Tanzanian hip hop - Knowledge

574:. Moreover, before the socialist government in Tanzania banned foreign music, it was evident that Tanzanian hip hop was heavily influenced by western music, specifically African American music. This gave Tanzanian citizens limited access to hip-hop, and early artists either learned of it by hearing it in a foreign country through connections abroad. For young rappers like Dolasoul, or Balozi, (Ahmed Dola), "it was just for the fun, no money was involved." Rap music was merely a pastime for the upper and middle classes, in opposition to early hip-hop artists in the United States and South Africa. Education was seem as their way to gain financial and social success and early rappers mostly rapped in English using American lyrics and tracks. The scene began to change in the early 1990s with the breakdown of socialism, allowing hip-hop to become accessible to lower classes through the increase in circulation, and as it became acceptable for local artists and hip-hop fans began recording, copying and distributing hip-hop. 714:, rap and hip hop have been "localized and indigenized to fit the political economic and social cultural realities of post-colonial/neo-colonial struggles, and both have served as avenues for artistic expression and political protest." Rap has become a way for youth in Tanzania to teach other others about joblessness, corruption, class differences, AIDS and other problems that are faced within the Tanzanian society. It has formed a type of community for the youth to bind together building confidence and self-reliance rather than anger and violence which is the stereotype of how the rappers in the society are. It also provides validation that they are not the only ones facing these pressures every day. Pieter Remes found out in his research that regardless of where the music was produced whether locally or abroad, that the music was intertwined with the experience and expression of urban youth in many different dynamic ways. 480:, which in itself is a language with many global influences. Additionally, beats shifted from American hip hop sampling to organic synthesized beats often incorporating local beats, rhythm, and sounds. Tanzanian artists ensured that even when rapping in English, they would maintain the Swahili meanings behind their rhymes. By rapping in Swahili they were able to make the hip-hop style their own, while still "keeping it real" by the standards of American Hip-Hop. This Kiswacentric rap has continued the Swahili poetic tradition of using wordplay, puns, and rhyme to express oneself. Many artists strive to use Swahili ideas and culture in their songs and styles rather than reproducing American pop culture or 734:, Lade Lou, Bad Gear, SJ and Aunt Su. According to Eric Toroka, Dataz second solo album's name was "Zali la moshi". "Florence Kasela, famous as Dataz is among few other hip hop female artists in Tanzania" are also joining the hip-hop movement in all over the country. Dataz states to her fellow "hip hop artists that they should not misinterpret hip-hop". She said, "A big difficulty is that people consider hip hop as hooliganism but they actually don't know what it is. I think they should sit down and listen to tracks like Chemsha bongo and more and then comment about it." Thus, it can be said that the wrong definition of hip-hop and government influence plays a big role in this situation. 780:(the Swahili command to live) is the name of a government-sponsored organization that helps promote safe sex. "Our main theme – don't feel shy, talk with your partner about abstinence, being faithful or using a condom," says Nassoro Ally, a regional outreach coordinator for Ishi. Ally Adds that hip hop is a great way to reach youth who may not know how to read and write, but who do participate in the hip hop scene in Tanzania. With roots in the Maasai tradition, elements of hip hop, and the contributions of super star innovators like X Plastaz, hip hop is being used to transmit an important message across Tanzania and in other African countries as well. 827: 488:

rapper Dolasoul (Ahmed Dola), who studied in Nigeria and the United Kingdom, notes that rap music, particularly in Swahili, provided him "with the means to represent his people and speak about changes that can be made for ‘a better tomorrow.’" He also notes that albums produced in Swahili, with minimal English, helps to make his language more accepted internationally. The use of Swahili language in bongo flava conveys a particular message and idea to its listeners, instilling a sense of national pride and common culture. Dolasoul mentions that with his use of Swahili and minimal English, he is attempting to "give a wake up call to my people."

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this is a way to upper ward mobility and a way to move from poverty to a better economical position. But in particular as Lemelle says "woven together into this scene and the lyrics are a sense of anger and alienation as well as clear desire to seek a better life-weather inside the country or without". (Hip Hip culture and the children of Arusha, Sydney J. Lamelle). In any case what the lower class in Tanzania use the hip hop as way to show the way in which poor people live in their country and at the same time try to gain some economical position. For example, artist Balozi recently worked on a project with poor Tanzanian boys affected by the

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music....They sang in English, and sang about American issues. But now we have artists singing Swahili, and they sing about Swahili issues, about Tanzanian issues, about issues that are very much identified with their country...So I think as far as Tanzanian identity is concerned, yes, there are certain things that they're going to keep borrowing from American culture or European culture, or other African cultures, but this doesn't mean that there's going to be assorted eradication of local trends...the main genres are still there. There not disappearing. There's room enough for all these genres to grow, and they each occupy different areas.

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conflicts the message sent out by American "gangsta" rap. Furthermore, the gangs in Dar es Salaam share few of the same characteristics of the large drug dealing gangs wreaking havoc in inner city America. In a region where Islam plays a strong role in the lives of the general populace, it is difficult to incorporate the vain outlook on life and the condescending attitude towards women so prevalent in commercially successful rap in America. Consequently, "gangsta" rap has not achieved widespread popularity in Tanzania, although "gangsta" rap will occasionally reveal itself in album sales or on the radio.

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from abroad...we are not talking gun. If you showed me a gun it would be hard for me to tell you which is the trigger. I know gun in movies, pictures. We are talking things that we know and see and understand. Tanzanian hip-hop music could have been associated with mimicry and copying from other cultures at one point, but as Bongo flava becomes more developed, its sound will become more and more authentic to Tanzania. Already with a second generation of hip-hop artists emerging new, uniquely African sounds have been used more, including "muziki wa dansi, taarab, and Indian filmi."

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is commercially viable, Tanzanian artists are torn between the possibilities it presents and the negative attention it may gain them. Indeed, those who do imitate Western gangster rap are often isolated and derided for being gangster wannabes. Thus, the use of the Swahili language in Tanzanian rap helps take ideas from a larger hip hop discourse and incorporate them into the local context of that African rap culture. It makes sense then that those most dependent on the more marketable hardcore rap generally come from the impoverished regions of Tanzania, like

703:", or familyhood. Being a socialist nation at the time, this declaration called for the halt of corrupt politics and promised protection from the hands of global imperialists. Post-Socialism, when politicians abandoned the principles of Ujamaa, the growing underground Hip-Hop movement of the 1980s readopted it. Presently, Bongo Flava retains its political messages in spite of experiencing a rise in "gangsta" style rap during the 1990s. The Tanzanian culture seemingly refuses to accept violence and vulgarity in its music while romanticizing socialism. 743:

In Arusha, the Hip Hop NGO Okoa Mtaa (Save the Streets) organizes regular Hip Hop festivals and workshops that focus on various Hip Hop elements, like lyricism and photography. Hip Hop artist Fid Q organized several Hip Hop initiatives, including the interview show FidStyle Fridays, the open mic event Poetry Addiction, and the Hip Hop Darasa (class) for aspiring artists. Lyricist Lounge, later renamed The Lounge, was started by Shamsa Suleiman and New York Native FetJen, and hosted monthly open mic nights for upcoming and established artists.

801:, a group composed of many of the major artists, Swah rap sought to bring Tanzanian themes to their rap. Kwanza Unit modeled a Kwanzian Nation after Afrika Bambaataa's Zulu Nation. Kwanzian Nation tried to bring positive messages to the music. These artists combined their traditional word play, evocative puns, and rhyming with Tanzanian topics to fight working class oppression and develop authentic Tanzanian culture. However, in reality, many Swah Rap tracks have been infiltrated by words and themes from American "gangsta rap." 707:

thrive. However, it was not until the 1980s that the birth of hip hop and rap music truly took place. As a result of politicians post Nyerere forgetting about ujamaa and the rise of unemployment and poverty, an avenue for artistic expression was created as an underground movement. While the establishment of hip hop in other countries such as South Africa and Brazil took place among lower classes of the population, hip hop in Tanzania was most common among middle and elite classes due to their access to the western world.

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perfect outlet for Tanzanian youth to voice their anger and dissatisfaction with society. These students of hip hop played an integral part in the formation of bongo flava, "through participation within a transcultural, multilingual and multiracial global hip-hop nation, combining African-American language with Swahili and local street varieties ("Kihuni")". In the 1990s, Tanzanian hip hop shifted from an underground phenomenon to commercially accepted model, and became accessible to working class youth as well.

509:, where any chance at success may be more important than the worry of abandoning national pride in exuding a culturally ambivalent image. One of the paramount rap topics in this issue of balance is the objectification of women, which while it may be more marketable than less explicit forms, stands in contention with the Islamic ideals that many Tanzanians embrace. Still though, crude styles tend to appeal to the urban youth of Tanzania, as exemplified by the rap group LWP Majitu who, according to 24: 6542: 629:. The "East Coast" is where rappers from middle or upper class society in a much nicer part of town Upanga, these rappers are known to rap more about the happy sides of life and their music is often compared to commercial music. Juma Nature raps about his country and the sense of unity that he exemplifies. His music is easy flowing and is accompanied by synthesised drum with instrumentation. Juma Nature uses a story telling aspect to his rapping. 262: 722:

such as AIDS awareness and drugs. Such NGOs have been founded to promote this type of education which has been coined 'Edutainment', which is the mixing of education with popular culture in order to transmit these messages to youth. Madunia is an organization based in the Netherlands which promotes African music and the local initiatives of African musicians. It also gives advice on the use of this music as a "medium of development".

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producers P-Funk Majani and Mika Mwamba. Although she has been successful competing against male MCs, Nazizi insists that she "would really love to see more ladies jumping onto the rap bandwagon." The biggest difficulty facing female rappers is that they must overcome the assumption that MCing is a masculine activity and that hip hop is associated with gangs and violence.

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the genre of music is shaped. He has been the winner of Kili Music Award in Tanzania as producer of the year 3 times. Matthysse also produced the Album of the year in 2005 and 2006, song of the year in 2005 and 2006, best hip-hop album in 2006. He is considered as Tanzania's most prominent Bongo Flava producer. And is credited as one of the founders of the genre P.Funk.

