The Hip Hop African

Ep. 107: What Is Hip Hop Studies? 01.06.2026 24min

In this solo episode of The Hip Hop African Podcast, Msia explores the question: What is Hip Hop Studies? The episode approaches Hip Hop Studies from an African Studies and cultural studies perspective. Msia explains that Hip Hop Studies is not simply the study of rap music. It is an interdisciplinary field that examines hip-hop culture as performance, politics, language, identity, pedagogy, social critique, and global knowledge production. The episode traces the growth of Hip Hop Studies in the academy, including Howard University’s historic role in hosting one of the first university hip-hop courses and conferences in 1991. It also discusses the rise of Hip Hop Studies programs at institutions such as the University of Arizona, Bowie State University, North Carolina Central University, and Howard University. Msia highlights the field’s foundational texts and scholars, including James Spady, Tricia Rose, Joan Morgan, Bakari Kitwana, Imani Perry, Gwendolyn Pough, Jeff Chang, Samy Alim, Murray Forman, and Mark Anthony Neal. A major focus of the episode is the place of Africa and the African diaspora within Hip Hop Studies. Msia argues that Africa should not be treated as peripheral to the field or only as a source of influence. Instead, African hip-hop scenes and scholarship must be understood as central to how Hip Hop Studies is being redefined globally. Topics Covered Mentioned Texts Nation Conscious Rap — James Spady Black Noise — Tricia Rose When Chickenheads Come Home to Roost — Joan Morgan The Hip Hop Generation — Bakari Kitwana Prophets of the Hood — Imani Perry Check It While I Wreck It — Gwendolyn Pough Can’t Stop Won’t Stop — Jeff Chang Roc the Mic Right — H. Samy Alim That’s the Joint!: The Hip-Hop Studies Reader — Murray Forman and Mark Anthony Neal Link to our list of Hip Hop journals Closing Thought Hip Hop Studies is not only about where hip-hop began. It is also about where hip-hop travels, how communities use it to narrate their realities, and how Africa and the Global South are reshaping the field itself.

Continental Cadences Episode 24: The Global South has Something to Say 25.05.2026 24min

Description: The stories told through Hip Hop's musical artists are unique when looked at through an African lens. This episode of Continental Cadences explores why African Hip Hop "hits different" by examining aspects of the genre's complex versions of identity and how they are portrayed through the musical artists' performances. The goal of this podcast episode is to break down three main points that are used as mediums to interpret African Identity: the use of indigenous languages, aesthetics, and political framing, which all contribute to African artists' self-expression and cultural understanding. We explore how language is used as a compass, where indigenous African languages speak to an artist's origins as they use their rap medium to tell their audience something. Artists' aesthetics move beyond the "poor and sickness-ridden" misconceptions placed upon Africa, giving artists an opportunity to represent their livelihoods through visual narratives of African life. Lastly, artistic political framing responds to African artists' relationships with their home countries' political systems and how that affects them. Through this conversation, Diandra, Abiba, and Aardashini stimulate conversation around how audience members are brought into the world of African artists through these points, which bring their identities to the forefront. With the art created by African Hip Hop artists being outstanding in the field of music, their work leaves viewers astonished and inspired to learn more. 

Hip-Hop: The Vanguard of the Revolution? Buna After Dark Podcast 23.05.2026 25min

In this episode, we’ll talk about Hip-hop artists who have engaged in protest Literature and Combat Literature based on the analysis of Frantz Fanon’s Wretched of the Earth, as expanded Dr. Msia Clark in her book Hip Hop in Africa: Prophets of the City & Dustyfoot Philosophers. Throughout the continent, Hip-hop has been used to stand up against injustice, but which artists and songs have engaged beyond critique? We’ll explore a track from South Africa, Fees will fall, which is standing up against the rise of tuition, also how Egyptian rappers such as MC Deeb fueled the Arab Spring/2011 revolution, and the way Somali rapper K'naan used rap to unite a war-divided country. Theses artist illustrate that combat literature is when artists engage in struggle, instead of only joining in post-movement.  They do this by using music as their weapon to mobilize people in real time. One of the important patterns is how political context shapes the fight. Deeb used metaphors since the government had artists censored, while Gigi and K’naan were more direct in addressing the people with power as they call out the heavy injustice. Hip Hop has become the tool of resistance, where the microphone acts as a weapon to challenge power and amplify marginalized voices. This connects to the theme of resistance in the diaspora, especially when K’naan was speaking on Somalia from outside the country. People should care about this because these artists prove that young people can create real-world change and get involved in global issues.  Thanks for listening to Buna After Dark. Be sure to check out the artists we talked about below: Egypt (MC Deeb) –Masrah Deeb South African (Gigi Lamayne)- Fees Will Fall Somali K'naan- Soobox

