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The American hip-hop culture has become so much a celebrated symbol of progress among youths worldwide.
Associated with baggy slinging trousers, American slang and weird hairdos, the culture has spread fast across the world, thanks to hip-hop music, synonymous with big stars like Tupac, Dr. Dre, Snoop Doggy Dog and, more recently, the controversial Eminem.
Although sometimes bawdy and downright obscene, the genre is the ambassador of American culture and values across the world so much that the culture and the dress code have become the in-thing among the youths worldwide, even here in Malawi.
However, despite this apparent interest and wholesale embracement of the hip-hop culture and music by Malawi’s own artists, their music has failed to make any impact since they started playing it only some few years ago.
Nonetheless, musicians who have been involved with the genre believe Malawian hip-hop is on the threshold and only waiting to explode.
In an e-mail response, Stix of pioneering hip-hop group Real Elements explained that there is great hope for the future if the music is rightly done.
“Well, as an individual, I really think there is a promise for the future. People have started opening their minds and they are looking for something different. Yes, the traditional music in Malawi is great but I think it lacks variety because there are too many artists doing the same thing in that genre of music and people are getting tired of the same things over and over again.
“So hip-hop and R&B; is like a breath of fresh air. If it is done right, then I know it will eventually appeal to the masses and become a force to reckon with,” he observed.
He, however, noted that there are one or two issues that need to be ironed out before hip-hop can make itself heard.
“There are a lot of artists who try to do hip-hop in Malawi who are very talented but I think they try too hard to sound like people in other countries who have grown up in totally different cultures. Certain hip-hop artists in Malawi lack identity, they try to sound like the Jay-Z’s and the DMX’s and the rest of those artists in the industry.
“Instead of staying true to themselves, they imitate other people. Instead of talking about real issues that happen in this country, they talk about things they don’t experience, things they don’t have. As a result people are not able to relate to them and the music they are producing.”
In this regard, Stix argues the need for hip-hop artists to state their case in the local vernacular.
“I like those that try to rap or sing in Chichewa because that enables Malawians to relate to the music even if it’s brought across with hip-hop oriented delivery and instrumentation. I’m not saying people shouldn’t rap in English. They should do that because it’s a universal art-form. But if they do, they should tackle issues that happen around them, they should express themselves from that point of view.”
Stix remarked that there are some hip-hop acts that are making Malawian hip-hop a reality.
“There is a lot of hope. People like Wisdom Chitedze are one of the R&B; and hip-hop artists who are bringing this genre to the masses in the right way and people like Code and Shadre Sangala, Prolifik, Set Apart, The Gospel, Chatrock, Insight, Dominant One, those are the few names that come to mind when I think about this issue.”
On his part, Wisdom Chitedze of the hit song Tipewe believes Malawian hip hop is a force that is growing.
“There were guys like Solo, Boyz Lazy, Criminal A, who started it in Malawi but it was the Real Elements who made it get the respect it deserves. Now with a hip-hop hit like Tipewe, adults have come to accept hip-hop, especially that the song is in Chichewa and the lyrics are conscious and educative.”
But he notes that there is a problem that has to be redressed.
“Artists are trying to get recognition but people just don’t want hip-hop or R&B; music. They want music that strikes the chords of the heart. The problem with hip-hop, as seen from the Western artists, is that artists use it to just brag about themselves. That’s why adults hate it. I mean in how many songs can you talk about yourself, your money or skills before you bore people to death?”
Chitedze, however, says there is hope for hip-hop.
“There is an emergence of true-to-life artists who are going to make hip-hop fun and accessible,” he says.
While confirming R&B;’s growing popularity, he says there are some areas that need close attention.
“R&B; is indeed gaining prominence as well with guys like Bleek, Kaphirintiya, Reazon Y and myself. But some vocal and instrumental productions leave a lot to be desired,” he says.
Chitedze remarks that R&B; has become more popular than hip-hop because it has been in existence for sometime.