642:? Or are artists borrowing some elements of American hip-hop that resonate with them, among a variety of other (for example Tanzanian, Congolese, Japanese, or Cuban) cultural influences and then creating something entirely new, entirely their own? Are these always mutually exclusive? Alex Perullo, writer and professor at Bryant College in Rhode Island, says this: 383:. Outside Tanzania, Ubongo is often referring to Tanzania. Ubongo as a term originated from a speech by President Nyerere in the late 70's during a very difficult time following both the global fuel shocks of the 70's and the Kagera war against Uganda. Mwalimu Nyerere spoke that only a nation using brains (using Kiswahili 763:

and a song he released in 2001 called ‘Nyambizi’ (Swahili for voluptuous woman). The song lyrics talk about having unprotected sex, and many radio stations refused to play the song. The ubiquity of sexual themes in music has created a lot of controversy in Tanzania because it is estimated that 12-15%

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There seems to be a debate that is consistently repeated in every single country in which global hip hop is studied, what is truly authentic? Bongo Flava in Tanzania borrows elements from music all over the world, mainly cultural elements (i.e.- style, attitude) from the American hip hop scene. There

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Currently, hip-hop is not only a music of the elite, but is an important voice for the lower classes and those who are poor and underprivileged. Hip Hop is also the voice of the lower class because it allow them to express what their feelings are about any given situation on the country. Also because

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Hip Hop is a force which shaped the project of how to construct the Tanzanian nation. Cultural policies such as national music policies were formed in order to produce a united culture for the Tanzanian nation. These types of policies allowed Swahili bands to emerge and a live entertainment scene to

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Tanzania hip-hop artists often struggle to distance themselves from the styles of American hip-hop, but are making a conscious effort to create their own style. Tanzanian hip hop group Jungle Crewz Posse scoffed at the notion that their songs were just like American music, saying "Rap is not copying

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who project that image, Tanzanian rappers are heavily swayed toward a more raw style. While this borrowing of the authentic gangster image as represented outside of Tanzania can be interpreted as an appropriation for localizing purposes, it can also be viewed as mimicry. Since authentic gangster rap

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melodies, dancehall and hip-hop beats, and Swahili lyrics. It developed in the 1980s when Tanzanian youth started rapping because they were fascinated by the hip-hop scene in the United States. They fairly quickly added their own spin and flavor to the music by localizing it with beats, rhythms, and

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Bongo flava borrows from Tanzanian hip hop, with fast rhythms and rhymes in Swahili. The name "Bongo Flava" comes from the Swahili word for brains: ubongo. Bongo is the nickname of Dar es Salaam. It means that you need brains to survive there. It has evolved over time, combining elements of American

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There have been several organizations and events that emerged to provide platforms for Hip Hop culture in Tanzania. These include the (now defunct) Hip Hop Kilinge (Cypher), a weekly event that brought youth to the New Msasani Club in Dar es Salaam for performances, battles, and education sessions.

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Sidney J. Lemelle writes that if a song had explicit lyrics about women then it was hardly aired on Tanzanian television. The government plays a big role in there. With all these negative environmental factor on rappers, including the ones explained in the last paragraph, really put down the female

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Tanzania, an African country, has a history of European colonization. There has been a long-standing debate in regarding the implicit dynamics of power when a colonized or oppressed culture adopting certain cultural forms (music styles, fashion, etc.) of the colonizers or the oppressors. Is hip-hop

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beats. It all began in the 1980s when Tanzanian teenagers were really interested in the American hip hop scene. At first, they took American beats and rapped to them. As the youth rapped, the hip hop in Tanzania began to develop into a mix of traditional and localized hip hop scene. As a result, it

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Bongo records is owned by a very influential person in the Tanzanian hip-hop/Bongo Flava scene that is taking place in this part of Africa. Paul Matthysse who is also known as P-Funk Majani, is not only the owner of Bongo Records but also as talented producer, who has had a lot of input in the way

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or thieves, becoming instant targets for outcasting by the community or falling victim to "instant justice" on the streets. In fact, bongo flava originates from the Swahili word "ubongo" meaning brains, an implication that it takes brains to survive in Dar es Salaam. This interpretation of values

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In an effort to appear authentic, much of Tanzanian hip-hop began imitating the American model of "gangsta" rap, romanticizing aggression and violence. However, as hip-hop evolved in Tanzania, it has slowly diverged from this precedent. Crime in Tanzania is seen as a result of economic need and is

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as an aggressive country that romanticizes both violence and crime whereas Tanzania dispels such a romanticization of violence and crime. Tanzanians view crime as caused by economic need, not greed, and those who become criminals risk having people brand them social outcasts. Tanzanians also view

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Tanzanian hip hop has been seen to voice many positive messages. Music has served as an alternative to newspapers, radio, and other forms of news about social issues and conditions. Tanzanian rappers have been seen to work with government organizations and NGOs regarding social issues among youth

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So many artists have emerged from Bongo Flava, and it is almost impossible to name all of them. The Tanzaninan "Dr.Dre" is certainly Mr. II that was the first Bongo Flava's superstar which has now retired. Mr. II is classified as a solo artist in Tanzania, but two groups took over the Bongo Flava

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At the same time, the employment of Swahili Rap represents an attempt to negotiate the authentic gangster projection with more traditional and local Tanzanian musical forms. Between the prominent mainstream US hip hop image of gangster rappers and increased radio and television airplay for groups

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is a sense that Tanzanian youth look up to the European styles which they apparently mimic. The music is produced using Swahili which makes it seem like the foreign hip hop cultures are the inputs to the output that is Bongo Flava, but this final "output" is different from the sum of its parts.

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Africa taking notice of this genre of music is another huge advance for Tanzanian hip hop. In the history of Music in Tanzania, there had never been a male bongo flava artist nominated for Kora African music Awards. Yesaya Ambwene aka AY was the first one to be nominated. Ay was nominated in the

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through friends, family, and travel opportunities. Oddly enough, rap first caught on amongst the youth of Tanzania's 'middle class.' These were teens with some formal education, a familiarity with English and a connection in another country who could mail the music to them. Hip hop provided the

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When American hip hop first migrated to Tanzania, local rappers would sample popular American rap beats, simply inserting Swahili rhymes in place of English. This infant Bongo Flava style and imported American hip hop was initially embraced almost exclusively by young upper class individuals who

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Through hip hop, Tanzanian youth combine the best of both worlds. They mimic United States and European styles of hip hop, while still allowing their own African heritage and culture to shine through. Using their native language, they often portray remnants of ancient rituals in the singing and

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The choice of language played an important role in the development and local acceptance of bongo flava. Through rapping in Swahili, many new artists were able to localize hip hop, giving it "a politically charged cultural image" and providing a way to relate it with Tanzanian culture. Tanzanian

338:, who use the tradition of the Maasai tribe as the focal point for their sound and style. Tanzanian hip hop influenced the sound of the Bongo Flava genre. While Tanzanian hip hop retains many of the elements found in hip hop globally in terms of sound and lyricism, Bongo flava, derived from the 717:

It has also become a medium with roots in the oral tradition of some countries like Tanzania. This can be seen in street entertainment known as mchiriku which is very popular in Dar es Salaam. Mchiriku is a style of music that is very popular around the poor areas of Dar es Salaam, Coastal and

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There are youth in Tanzania that are entranced with Western culture and modernization enough to want to "become like them" (the West). As most fail and even die to make this transition, bongo-flava songs, while still speaking out against heavy issues like HIV/AIDS, has recently been made to be

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There is some debate over whether Bongo Flava, which has emerged as a defined pop movement, can really still be qualified under the overarching term "hip hop" and not a movement unto itself, when it is beginning to develop a distinctive sound that differs from hardcore rap or, for example, the

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Female rappers have had difficulty finding success in East Africa. The media in Tanzania was slow to accept female artists, "who might offer a gendered voice and a counter-narrative in the public sphere." Kenyan rapper Nazizi developed a large following in Tanzania and worked with Tanzanian

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is actually happening...There are a lot of artists in Tanzania who do dress exactly like the people that they see from the United States. They wear the FUBU clothing, they wear the baggy pants, they wear the New York Yankees hats...But the problem with that is this is very early in the pop

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Morogoro regions. Its repetitive, fast-paced rhythms are considered unsoothing by the wealthy people in Tanzania. Mchiriku is played with a small hand held keyboard, old tins beaten with sticks, drums and whistles. Mchiriku songs are known for biting social commentary.

2129:^ Lemelle, Sidney J. "‘Ni wapi Tunakwenda’: Hip Hop Culture and the Children of Arusha." In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 230-54. London; Ann Arbor, MI: Pluto Pres 1687:

Lemelle, Sidney J. "‘Ni wapi Tunakwenda’: Hip Hop Culture and the Children of Arusha." In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 230-54. London; Ann Arbor, MI: Pluto Pres,

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513:, "are popular for their hardcore hard hitting lyrics." Whether in the poorer parts of Tanzania or the more privileged, it is crucial for rap artists to maintain a healthy balance between the traditional and the original, the local and the global. 428:

rap, R&B, hip hop, with its unique Swahili twist. As much as American culture, the lyrics within Tanzania hip-hop and the culture are politicized, about HIV, poverty, and corruption, or about life, relationships, money, jealously, and love.

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Rappers such as Sam Stigillydaa has said, "American rappers talk about crazy things- drinking, drugs, violence against women, American blacks kill blacks. I hope African rap stays African and doesn't turn crazy." Tanzanians view the

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all this music that is coming from the West such as hip-hop is destroying local cultures and local ideas, and local musical trends. And to some extent, there is a little bit of truth in that, although I would hesitate to say that

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There has been a lot of debate over whether Bongo Flava/Fleva is Tanzanian Hip Hop. While many scholars and journalists use Bongo Flava and Hip Hop interchangeably, distinctions are made by many Bongo Flava and Hip Hop artists.