Voices of Ghana 11.05.2026 15min

This podcast is hosted by Shamma Alhammadi and Sandra Senpeteri, and it takes a closer look at Ghana through conversation, culture, and personal perspective. We talk about what makes Ghana unique beyond the usual facts, highlighting its history, identity, and the stories that give it real depth.

Special Series: Student Voices in African Hip Hop 09.05.2026 2min

In this special introduction episode, The Hip Hop African Podcast launches a curated student series featuring standout final projects from the Hip Hop & Social Change in Africa course at Howard University and George Washington University. These short podcast episodes highlight how students are critically engaging African hip hop as culture, politics, storytelling, identity formation, and resistance. The featured projects move beyond surface-level conversations about music to examine how artists across the continent use hip hop to navigate history, power, language, migration, and social change. Featured Episodes Voices of Ghana Hosted by Shamma Alhammadi and Sandra Senpeteri, this episode explores Ghana through culture, conversation, and lived perspective. The hosts examine the histories, identities, and stories that shape contemporary Ghana beyond stereotypical narratives. Continental Cadences: The Global South Has Something to Say Diandra, Abiba, and Aardashini explore why African hip hop “hits different” by examining: Indigenous African languages in rap Visual aesthetics and representation Political framing and self-expression The episode investigates how artists use hip hop to communicate identity, challenge misconceptions about Africa, and create new cultural narratives. The Vanguard of the Revolution? Buna After Dark Podcast This episode examines African hip hop as protest and combat literature through the lens of Frantz Fanon and resistance movements across the continent. The discussion includes: The Fees Must Fall movement in South Africa MC Deeb and the Arab Spring in Egypt K’naan and hip hop’s relationship to diaspora, conflict, and national identity in Somalia Together, these projects demonstrate how hip hop functions not only as music, but also as political critique, cultural memory, and a tool of resistance across Africa and the diaspora. About The Course Hip Hop & Social Change in Africa is an interdisciplinary course examining African hip hop cultures through history, politics, gender, identity, globalization, and social movements. The course is taught collaboratively between Howard University and George Washington University. Listen & Follow Follow The Hip Hop African Podcast for more conversations on African hip hop culture, scholarship, and global Black cultural movements.

Ep 106: Hip-Hop as Archive, Pedagogy, and Practice: The Work of Osmic Menoe 01.04.2026 41min

In this episode of The Hip Hop African Podcast, we sit down with South African hip-hop pioneer Osmic Menoe to explore the history, evolution, and future of hip-hop culture in South Africa. From founding Back to the City, Africa’s largest hip-hop festival, to building the South African Hip Hop Awards and developing the continent’s first hip-hop museum, Menoe reflects on archiving and institution building. We also discuss AI in music production and what he thinks it means for the future of hip-hop. “Every step of my journey has been about documenting and archiving the culture.”

Ep. 105: Afrobeats vs. Hip Hop: Why the Distinction Matters 18.02.2026 20min

Is Afrobeats hip hop? In this solo episode of The Hip Hop African Podcast, Msia breaks down one of the most persistent debates in global music: the confusion between Afrobeats and hip hop. While the genres often overlap — and frequently collaborate — they are not the same. This episode explores the structural, historical, and political differences between African hip hop and Afrobeats, from breakbeats and cyphers to groove-driven production and dance-centered arrangements. Msia examines how streaming algorithms, global music marketing, and even academic scholarship have blurred the lines between Nigerian hip hop, Ghanaian hip hop, and Afrobeats. She argues that collapsing the genres erases African hip hop’s activist traditions, lyrical depth, and cultural elements like deejaying, breakdancing, and graffiti. If you’re interested in African music, global hip hop culture, Afrobeats history, or the politics of genre classification, this episode offers critical context and clarity. Afrobeats is global. African hip hop is powerful. But they are not the same. Listen now.

