message for a youth witnessing injustice, corruption and power abuses from the political elite. Indeed, rapping their disapprobation with the harsh reality they were suffering from was a way for young artists to remind that that, they, as well, could 'represent' the voiceless population.