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industry namely the "TMK" and the "East Coast". The "Tmk" stands for Temeke which is one of the poorest neighbourhoods in Dar-es-Salaam. In that part of the city inhabits some of the most radical and critical crews such as

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for Brainland) could, and would, overcome the difficult challenges Tanzania was facing. Unfortunately things became even worse for Tanzania, and by the early 1980's Dar es Salaam was calling itself mostly by the name

1468: 1988: 570:. For example a hip hop group from Tanzania, Berry White, exemplifies the influence of African American music solely in the name of the band. It seems as though they are imitating and/or mimicking the world renown 1415:

Lemelle, Sidney J. "‘Ni wapi Tunakwenda’: Hip Hop Culture and the Children of Arusha." From The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, 230-54. Ann Arbor, MI: Pluto Press

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artist to grow. That is why the author states that it is not surprising that "there are only a few female Kiswahili rappers in East Africa." A few of the popular Tanzanian female artists are

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category of the best male artist from Eastern and Central Africa in 2005. Including this genre in the African music awards reveals a lot of how far this music has come in such a short time.

476:. In the early 1990s, as the genre was developing, the 'Kiswacentric' concept was born. Artists began to "localize" the music by addressing purely Tanzanian issues and eventually using the 323:

by many outside of Tanzania's hip hop community, encompasses a large variety of different sounds, but it is particularly known for heavy synth riffs and an incorporation of Tanzanian pop.

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Early Tanzanian rap tended to be in English, but as the genre developed some rappers began writing raps in Swahili. The main venue for their music was live performance, particularly the

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competition. The YRB competition was organized by Indian merchants; notably, it attracted rappers from outside of . Artists such as Saleh J and Eazy-B performed at the competition.

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found it fashionable to follow US trends. This was often viewed as Tanzanians simply appropriating American culture and style, relating this to the idea of

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The Language of the Young People: Rap, Urban Culture and Protest in Tanzania. Journal of Asian and African studies Casco yr:2006 vol:41 iss:3 pg:229

617:, which had television to broadcast these competitions that took place live in informal public spaces (school graduations, picnics, house parties). 4551: 3513: 3508: 3503: 3498: 3488: 3483: 3478: 3473: 3468: 3463: 3458: 3453: 2593: 931: 916: 711: 1749: 1321: 3372: 911: 1989:"Okoa Mtaa (Save The Streets) Foundation In Tanzania Using Hip-Hop Culture To Encounter The Impact Of Pop Culture Against Underground Rappers" 4521: 4291: 3575: 2563: 2333: 1620:"Interview with Alex Perullo, by Banning Eyre and Sean Barlow - African Hip Hop in Tanzania – Highlights of a Conversation with Alex Perullo" 1572:

Bongo Flava (Still) Hidden "Underground"1 Rap from Morogoro Tanazania, Birgit Englert. URL:www.univie.ac.at/ecco/stichproben/Nr5_Englert.pdf

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was by far the greatest influence of hip hop culture in Tanzania. Mponjika described the four rudiments of hip hop culture in Tanzania as:

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As in many African countries, hip hop has become a medium for post-colonial expression and the development of a youth voice. According to

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Lemelle, Sidney. Hip Hop Culture and the Children of Arusha. "Ni Wapi Tunakwenda': Hip Hop Culture and the Children of Arusha" 238-239

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videos. The imitation of already existing forms of hip hop combined with their own style allows Tanzanian hip hop to be truly unique.

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cultural imperialism as a form of symbolic violence that relies on a relationship of constrained communication to extort submission.

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Ferguson, James. "Of Mimicry and Membership: Africans and the 'New World Society.'" Cultural Anthropology 17, no. 4 (2002): 551-569.

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Ferguson, James. "Of Mimicry and Membership: Africans and the ‘New World Society.’" Cultural Anthropology 17, no. 4 (2002): 551-569.

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began in the early to mid 1980s chiefly as an underground movement, when promoters and artists would be forced to record and copy

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Alex Perullo, "Hooligans and Heroes: Youth Identity and Hip-Hop in Dar es Salaam, Tanzania," Africa Today 51.4 (2005): 75-101.

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Ferguson, James. "Of Mimicry and Membership: Africans and the New World Society." Cultural Anthropology 17, vol. 4 (2002): 552

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epidemic, writing a song expressing their plight. The song, "Hali Duni" proceeded to move to the top of the musical charts in

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released the compilation CD, Bongo Flava - Swahili Rap from Tanzania. The 70 minute record which features artists including

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in makeshift studios using rudimentary equipment. Underground rap began, not in the poorer working class areas of

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Kibona Clark, Msia (2013). "The Struggle for Hip Hop Authenticity and Against Commercialization in Tanzania".

5358: 5347: 4206: 3126: 452:, and is sweeping the African continent and spreading to the rest of the world. In 2004, German record label 6527: 6502: 4921: 1881: 6517: 6247: 5711: 4547: 3146: 2842: 2672: 2589: 1803:

Remes, Pieter (1 January 1999). "Global Popular Musics and Changing Awareness of Urban Tanzanian Youth".

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Njogu, Kimani; Maupeu, Herv (2007). "Music and Politics in Tanzania: a case study of Nyota-wa-Cigogo".

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Famous Swah Rap Artists include Villain Gangsters, Tribe X, Riders Posse, K singo and Abbas Maunda.

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Due to the presence of multiple societies, Tanzania has a torn perspective of its own culture.

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topics. The genre has become popular very quickly; it is the best-selling musical genre in

145: 4770: 3879: 1918: 1169: 8: 6460: 6398: 6269: 6178: 6073: 5864: 5859: 5291: 5209: 5064: 5025: 4969: 4526: 4446: 4411: 4396: 4381: 4336: 4271: 3760: 3215: 3205: 3131: 3004: 2999: 2899: 2801: 2784: 2727: 2568: 2488: 2453: 2438: 2423: 2378: 2313: 2195: 195: 6423: 4577: 2619: 1945:"HHAP Episode 30: Hip Hop Producer Duke on Boombap & Hip Hop Production in Tanzania" 1424: 1057: 6393: 6372: 6308: 6279: 6222: 6068: 5936: 5891: 5834: 5809: 5393: 5323: 5096: 4989: 4984: 4979: 4943: 4401: 3716: 3682: 3389: 3282: 3262: 3220: 3185: 3141: 3068: 2749: 2443: 1828: 1820: 1776:

Interview: AFRICAN HIP HOP IN TANZANIA – Highlights of a Conversation with Alex Perullo

1560:"EastAfricanTube - East African Social Networking & Major Gateway in Media Sharing" 1356: 1120: 696: 6418: 6274: 6133: 6113: 6078: 6053: 6048: 6003: 5941: 5931: 5921: 5911: 5906: 5777: 5423: 5239: 5182: 5162: 4501: 4476: 4326: 4321: 4301: 4266: 4251: 4098: 3667: 3528: 3345: 3230: 3151: 3094: 2774: 2742: 2700: 2543: 2518: 2368: 2363: 2343: 2308: 2293: 1832: 1750:"Language choice and hip hop in Tanzania and Malawi | Popular Music and Society" 1360: 1322:"Language choice and hip hop in Tanzania and Malawi | Popular Music and Society" 1149: 1124: 1112: 1069: 1031: 692: 639: 638:

in Tanzania mimicry and imitation of American hip-hop, which would imply an American

536:, but in the slightly more affluent areas of the city, where there was access to the 31: 1498: 6546: 6347: 6286: 6188: 6173: 6158: 6088: 6008: 5996: 5971: 5966: 5956: 5916: 5896: 5824: 5804: 5792: 5787: 5782: 5772: 5757: 5747: 5742: 5732: 5543: 5219: 5199: 4916: 4911: 4814: 4742: 4573: 4564: 4486: 4456: 4441: 4426: 4416: 4406: 4371: 4366: 4316: 4261: 4236: 4125: 3859: 3852: 3847: 3711: 3677: 3662: 3657: 3620: 3315: 3252: 3044: 2615: 2606: 2528: 2498: 2483: 2468: 2458: 2448: 2413: 2408: 2358: 2303: 2278: 2169:

Africanhiphop.com presents: Tanzanian Hip Hop – All the crews & all the updates

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Lemelle J. Sidney ‘Ni Wapi Tunakwenda’; Hip Hop Culture and The Children of Arusha

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Etymology of the name "Bongo" of Bongo Flava comes from Kiswahili usually meaning

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Swahili rap, known as Swah Rap, began to develop in the early 1990s. Led by the

6227: 6198: 6153: 6108: 6093: 6083: 6033: 6028: 5991: 5901: 5879: 5767: 5628: 5623: 5573: 5553: 5508: 5403: 5286: 5276: 5187: 5079: 4659: 4471: 4421: 4376: 4361: 4341: 4331: 4306: 4246: 3842: 3723: 3687: 3640: 3493: 3448: 3443: 3438: 3063: 2941: 2513: 2463: 2418: 2403: 2383: 2373: 2348: 2288: 1027: 886: 881: 772:. In response, many artists have begun using hip hop to bring awareness to the 545: 379:. Ubongo is a term originally use, and in Tanzania still used, for the city of 170: 1352: 1108: 6564: 6352: 6330: 6128: 6058: 6038: 6018: 6013: 5926: 5844: 5667: 5578: 5548: 5123: 5101: 5069: 5059: 4938: 4901: 4481: 4391: 4281: 4036: 4031: 3919: 3603: 3549: 3310: 2994: 2523: 2433: 2323: 2141:"Kwayas, Kandas, Kiosks (Barz) Kwayas: "They're Singing Jazz in the Church!"" 1698: 1469:"African Hip Hop in Tanzania- Highlights of a Conversation with Alex Perullo" 1116: 1073: 851: 814: 598: 587: 537: 533: 506: 412: 380: 331: 328: 292: 116: 2140: 1863: 1088: 566:, but with the birth of a socialist government, foreign music was banned in 6492: 6487: 6043: 5946: 5884: 5685: 5635: 5493: 5383: 5135: 5042: 4928: 4850: 4103: 4088: 4041: 3956: 3936: 3738: 3645: 3608: 3335: 2951: 2229:

Recordings from Africa show the range of musical responses to the pandemic.