“The reason why R&B; would transcend barriers that hip-hop can’t is that, R&B; is more like other music genres and has been around for longer than hip-hop. R&B; has come out of soul music, the kind that Marvin Gaye did, while hip-hop emerged in the eighties.
“Hip-hop is identified with the now generation while R&B; is taken as an oldie. The other thing is that hip-hop artists are misconstrued as being thugs and troublemakers interested in violence, sensuality and cash. While R&B; crooners are taken as people who are into love. These perceptions come from watching American hip-hop and R&B; artists,” he says.
But despite the distance to be travelled, Chitedze feels the future looks hopeful.
Masauko Chipembere of the South African-based duo Blk Sonshine believes Malawian hip-hop artists can make progress if they are willing to learn where American hip-hop has come from.
“I grew up with the hip-hop culture in Los Angeles and watched it grow into the monster that it has become today. When I was a kid in the 80’s, hip-hop was a form of rebellion which gave loud black youths space to project their own ideas about into a world overrun by ideas of ‘White America’,” says the New York-based star.
“Stories about ghetto life in the inner cities exposed many in the suburbs to realities they were hoping to avoid. This began dialogues that forced everyone in the society to rethink the society as a whole.”
But he says hip-hop has lost that pride and force.
“Today, hip-hop has been mainstreamed in the US. It has become silent on the more important issues in the society. There isn’t a popular hip hop song that deals with the events of September 11. Why? Because during that period hip-hop was busy with Jay-Z’s Girls, Girls, Girls.”
Nonetheless, Chipembere believes hip-hop can have some positive influence in Malawi.
“The influence of hip-hop can be positive in Malawi when it brings about groups like Real Elements and Kamradz who are celebrating their Africanness. We must study the hip-hop that came out in the late 80s and early 90s.
“Check out the Jungle Brother’s Done By The Forces of Nature where they speak of civilization beginning in Africa and tell you to ‘love your mother, nature.’ Check out Public Enemy’s It Takes a Nation Of Millions to Hold Us Back. These albums are a strong protest against the inhumane treatment of white towards black, rich toward poor and brother against brother.”
Like Stix, Chipembere argues for the use of local languages in the music.
“I think, as a rule, every hip-hop artist in Malawi should write at least a rhyme or two in Chewa, Tumbuka or Yao or any of our indigenous languages. If you want to preserve our culture, the best way to do it is by celebrating the languages. Culture is most apparent in language,” he observes.
Chipembere remarks that as far a R&B; is concerned, the rhythm is okay but the message needs some panel beating.
“As far as R&B; goes, I love the voices coming out of the US but the messages are weak. R. Kelly should never have written a song like, You Remind Me of My Jeep. A woman should not be compared to a car!
“It’s not good poetry. It is juvenile and backward. Could someone please give him some Jack Mapanje to read. Their lyrics need help. If we must try to do R&B;, it is best to follow in the path of India Arie and Jil Scott who tend to create message oriented music.”
And his message to Malawian hip-hop acts?
“We are a poor country. We must educate our people with our music. There is no time for songs about how sexy so and so is. There are people dying all around us. We must try to provide hope as musicians. Malawi is not America and believe it or not, if you had lived in America, you wouldn’t want it to be. Hey, does anybody listen to Allan Namoko anymore?”
Budding hip-hop artist Ben Flava, who says he started playing hip-hop seven years ago, noted that the major reason why the genre has not made a breakthrough all along is because people associate it with the youthful “YO” culture.
“People associate hip-hop with explicit lyrics and so they get the impression that the music is obscene and they hardly want to sit down to listen to the message,” he explains.
He is, however, adamant that the genre will gain massive popularity in the next two to three years.
“Take the example of San B who has persevered with his own style. I believe we can do it too,” he says.
Flava, who often performs during youth talent and fashion shows, believes there is hope for hip-hop in Malawi.
“As long as the message in the songs is clear and continues to impress, there is a great hope for Malawian hip-hop,” he says, adding that the major setback for hip-hop artists is lack of sponsorship.
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