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Mueller, Gavin. "Bongoflava: The Primer." Stylus Magazine, 12 May 2005

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Martin, Lydia. "Bongo Flava: Swahili Rap from Tanzania." afropop.org

613:. DJ competitions represented the birth of hip hop, particularly in 6470: 5657: 5563: 5538: 5523: 5463: 5438: 5433: 5418: 5398: 5301: 5155: 5150: 5037: 4871: 4864: 4790: 4727: 4056: 4046: 4026: 3909: 3884: 3807: 3782: 3745: 3672: 1816: 1457:

SwahiliRemix.com :: Tanzania Urban Culture Online – Mp3 Player

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Ndesanjo, Macha. Global Voices: Voices from Kiswahili Blogosphere

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How hip-hop culture is changing the wor(l)d – UCLA Today Online

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According to journalist Henry Bukuru (a.k.a. Cxteno Allstar),

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began a wave of interest from other people in Eastern Africa.

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Hip hop has been used as a major vehicle for awareness about

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word "ubongo" (meaning brains), incorporates hip hop, Indian

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Bongo Flava:: Tanzanian Hiphop Fusion Online:: Swahili Music

4732: 3904: 1968: 1245:"Bongoflava: The Primer - Pop Playground - Stylus Magazine" 777: 773: 769: 756: 4806: 2188:"BJB - Ndani Ya Club Feat. Dully Sykes (Audio) | ⏪ REWIND" 3946: 2220:

Extra Listening for Tanzanian Hip Hop and AIDS awareness.

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founded a band called Matimila. Each band has a unique

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Madunia Music | The Communication Initiative Network

1655:"Language choice and hip hop in Tanzania and Malawi" 759:. In her article, Sidney refers to Tanzanian rapper 3590: 1703:

The Language of Music Dictionary and Research Guide

776:epidemic and to teach youth safe sexual practices. 516: 4645: 1237: 1229: 632: 375:, Kiswahili for Brainland. Flava is kiswahili for 1657:, "Tanzania", fall 2000. Retrieved March 7, 2008. 1605: 1603: 1411: 1409: 1316: 1314: 1312: 1292: 1290: 1258: 1256: 1254: 1227: 1225: 1223: 1221: 1219: 1217: 1215: 1213: 1211: 1209: 6562: 1275: 1273: 1600: 1406: 1309: 1287: 1251: 1206: 4822: 4631: 4207: 3576: 2673: 2249: 2013:"Okayafrica TV: Tanzania's Fid Q In Brooklyn" 1270: 468:has enjoyed wide international distribution. 418: 220: 1193: 1051: 1049: 1047: 686: 1019: 746: 737: 4829: 4815: 4638: 4624: 4214: 4200: 3583: 3569: 2680: 2666: 2256: 2242: 1372: 1370: 1080: 1015: 1013: 1011: 227: 213: 1044: 1086: 825: 2225:Three African musical responses to AIDS 1367: 1338: 1131: 1055: 1008: 6563: 821: 808:Tanzanians' view of American rap music 590:, and was featured in several movies. 444:, is already a success in neighboring 6523:LGBT representations in hip hop music 4810: 4619: 4195: 3564: 2661: 2237: 1942: 1802: 1141:The Garland Handbook of African Music 1137: 691:Tanzanian culture embraces President 1023:Songs and Politics in Eastern Africa 371:. Bongo is the augmentative form of 4221: 2687: 2263: 1492: 764:of the population is infected with 282:• Tanzania Trap Music • Crunk Music 13: 1898: 1339:Pierson, Michael (December 2020). 1196:The Journal of Pan African Studies 950: 319:, which is sometimes referred to 14: 6597: 3326:Confederation of African Football 2213: 1943:Clark, Msia Kibona (2018-12-01). 1532: 129:Nationalistic and patriotic songs 6541: 6540: 4522:Sahrawi Arab Democratic Republic 4292:Democratic Republic of the Congo 2564:Sahrawi Arab Democratic Republic 2334:Democratic Republic of the Congo 2138: 1281:"Tanzanian Affairs" BONGO FLAVA" 783: 517:Emergence of hip-hop in Tanzania 260: 22: 2180: 2162: 2153: 2132: 2123: 2098: 2080: 2055: 2030: 2005: 1981: 1961: 1936: 1911: 1892: 1875: 1857: 1848: 1839: 1796: 1787: 1769: 1760: 1742: 1716: 1691: 1681: 1660: 1647: 1638: 1612: 1575: 1566: 1552: 1526: 1512: 1486: 1461: 1450: 1436: 1418: 1380: 1332: 1300: 1187: 1148:. pp. 14, 46–50, 136–137. 633:Imitation to original formation 554:had always been influential in 4646:African electronic dance music 2092:news.minnesota.publicradio.org 1805:Yearbook for Traditional Music 1162: 999: 981: 963: 944: 365:brains, inelegance, cleverness 358: 1: 1028:Mkuki na Nyota Publishers Ltd 937: 663:very much frowned upon, with 6528:Feminist activism in hip hop 2194:. 2018-03-29. Archived from 1138:Stone, Ruth M., ed. (2008). 431:Bongo Flava is a mixture of 250:American Hip Hop • Rap Music 7: 6518:Partner violence in hip hop 4836: 3054:International organisations 2088:"Tanzania-Hip Hop Warriors" 1993:BABOON FOREST ENTERTAINMENT 1699:"Tanzanian hip hop (genre)" 1127:– via Cambridge CORE. 1026:. Dar es Salaam, Tanzania: 792: 96:Tanzania Music Awards (TMA) 10: 6602: 3306:Africa Cricket Association 3112:Countries by GDP (nominal) 1101:Cambridge University Press 419:Music style of Bongo Flava 6586:Tanzanian styles of music 6576:20th-century music genres 6536: 6448: 6407: 6382: 6207: 6142: 5982:Bosnian and Herzegovinian 5955: 5843: 5721: 5710: 5676: 5607: 5596: 5472: 5447: 5357: 5346: 5265: 5218: 5014: 5003: 4995:Bristol underground scene 4962: 4889: 4846: 4783: 4751: 4713: 4699: 4676: 4658: 4651: 4535: 4510: 4229: 3599: 3522: 3429: 3358: 3321:Australian-rules football 3296: 3238: 3229: 3181: 3174: 3102: 3093: 2990: 2981: 2912:Countries and territories 2907: 2898: 2858: 2815: 2708: 2699: 2577: 2552: 2271: 1353:10.1017/S0261143020000434 1347:. 39/3-4 (3–4): 523–538. 1109:10.1017/S0261143000003548 1087:Graebner, Werner (1989). 687:Role in Tanzanian society 291: 286: 278: 273: 254: 246: 241: 4277:Central African Republic 2319:Central African Republic 747:Bongo Flava and HIV/AIDS 738:Events and Organizations 3368:Countries by population 3081:United States of Africa 1886:April 26, 2005, at the 1056:Suriano, Maria (2011). 927:Benjamin wa Mambo Jambo 699:" in which called for " 394:world is spinning/dizzy 4141:Sudanese popular music 3117:Countries by GDP (PPP) 3059:Pan-African Parliament 2850:Science and technology 2067:Global Poetics Project 2063:"The Lounge- Tanzania" 1622:. 2005. Archived from 1264:"Out - here records -" 831: 654: 552:African American music 350:, muzik wa dansi, and 242:Tanzania Hip Hop Music 5696:Alternative reggaeton 4975:Universal Zulu Nation 4437:São Tomé and Príncipe 4297:Republic of the Congo 3593:African popular music 2770:European colonisation 2733:Pre-colonial kingdoms 2479:São Tomé and Príncipe 2339:Republic of the Congo 1170:"Hip-hop in Tanzania" 829: 644: 79:Media and performance 6461:Contemporary R&B 6270:Minneapolis/St. Paul 3341:Stadiums by capacity 3288:World Heritage Sites 2765:European exploration 1030:. pp. 241–246. 649:cultural imperialism 146:Mungu ibariki Afrika 5065:Chopped and screwed 4970:Five-Percent Nation 4512:States with limited 3761:African heavy metal 3025:Freedom of religion 3010:Heads of government 2802:Scramble for Africa 2554:States with limited 1949:The Hip Hop African 1583:"Afropop Worldwide" 822:Bongo Flava artists 2750:Indian Ocean trade 2174:2008-01-10 at the 1869:2008-05-12 at the 1781:2008-04-03 at the 1430:2008-02-22 at the 1394:. 15 November 2004 1062:Africa Development 993:2008-05-09 at the 975:2005-12-17 at the 832: 697:Arusha Declaration 403:In 1981, musician 367:but can also mean 6571:Tanzanian hip hop 6558: 6557: 6444: 6443: 5706: 5705: 5592: 5591: 5342: 5341: 4922:Feminist activism 4804: 4803: 4779: 4778: 4613: 4612: 4539:other territories 4312:Equatorial Guinea 4189: 4188: 3558: 3557: 3425: 3424: 3354: 3353: 3170: 3169: 3147:Natural resources 3089: 3088: 3035:Linguistic rights 2977: 2976: 2894: 2893: 2655: 2654: 2581:other territories 2354:Equatorial Guinea 1919:"Hip Hop Kilinge" 1905:africanhiphop.com 1728:workpactworld.org 1037:978-9987-08-108-0 957:africanhiphop.com 693:Julius K. Nyerere 640:cultural hegemony 369:mentally deranged 317:Tanzanian Hip-hop 314: 313: 247:Stylistic origins 237: 236: 153: 152: 124: 123: 32:Music of Tanzania 6593: 6549: 6544: 6543: 6411: 6386: 6248:Washington, D.C. 6211: 6146: 5959: 5847: 5725: 5719: 5718: 5714: 5679: 5611: 5605: 5604: 5600: 5544:Na mele paleoleo 5476: 5451: 5361: 5355: 5354: 5350: 5269: 5222: 5018: 5012: 5011: 5007: 4881: 4874: 4867: 4860: 4853: 4840: 4831: 4824: 4817: 4808: 4807: 4743:Shangaan electro 4656: 4655: 4640: 4633: 4626: 4617: 4616: 4600: 4599:(United Kingdom) 4595:Tristan da Cunha 4591:Ascension Island 4583: 4570: 4561: 4537:Dependencies and 4230:Sovereign states 4223:Music of Africa 4216: 4209: 4202: 4193: 4192: 4126:Shangaan Electro 3585: 3578: 3571: 3562: 3561: 3538: 3531: 3316:Afro-Asian Games 3236: 3235: 3179: 3178: 3157:Renewable energy 3122:Countries by HDI 3100: 3099: 2988: 2987: 2905: 2904: 2706: 2705: 2682: 2675: 2668: 2659: 2658: 2642: 2641:(United Kingdom) 2637:Tristan da Cunha 2633:Ascension Island 2625: 2612: 2603: 2579:Dependencies and 2272:Sovereign states 2265:Music of Africa 2258: 2251: 2244: 2235: 2234: 2207: 2206: 2204: 2203: 2184: 2178: 2166: 2160: 2157: 2151: 2150: 2148: 2147: 2136: 2130: 2127: 2121: 2120: 2118: 2117: 2108:. 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Archived from 1465: 1459: 1454: 1448: 1447: 1440: 1434: 1422: 1416: 1413: 1404: 1403: 1401: 1399: 1392:Out Here Records 1384: 1378: 1374: 1365: 1364: 1336: 1330: 1329: 1324:. 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1962: 1953: 1951: 1941: 1937: 1928: 1926: 1923:Music In Africa 1917: 1916: 1912: 1897: 1893: 1888:Wayback Machine 1880: 1876: 1871:Wayback Machine 1862: 1858: 1853: 1849: 1844: 1840: 1801: 1797: 1792: 1788: 1783:Wayback Machine 1774: 1770: 1765: 1761: 1748: 1747: 1743: 1733: 1731: 1722: 1721: 1717: 1707: 1705: 1697: 1696: 1692: 1686: 1682: 1672: 1670: 1666: 1665: 1661: 1652: 1648: 1643: 1639: 1629: 1627: 1618: 1617: 1613: 1608: 1601: 1592: 1590: 1581: 1580: 1576: 1571: 1567: 1558: 1557: 1553: 1544: 1542: 1531: 1527: 1518: 1517: 1513: 1504: 1502: 1493:Perullo, Alex. 1491: 1487: 1478: 1476: 1467: 1466: 1462: 1455: 1451: 1442: 1441: 1437: 1432:Wayback Machine 1423: 1419: 1414: 1407: 1397: 1395: 1386: 1385: 1381: 1375: 1368: 1337: 1333: 1320: 1319: 1310: 1305: 1301: 1295: 1288: 1279: 1278: 1271: 1262: 1261: 1252: 1243: 1242: 1238: 1232: 1207: 1192: 1188: 1179: 1177: 1174:Music In Africa 1168: 1167: 1163: 1156: 1136: 1132: 1085: 1081: 1054: 1045: 1038: 1018: 1009: 1004: 1000: 995:Wayback Machine 986: 982: 977:Wayback Machine 968: 964: 949: 945: 940: 824: 810: 795: 786: 749: 740: 689: 635: 522:Hip hop culture 519: 474:Americanization 421: 361: 287:Regional scenes 261: 259: 233: 138:National anthem 112:Sauti za Busara 104:Music festivals 23: 17: 12: 11: 5: 6599: 6589: 6588: 6583: 6581:1980s in music 6578: 6573: 6556: 6555: 6553: 6552: 6537: 6534: 6533: 6531: 6530: 6525: 6520: 6515: 6510: 6505: 6500: 6495: 6490: 6485: 6484: 6483: 6478: 6473: 6463: 6458: 6452: 6450: 6446: 6445: 6442: 6441: 6439: 6438: 6433: 6428: 6427: 6426: 6415: 6413: 6410:South American 6405: 6404: 6402: 6401: 6396: 6390: 6388: 6380: 6379: 6376: 6375: 6370: 6365: 6360: 6355: 6350: 6341: 6339: 6338: 6333: 6328: 6326:Asian American 6323: 6322: 6321: 6316: 6306: 6305: 6304: 6299: 6294: 6284: 6283: 6282: 6277: 6272: 6267: 6262: 6252: 6251: 6250: 6245: 6240: 6235: 6230: 6218:United States: 6216: 6215: 6213: 6210:North American 6205: 6204: 6202: 6201: 6196: 6191: 6186: 6181: 6176: 6171: 6166: 6161: 6156: 6150: 6148: 6145:Middle Eastern 6140: 6139: 6137: 6136: 6131: 6126: 6121: 6116: 6111: 6106: 6101: 6096: 6091: 6086: 6081: 6076: 6071: 6066: 6061: 6056: 6051: 6046: 6041: 6036: 6031: 6026: 6021: 6016: 6011: 6006: 6001: 6000: 5999: 5994: 5984: 5979: 5974: 5969: 5963: 5961: 5953: 5952: 5950: 5949: 5944: 5939: 5934: 5929: 5924: 5919: 5914: 5909: 5904: 5899: 5894: 5889: 5888: 5887: 5877: 5872: 5867: 5862: 5857: 5851: 5849: 5841: 5840: 5838: 5837: 5832: 5827: 5822: 5817: 5812: 5807: 5802: 5801: 5800: 5790: 5785: 5780: 5775: 5770: 5765: 5760: 5755: 5750: 5745: 5740: 5735: 5729: 5727: 5716: 5708: 5707: 5704: 5703: 5701: 5700: 5699: 5698: 5688: 5682: 5680: 5674: 5673: 5671: 5670: 5665: 5660: 5655: 5650: 5645: 5644: 5643: 5633: 5632: 5631: 5629:Florida breaks 5626: 5624:Baltimore club 5615: 5613: 5602: 5594: 5593: 5590: 5589: 5587: 5586: 5581: 5576: 5574:Urban Pasifika 5571: 5566: 5561: 5556: 5554:Romany hip hop 5551: 5546: 5541: 5536: 5531: 5526: 5521: 5516: 5511: 5509:Hip hop galsen 5506: 5501: 5496: 5491: 5486: 5480: 5478: 5470: 5469: 5467: 5466: 5461: 5455: 5453: 5445: 5444: 5442: 5441: 5436: 5431: 5426: 5421: 5416: 5411: 5406: 5404:New jack swing 5401: 5396: 5391: 5386: 5381: 5376: 5371: 5365: 5363: 5352: 5344: 5343: 5340: 5339: 5337: 5336: 5331: 5326: 5321: 5316: 5311: 5306: 5305: 5304: 5299: 5294: 5289: 5287:Brooklyn drill 5279: 5273: 5271: 5263: 5262: 5260: 5259: 5254: 5249: 5244: 5243: 5242: 5232: 5226: 5224: 5216: 5215: 5213: 5212: 5207: 5202: 5197: 5192: 5191: 5190: 5185: 5177: 5172: 5171: 5170: 5160: 5159: 5158: 5148: 5143: 5138: 5133: 5132: 5131: 5121: 5116: 5115: 5114: 5104: 5099: 5094: 5093: 5092: 5082: 5077: 5072: 5067: 5062: 5057: 5056: 5055: 5045: 5040: 5035: 5034: 5033: 5022: 5020: 5009: 5001: 5000: 4998: 4997: 4992: 4987: 4982: 4977: 4972: 4966: 4964: 4960: 4959: 4957: 4956: 4951: 4946: 4941: 4936: 4931: 4926: 4925: 4924: 4919: 4909: 4904: 4899: 4893: 4891: 4887: 4886: 4884: 4883: 4876: 4869: 4862: 4855: 4847: 4844: 4843: 4834: 4833: 4826: 4819: 4811: 4802: 4801: 4799: 4798: 4793: 4787: 4785: 4781: 4780: 4777: 4776: 4774: 4773: 4768: 4757: 4755: 4749: 4748: 4746: 4745: 4740: 4735: 4730: 4725: 4719: 4717: 4711: 4710: 4705: 4703: 4697: 4696: 4694: 4693: 4688: 4682: 4680: 4674: 4673: 4671: 4670: 4664: 4662: 4660:Central Africa 4653: 4649: 4648: 4643: 4642: 4635: 4628: 4620: 4611: 4610: 4607: 4606: 4604:Western Sahara 4601: 4584: 4571: 4562: 4548:Canary Islands 4544: 4543: 4541: 4536: 4533: 4532: 4530: 4529: 4524: 4518: 4516: 4511: 4508: 4507: 4505: 4504: 4499: 4494: 4489: 4484: 4479: 4474: 4469: 4464: 4459: 4454: 4449: 4444: 4439: 4434: 4429: 4424: 4419: 4414: 4409: 4404: 4399: 4394: 4389: 4384: 4379: 4374: 4369: 4364: 4359: 4354: 4349: 4344: 4339: 4334: 4329: 4324: 4319: 4314: 4309: 4304: 4299: 4294: 4289: 4284: 4279: 4274: 4269: 4264: 4259: 4254: 4249: 4244: 4239: 4233: 4231: 4227: 4226: 4219: 4218: 4211: 4204: 4196: 4187: 4186: 4184: 4183: 4178: 4173: 4168: 4163: 4158: 4153: 4148: 4143: 4138: 4133: 4128: 4123: 4118: 4113: 4112: 4111: 4101: 4096: 4091: 4086: 4085: 4084: 4074: 4069: 4064: 4059: 4054: 4049: 4044: 4039: 4034: 4029: 4024: 4019: 4014: 4009: 4004: 3999: 3994: 3989: 3984: 3979: 3974: 3969: 3964: 3959: 3954: 3949: 3944: 3939: 3934: 3929: 3924: 3923: 3922: 3917: 3907: 3902: 3897: 3892: 3887: 3882: 3877: 3872: 3867: 3862: 3857: 3856: 3855: 3850: 3840: 3835: 3830: 3825: 3820: 3815: 3810: 3805: 3800: 3795: 3790: 3785: 3780: 3775: 3770: 3769: 3768: 3763: 3753: 3748: 3743: 3742: 3741: 3736: 3731: 3724:African reggae 3721: 3720: 3719: 3714: 3709: 3708: 3707: 3702: 3692: 3691: 3690: 3688:Hip hop galsen 3680: 3675: 3670: 3665: 3660: 3655: 3654: 3653: 3648: 3638: 3633: 3628: 3623: 3613: 3612: 3611: 3600: 3597: 3596: 3588: 3587: 3580: 3573: 3565: 3556: 3555: 3553: 3552: 3547: 3540: 3539: 3532: 3524: 3523: 3520: 3519: 3517: 3516: 3511: 3506: 3501: 3496: 3491: 3486: 3481: 3476: 3471: 3466: 3461: 3456: 3451: 3446: 3441: 3435: 3433: 3427: 3426: 3423: 3422: 3420: 3419: 3414: 3413: 3412: 3407: 3397: 3392: 3387: 3382: 3377: 3376: 3375: 3364: 3362: 3356: 3355: 3352: 3351: 3349: 3348: 3346:Tour d'Afrique 3343: 3338: 3333: 3328: 3323: 3318: 3313: 3308: 3302: 3300: 3294: 3293: 3291: 3290: 3285: 3280: 3275: 3270: 3265: 3260: 3255: 3250: 3245: 3239: 3233: 3227: 3226: 3224: 3223: 3218: 3213: 3208: 3203: 3201:Climate change 3198: 3193: 3188: 3182: 3176: 3172: 3171: 3168: 3167: 3165: 3164: 3159: 3154: 3149: 3144: 3139: 3137:Infrastructure 3134: 3129: 3124: 3119: 3114: 3109: 3103: 3097: 3091: 3090: 3087: 3086: 3084: 3083: 3078: 3077: 3076: 3066: 3064:Pan-Africanism 3061: 3056: 3051: 3050: 3049: 3048: 3047: 3040:Women's rights 3037: 3032: 3027: 3017: 3015:Heads of state 3012: 3007: 3002: 2997: 2991: 2985: 2979: 2978: 2975: 2974: 2972: 2971: 2966: 2965: 2964: 2959: 2954: 2949: 2944: 2934: 2929: 2924: 2922:Impact craters 2919: 2917:Highest points 2914: 2908: 2902: 2896: 2895: 2892: 2891: 2889: 2888: 2883: 2878: 2873: 2868: 2862: 2860: 2856: 2855: 2853: 2852: 2847: 2846: 2845: 2835: 2833:Historiography 2830: 2825: 2819: 2817: 2813: 2812: 2810: 2809: 2807:Decolonisation 2804: 2799: 2798: 2797: 2792: 2787: 2782: 2772: 2767: 2762: 2757: 2752: 2747: 2746: 2745: 2740: 2730: 2725: 2724: 2723: 2712: 2710: 2703: 2697: 2696: 2685: 2684: 2677: 2670: 2662: 2653: 2652: 2649: 2648: 2646:Western Sahara 2643: 2626: 2613: 2604: 2590:Canary Islands 2586: 2585: 2583: 2578: 2575: 2574: 2572: 2571: 2566: 2560: 2558: 2553: 2550: 2549: 2547: 2546: 2541: 2536: 2531: 2526: 2521: 2516: 2511: 2506: 2501: 2496: 2491: 2486: 2481: 2476: 2471: 2466: 2461: 2456: 2451: 2446: 2441: 2436: 2431: 2426: 2421: 2416: 2411: 2406: 2401: 2396: 2391: 2386: 2381: 2376: 2371: 2366: 2361: 2356: 2351: 2346: 2341: 2336: 2331: 2326: 2321: 2316: 2311: 2306: 2301: 2296: 2291: 2286: 2281: 2275: 2273: 2269: 2268: 2261: 2260: 2253: 2246: 2238: 2232: 2231: 2222: 2215: 2214:External links 2212: 2209: 2208: 2179: 2161: 2152: 2131: 2122: 2097: 2079: 2054: 2029: 2004: 1980: 1960: 1935: 1910: 1899:Toroka, Eric. 1891: 1874: 1856: 1847: 1838: 1817:10.2307/767970 1795: 1786: 1768: 1759: 1756:on 2008-05-12. 1741: 1715: 1690: 1680: 1659: 1646: 1637: 1611: 1599: 1574: 1565: 1551: 1525: 1511: 1485: 1460: 1449: 1435: 1417: 1405: 1379: 1366: 1331: 1328:on 2008-05-11. 1308: 1299: 1286: 1269: 1250: 1236: 1205: 1186: 1161: 1154: 1130: 1079: 1043: 1036: 1007: 998: 980: 962: 942: 941: 939: 936: 935: 934: 929: 924: 919: 917:Panishee Mdudu 914: 909: 904: 899: 894: 889: 884: 879: 874: 869: 864: 859: 854: 849: 844: 839: 823: 820: 809: 806: 794: 791: 785: 782: 748: 745: 739: 736: 712:Sidney Lemelle 688: 685: 634: 631: 546:Yo Rap Bonanza 518: 515: 420: 417: 360: 357: 312: 311: 289: 288: 284: 283: 276: 275: 271: 270: 256: 252: 251: 248: 244: 243: 235: 234: 232: 231: 224: 217: 209: 206: 205: 204: 203: 198: 193: 188: 183: 178: 173: 168: 160: 159: 158:Regional music 155: 154: 151: 150: 149: 148: 140: 139: 131: 130: 126: 125: 122: 121: 120: 119: 117:Asili Festival 114: 106: 105: 101: 100: 99: 98: 90: 89: 81: 80: 76: 75: 74: 73: 68: 63: 58: 53: 48: 40: 39: 35: 34: 28: 27: 15: 9: 6: 4: 3: 2: 6598: 6587: 6584: 6582: 6579: 6577: 6574: 6572: 6569: 6568: 6566: 6551: 6550: 6539: 6538: 6535: 6529: 6526: 6524: 6521: 6519: 6516: 6514: 6511: 6509: 6506: 6504: 6501: 6499: 6496: 6494: 6491: 6489: 6486: 6482: 6479: 6477: 6476:Record player 6474: 6472: 6469: 6468: 6467: 6464: 6462: 6459: 6457: 6454: 6453: 6451: 6447: 6437: 6434: 6432: 6429: 6425: 6422: 6421: 6420: 6417: 6416: 6414: 6412: 6406: 6400: 6397: 6395: 6392: 6391: 6389: 6387: 6381: 6374: 6371: 6369: 6366: 6364: 6361: 6359: 6356: 6354: 6351: 6349: 6346: 6345: 6344: 6337: 6334: 6332: 6329: 6327: 6324: 6320: 6317: 6315: 6312: 6311: 6310: 6307: 6303: 6300: 6298: 6295: 6293: 6290: 6289: 6288: 6285: 6281: 6278: 6276: 6273: 6271: 6268: 6266: 6263: 6261: 6258: 6257: 6256: 6253: 6249: 6246: 6244: 6241: 6239: 6238:New York City 6236: 6234: 6231: 6229: 6226: 6225: 6224: 6221: 6220: 6219: 6214: 6212: 6206: 6200: 6197: 6195: 6192: 6190: 6187: 6185: 6184:Saudi Arabian 6182: 6180: 6177: 6175: 6172: 6170: 6167: 6165: 6162: 6160: 6157: 6155: 6152: 6151: 6149: 6147: 6141: 6135: 6132: 6130: 6127: 6125: 6122: 6120: 6117: 6115: 6112: 6110: 6107: 6105: 6102: 6100: 6097: 6095: 6092: 6090: 6087: 6085: 6082: 6080: 6077: 6075: 6072: 6070: 6067: 6065: 6062: 6060: 6057: 6055: 6052: 6050: 6047: 6045: 6042: 6040: 6037: 6035: 6032: 6030: 6027: 6025: 6022: 6020: 6017: 6015: 6012: 6010: 6007: 6005: 6002: 5998: 5995: 5993: 5990: 5989: 5988: 5985: 5983: 5980: 5978: 5975: 5973: 5970: 5968: 5965: 5964: 5962: 5960: 5954: 5948: 5945: 5943: 5940: 5938: 5935: 5933: 5930: 5928: 5925: 5923: 5920: 5918: 5915: 5913: 5910: 5908: 5905: 5903: 5900: 5898: 5895: 5893: 5890: 5886: 5883: 5882: 5881: 5878: 5876: 5873: 5871: 5868: 5866: 5863: 5861: 5858: 5856: 5853: 5852: 5850: 5848: 5842: 5836: 5833: 5831: 5828: 5826: 5823: 5821: 5818: 5816: 5815:South African 5813: 5811: 5808: 5806: 5803: 5799: 5798:Port Harcourt 5796: 5795: 5794: 5791: 5789: 5786: 5784: 5781: 5779: 5776: 5774: 5771: 5769: 5766: 5764: 5761: 5759: 5756: 5754: 5751: 5749: 5746: 5744: 5741: 5739: 5736: 5734: 5731: 5730: 5728: 5726: 5720: 5717: 5715: 5709: 5697: 5694: 5693: 5692: 5689: 5687: 5684: 5683: 5681: 5675: 5669: 5666: 5664: 5661: 5659: 5656: 5654: 5651: 5649: 5646: 5642: 5639: 5638: 5637: 5634: 5630: 5627: 5625: 5622: 5621: 5620: 5617: 5616: 5614: 5612: 5606: 5603: 5601: 5595: 5585: 5582: 5580: 5579:Vigilante rap 5577: 5575: 5572: 5570: 5567: 5565: 5562: 5560: 5557: 5555: 5552: 5550: 5549:Nuyorican rap 5547: 5545: 5542: 5540: 5537: 5535: 5532: 5530: 5527: 5525: 5522: 5520: 5517: 5515: 5512: 5510: 5507: 5505: 5502: 5500: 5497: 5495: 5492: 5490: 5487: 5485: 5482: 5481: 5479: 5477: 5471: 5465: 5462: 5460: 5457: 5456: 5454: 5452: 5446: 5440: 5437: 5435: 5432: 5430: 5427: 5425: 5422: 5420: 5417: 5415: 5412: 5410: 5407: 5405: 5402: 5400: 5397: 5395: 5392: 5390: 5387: 5385: 5382: 5380: 5377: 5375: 5372: 5370: 5367: 5366: 5364: 5362: 5356: 5353: 5351: 5349:Fusion genres 5345: 5335: 5332: 5330: 5327: 5325: 5322: 5320: 5317: 5315: 5312: 5310: 5307: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5284: 5283: 5280: 5278: 5275: 5274: 5272: 5270: 5264: 5258: 5255: 5253: 5250: 5248: 5245: 5241: 5238: 5237: 5236: 5233: 5231: 5228: 5227: 5225: 5223: 5217: 5211: 5208: 5206: 5203: 5201: 5198: 5196: 5193: 5189: 5186: 5184: 5181: 5180: 5178: 5176: 5173: 5169: 5166: 5165: 5164: 5161: 5157: 5154: 5153: 5152: 5149: 5147: 5144: 5142: 5139: 5137: 5134: 5130: 5127: 5126: 5125: 5122: 5120: 5117: 5113: 5110: 5109: 5108: 5105: 5103: 5102:Freestyle rap 5100: 5098: 5095: 5091: 5088: 5087: 5086: 5083: 5081: 5078: 5076: 5073: 5071: 5068: 5066: 5063: 5061: 5060:Chipmunk soul 5058: 5054: 5051: 5050: 5049: 5046: 5044: 5041: 5039: 5036: 5032: 5029: 5028: 5027: 5024: 5023: 5021: 5019: 5013: 5010: 5008: 5002: 4996: 4993: 4991: 4988: 4986: 4983: 4981: 4978: 4976: 4973: 4971: 4968: 4967: 4965: 4961: 4955: 4952: 4950: 4947: 4945: 4942: 4940: 4937: 4935: 4932: 4930: 4927: 4923: 4920: 4918: 4915: 4914: 4913: 4910: 4908: 4905: 4903: 4900: 4898: 4895: 4894: 4892: 4888: 4882: 4877: 4875: 4870: 4868: 4863: 4861: 4856: 4854: 4849: 4848: 4845: 4841: 4832: 4827: 4825: 4820: 4818: 4813: 4812: 4809: 4797: 4794: 4792: 4789: 4788: 4786: 4782: 4772: 4769: 4766: 4762: 4759: 4758: 4756: 4754: 4750: 4744: 4741: 4739: 4736: 4734: 4731: 4729: 4726: 4724: 4721: 4720: 4718: 4716: 4712: 4708: 4704: 4702: 4698: 4692: 4689: 4687: 4684: 4683: 4681: 4679: 4675: 4669: 4666: 4665: 4663: 4661: 4657: 4654: 4650: 4641: 4636: 4634: 4629: 4627: 4622: 4621: 4618: 4605: 4602: 4596: 4592: 4588: 4585: 4579: 4575: 4572: 4566: 4563: 4557: 4553: 4549: 4546: 4545: 4542: 4534: 4528: 4525: 4523: 4520: 4519: 4517: 4509: 4503: 4500: 4498: 4495: 4493: 4490: 4488: 4485: 4483: 4480: 4478: 4475: 4473: 4470: 4468: 4465: 4463: 4460: 4458: 4455: 4453: 4450: 4448: 4445: 4443: 4440: 4438: 4435: 4433: 4430: 4428: 4425: 4423: 4420: 4418: 4415: 4413: 4410: 4408: 4405: 4403: 4400: 4398: 4395: 4393: 4390: 4388: 4385: 4383: 4380: 4378: 4375: 4373: 4370: 4368: 4365: 4363: 4360: 4358: 4355: 4353: 4352:Guinea-Bissau 4350: 4348: 4345: 4343: 4340: 4338: 4335: 4333: 4330: 4328: 4325: 4323: 4320: 4318: 4315: 4313: 4310: 4308: 4305: 4303: 4300: 4298: 4295: 4293: 4290: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4234: 4232: 4228: 4224: 4217: 4212: 4210: 4205: 4203: 4198: 4197: 4194: 4182: 4179: 4177: 4174: 4172: 4169: 4167: 4164: 4162: 4159: 4157: 4154: 4152: 4149: 4147: 4144: 4142: 4139: 4137: 4134: 4132: 4129: 4127: 4124: 4122: 4119: 4117: 4114: 4110: 4107: 4106: 4105: 4102: 4100: 4097: 4095: 4092: 4090: 4087: 4083: 4080: 4079: 4078: 4075: 4073: 4070: 4068: 4065: 4063: 4060: 4058: 4055: 4053: 4050: 4048: 4045: 4043: 4040: 4038: 4035: 4033: 4030: 4028: 4025: 4023: 4020: 4018: 4015: 4013: 4010: 4008: 4005: 4003: 4000: 3998: 3995: 3993: 3990: 3988: 3985: 3983: 3980: 3978: 3975: 3973: 3970: 3968: 3965: 3963: 3960: 3958: 3955: 3953: 3950: 3948: 3945: 3943: 3940: 3938: 3935: 3933: 3930: 3928: 3925: 3921: 3920:Igbo highlife 3918: 3916: 3913: 3912: 3911: 3908: 3906: 3903: 3901: 3898: 3896: 3893: 3891: 3888: 3886: 3883: 3881: 3878: 3876: 3873: 3871: 3868: 3866: 3863: 3861: 3858: 3854: 3851: 3849: 3846: 3845: 3844: 3841: 3839: 3836: 3834: 3831: 3829: 3826: 3824: 3821: 3819: 3816: 3814: 3811: 3809: 3806: 3804: 3801: 3799: 3796: 3794: 3791: 3789: 3786: 3784: 3781: 3779: 3776: 3774: 3771: 3767: 3764: 3762: 3759: 3758: 3757: 3754: 3752: 3749: 3747: 3744: 3740: 3737: 3735: 3732: 3730: 3727: 3726: 3725: 3722: 3718: 3715: 3713: 3710: 3706: 3703: 3701: 3698: 3697: 3696: 3693: 3689: 3686: 3685: 3684: 3681: 3679: 3676: 3674: 3671: 3669: 3666: 3664: 3661: 3659: 3656: 3652: 3649: 3647: 3644: 3643: 3642: 3639: 3637: 3634: 3632: 3629: 3627: 3624: 3622: 3619: 3618: 3617: 3614: 3610: 3607: 3606: 3605: 3604:African blues 3602: 3601: 3598: 3594: 3586: 3581: 3579: 3574: 3572: 3567: 3566: 3563: 3551: 3548: 3546: 3543: 3542: 3537: 3533: 3530: 3526: 3525: 3521: 3515: 3512: 3510: 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3101: 3098: 3096: 3092: 3082: 3079: 3075: 3072: 3071: 3070: 3067: 3065: 3062: 3060: 3057: 3055: 3052: 3046: 3043: 3042: 3041: 3038: 3036: 3033: 3031: 3028: 3026: 3023: 3022: 3021: 3018: 3016: 3013: 3011: 3008: 3006: 3003: 3001: 2998: 2996: 2995:African Union 2993: 2992: 2989: 2986: 2984: 2980: 2970: 2967: 2963: 2960: 2958: 2955: 2953: 2950: 2948: 2945: 2943: 2940: 2939: 2938: 2935: 2933: 2930: 2928: 2925: 2923: 2920: 2918: 2915: 2913: 2910: 2909: 2906: 2903: 2901: 2897: 2887: 2884: 2882: 2879: 2877: 2874: 2872: 2869: 2867: 2864: 2863: 2861: 2857: 2851: 2848: 2844: 2841: 2840: 2839: 2836: 2834: 2831: 2829: 2826: 2824: 2821: 2820: 2818: 2814: 2808: 2805: 2803: 2800: 2796: 2795:Trans-Saharan 2793: 2791: 2788: 2786: 2783: 2781: 2778: 2777: 2776: 2773: 2771: 2768: 2766: 2763: 2761: 2758: 2756: 2753: 2751: 2748: 2744: 2741: 2739: 2736: 2735: 2734: 2731: 2729: 2726: 2722: 2719: 2718: 2717: 2714: 2713: 2711: 2707: 2704: 2702: 2698: 2694: 2690: 2683: 2678: 2676: 2671: 2669: 2664: 2663: 2660: 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2142: 2135: 2126: 2112:on 2008-05-11 2111: 2107: 2101: 2093: 2089: 2083: 2068: 2064: 2058: 2043: 2039: 2033: 2018: 2014: 2008: 1994: 1990: 1984: 1970: 1964: 1950: 1946: 1939: 1924: 1920: 1914: 1906: 1902: 1895: 1889: 1885: 1882: 1878: 1872: 1868: 1865: 1860: 1851: 1842: 1834: 1830: 1826: 1822: 1818: 1814: 1810: 1806: 1799: 1790: 1784: 1780: 1777: 1772: 1763: 1755: 1751: 1745: 1729: 1725: 1719: 1704: 1700: 1694: 1684: 1669: 1668:"Bongo Flava" 1663: 1656: 1650: 1641: 1625: 1621: 1615: 1606: 1604: 1589:on 2005-12-17 1588: 1584: 1578: 1569: 1561: 1555: 1541:on 2008-05-11 1540: 1536: 1529: 1521: 1515: 1501:on 2008-02-24 1500: 1496: 1495:"Bongo Flava" 1489: 1475:on 2008-05-11 1474: 1470: 1464: 1458: 1453: 1445: 1439: 1433: 1429: 1426: 1421: 1412: 1410: 1393: 1389: 1388:"Bongo Flava" 1383: 1373: 1371: 1362: 1358: 1354: 1350: 1346: 1345:Popular Music 1342: 1335: 1327: 1323: 1317: 1315: 1313: 1303: 1293: 1291: 1282: 1276: 1274: 1265: 1259: 1257: 1255: 1246: 1240: 1230: 1228: 1226: 1224: 1222: 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542: 539: 538:Western world 535: 534:Dar es Salaam 531: 527: 523: 514: 512: 508: 507:Dar Es Salaam 503: 499: 495: 489: 485: 483: 479: 475: 469: 467: 463: 459: 455: 451: 447: 443: 438: 434: 429: 425: 416: 414: 413:Peter Gabriel 410: 406: 401: 399: 395: 391: 386: 382: 381:Dar es Salaam 378: 374: 370: 366: 356: 353: 349: 345: 341: 337: 333: 330: 324: 322: 318: 310: 306: 302: 298: 294: 293:Dar-es-Salaam 290: 285: 281: 277: 272: 269: 257: 253: 249: 245: 240: 230: 225: 223: 218: 216: 211: 210: 208: 207: 202: 199: 197: 194: 192: 189: 187: 184: 182: 179: 177: 174: 172: 169: 167: 164: 163: 162: 161: 157: 156: 147: 144: 143: 142: 141: 137: 136: 133: 132: 128: 127: 118: 115: 113: 110: 109: 108: 107: 103: 102: 97: 94: 93: 92: 91: 87: 86: 83: 82: 78: 77: 72: 69: 67: 64: 62: 59: 57: 54: 52: 49: 47: 44: 43: 42: 41: 37: 36: 33: 30: 29: 21: 20: 6545: 6493:Hip hop skit 6488:Drum machine 6449:Other topics 6342: 6243:Philadelphia 6217: 5819: 5686:Funk carioca 5636:Ghetto house 5494:Boomba music 5384:Hip hop soul 5297:Sample drill 5292:Jersey drill 5119:Instrumental 4771:Coupé-décalé 4587:Saint Helena 4558: 4462:South Africa 4452:Sierra Leone 4257:Burkina Faso 4099:Santé engagé 4042:Moroccan pop 3957:Kadongo Kamu 3937:Isicathamiya 3880:Coupé-décalé 3739:Zimdancehall 3694: 3609:desert blues 3400:Urbanization 3360:Demographics 3336:Rugby Africa 3243:Architecture 3127:Billionaires 3020:Human rights 2790:Indian Ocean 2721:North Africa 2629:Saint Helena 2600: 2504:South Africa 2494:Sierra Leone 2299:Burkina Faso 2224: 2200:. Retrieved 2196:the original 2191: 2182: 2164: 2155: 2144:. Retrieved 2134: 2125: 2114:. Retrieved 2110:the original 2100: 2091: 2082: 2071:. Retrieved 2069:. 2019-07-11 2066: 2057: 2046:. Retrieved 2044:. 2013-06-19 2041: 2032: 2021:. Retrieved 2019:. 2012-02-07 2016: 2007: 1996:. Retrieved 1992: 1983: 1972:. Retrieved 1963: 1952:. Retrieved 1948: 1938: 1927:. Retrieved 1925:. 2014-10-14 1922: 1913: 1904: 1894: 1877: 1859: 1850: 1841: 1808: 1804: 1798: 1789: 1771: 1762: 1754:the original 1744: 1732:. Retrieved 1727: 1718: 1706:. Retrieved 1702: 1693: 1683: 1671:. Retrieved 1662: 1649: 1640: 1628:. Retrieved 1624:the original 1614: 1591:. Retrieved 1587:the original 1577: 1568: 1554: 1543:. Retrieved 1539:the original 1528: 1520:"kongoi.com" 1514: 1503:. Retrieved 1499:the original 1488: 1477:. Retrieved 1473:the original 1463: 1452: 1438: 1420: 1396:. Retrieved 1391: 1382: 1344: 1334: 1326:the original 1302: 1239: 1199: 1195: 1189: 1178:. Retrieved 1176:. 2015-03-03 1173: 1164: 1144:. New York: 1140: 1133: 1096: 1092: 1082: 1065: 1061: 1022: 1001: 983: 965: 956: 946: 912:Dizasta Vina 811: 803: 796: 787: 750: 741: 728: 724: 720: 716: 709: 705: 690: 681: 677: 674: 670: 664: 661: 657: 655: 645: 636: 619: 603:graffiti art 601:(b-boying), 592: 580: 576: 550: 543: 520: 502:Congo region 494:South Africa 490: 486: 470: 430: 426: 422: 408: 405:Remmy Ongala 402: 397: 393: 389: 384: 376: 372: 368: 364: 362: 325: 316: 315: 88:Music awards 6513:Video vixen 6508:Synthesizer 6481:Turntablism 6466:Disc jockey 6399:New Zealand 6179:Palestinian 6074:Montenegrin 5865:Bangladeshi 5860:Azerbaijani 5599:Derivatives 5584:Zenji flava 5559:Songo-salsa 5489:Bongo flava 5369:Country rap 5257:Memphis rap 5240:Mafioso rap 5235:Gangsta rap 5210:Underground 5205:Turntablism 5129:Chicano rap 5031:Hipster hop 5026:Alternative 4753:West Africa 4678:East Africa 4514:recognition 4467:South Sudan 4357:Ivory Coast 3788:Ambasse bey 3705:Zenji flava 3700:Bongo Flava 3410:urban areas 3331:FIBA Africa 3030:LGBT rights 2728:Archaeology 2556:recognition 2509:South Sudan 2399:Ivory Coast 1535:"Hali Duni" 1283:. May 2005. 1103:: 243–258. 951:Thomas, A. 902:Juma Nature 892:Lady Jaydee 877:Dully Sykes 857:Balozi Dola 830:Fid Q, 2013 799:Kwanza Unit 761:Dully Sykes 627:Gangwe Mobb 623:Juma Nature 572:Barry White 482:gangsta rap 466:Gangwe Mobb 462:Juma Nature 442:East Africa 396:) but also 359:Bongo Flava 321:Bongo Flava 280:Bongo Flava 46:Bongo flava 16:Music genre 6565:Categories 6394:Australian 6373:Salvadoran 6309:West Coast 6255:Midwestern 6233:New Jersey 6223:East Coast 6069:Macedonian 6044:Portuguese 5937:Sri Lankan 5927:Philippine 5892:Indonesian 5835:Zimbabwean 5810:Senegalese 5648:Glitch hop 5641:Ghettotech 5610:Electronic 5499:Cumbia rap 5459:Trap metal 5394:Industrial 5309:Latin trap 5268:Trap music 5252:Horrorcore 5195:Snap music 5179:Religious 5146:Mumble rap 5141:Miami bass 5097:East Coast 4990:Golden age 4985:New school 4980:Old-school 4944:Production 4897:Battle rap 4880:Beatboxing 4723:Afro house 4707:Mahraganat 4569:(Portugal) 4527:Somaliland 4447:Seychelles 4412:Mozambique 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3390:HIV/AIDS 3221:Religion 3186:Abortion 3142:Internet 3069:Politics 3045:feminism 2983:Politics 2838:Military 2816:By topic 2780:Atlantic 2743:Sahelian 2693:articles 2635: / 2631: / 2624:(France) 2618: / 2596: / 2592: / 2544:Zimbabwe 2519:Tanzania 2369:Ethiopia 2364:Eswatini 2344:Djibouti 2309:Cameroon 2294:Botswana 2172:Archived 1884:Archived 1867:Archived 1811:: 1–26. 1779:Archived 1734:March 7, 1708:March 8, 1673:March 6, 1630:March 5, 1428:Archived 991:Archived 973:Archived 907:Ali Kiba 793:Swah rap 615:Zanzibar 584:HIV/AIDS 568:Tanzania 556:Tanzania 526:Tanzania 500:and the 433:Afrobeat 390:Jua Kali 268:Tanzania 166:DR Congo 6503:Sampler 6431:Chilean 6368:Mexican 6363:Haitian 6297:Memphis 6292:Atlanta 6265:Detroit 6260:Chicago 6194:Turkish 6169:Israeli 6164:Iranian 6124:Swedish 6119:Spanish 6104:Serbian 6099:Russian 6064:Italian 6024:Finnish 5987:British 5977:Belgian 5875:Chinese 5870:Burmese 5830:Zambian 5763:Ivorian 5753:Gambian 5738:Angolan 5724:African 5569:Stronda 5534:Low 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2484:Senegal 2469:Nigeria 2459:Namibia 2449:Morocco 2414:Liberia 2409:Lesotho 2359:Eritrea 2329:Comoros 2304:Burundi 2279:Algeria 1901:"Dataz" 1533:TPPAP. 1398:6 March 1202:: 5–21. 922:Jay Moe 867:Saleh J 611:rapping 564:R&B 377:Flavour 340:Swahili 332:Hip hop 186:Burundi 51:Singeli 6319:Alaska 6199:Yemeni 6154:Arabic 6109:Slovak 6094:Romany 6084:Polish 6034:German 6029:French 5992:Celtic 5902:Korean 5880:Indian 5768:Kenyan 5529:Kwaito 5247:G-funk 5188:Jewish 5080:Comedy 5043:Bounce 4954:Genres 4765:Azonto 4738:Kwaito 4668:Kuduro 4652:Genres 4597: 4580: 4567: 4497:Zambia 4492:Uganda 4432:Rwanda 4387:Malawi 4347:Guinea 4242:Angola 4146:Taarab 4121:Shaabi 4109:Seggae 4094:Salegy 4089:Sakara 4022:Mbalax 4017:Maloya 4007:Marabi 3987:Logobi 3977:Kwaito 3972:Kuduro 3895:Funaná 3843:Chaabi 3803:Azonto 3798:Assiko 3734:Seggae 3646:Boomba 3641:Kenyan 3550:Portal 3405:cities 3253:Cinema 3211:Health 2969:Rivers 2691: 2689:Africa 2639: 2622: 2609: 2539:Zambia 2534:Uganda 2474:Rwanda 2429:Malawi 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