Ep. 104: Dokta on African Graffiti, Hip-Hop Pedagogy & Social Change 01.01.2026 13min

This episode of The Hip Hop African Podcast features Dokta, a pioneering Senegalese graffiti artist, cultural organizer, and hip-hop activist whose work has been central to the development of African graffiti and street art since the late 1980s. Coming to hip-hop through graffiti, breakdancing, and MCing, Dokta represents an early generation of African hip-hop practitioners who understood the culture as a tool for education, community engagement, and social critique. “I don’t make art just to make it beautiful. I make art to talk to the people.” As a founding member of the Doxandem Squad and the creator of FESTIGRAFF, one of Africa’s most significant international graffiti festivals, Dokta has helped position African graffiti within global hip-hop networks while maintaining its grounding in local realities. In this conversation, he explains how graffiti in African contexts functions differently than in Europe or the United States—serving not only as visual culture, but as a form of public pedagogy that speaks directly to everyday social and political conditions. “Graffiti is respect—respect for the community, and respect given back.” Dokta discusses mentoring youth, resisting artistic imitation, and the responsibility of hip-hop artists to remain accountable to the communities they represent. His reflections offer valuable insight into African hip-hop as a lived practice, an archive of urban experience, and a form of knowledge production.

Ep. 103: Ready D on Four Decades of South African Hip Hop 09.12.2025

In this episode of The Hip Hop African Podcast, Dr. Msia Kibona Clark sits down with South African hip hop pioneer DJ Ready D — legendary turntablist, founding member of Prophets of Da City (POC), cultural educator, community builder, and one of the most important figures in shaping Cape Town’s hip hop identity. “We were the first generation, so nobody understood this music — they watched their kids transform in front of their eyes.” Ready D reflects on discovering hip hop during the final years of District Six, just before families were forcibly removed under apartheid. He discusses how hearing Rapper’s Delight for the first time created an unexpected bridge between U.S. hip hop and his own lived experiences, and how the trauma of displacement and the political climate of the 1980s deepened his connection to the culture. From the rise of Cape Town’s early B-boy crews, to the formation of an African-centered hip hop movement, to his powerful contributions as a DJ, radio host, mentor, and intergenerational collaborator, Ready D offers a rare and deeply personal account of hip hop’s development in South Africa. He also looks forward — reflecting on the evolution of DJing, the challenges of the contemporary scene, and the community-based projects he’s building today. “If you want to be good, you must be prepared to be a student for life.” This is a rich conversation about culture, politics, craft, and legacy — from one of hip hop’s most respected global pioneers. 

Ep 102: Simon of Y’en a Marre on Hip Hop, Activism, & the New Senegalese 03.11.2025

In this episode, we talk with Simon, rapper and co-founder of Y’en a Marre, the Senegalese movement that turned hip hop into a force for political change. Simon reflects on the group’s impact during the 2011 elections, their call for a “New Type of Senegalese,” and his new project Rapping History, which uses hip hop to decolonize education and reclaim African narratives. “We realized the fight was not only political — it was also about changing mentality.” Simon Simon discusses his early introduction to hip hop and political awareness through Public Enemy and The Roots, the creation of Y’en a Marre and their role in mobilizing youth during Senegal’s 2011 elections, the idea of the “New Type of Senegalese (NTS)” — reshaping national consciousness. He also discusses government backlash, arrests, and personal risk in political hip hop activism “Patriotism is not just voting; it’s wearing, eating, and building African.” Simon

Ep 101: Respect the Technique: A Mixtape Episode 03.09.2025

In this episode, we’re bringing you a special mixtape featuring 24 tracks released in 2024 and 2025 by MCs from across the continent, including Ghana, Nigeria, Rwanda, South Africa, Tanzania, and Zimbabwe. The mix highlights: Languages: English, Swahili, Ga, Yoruba, and more. Artists: Established names like Modenine, M.anifest, Nadia Nakai, alongside rising voices you may be hearing for the first time. Sounds: From classic boom bap and Afrobeats-inspired beats, to high-energy club tracks, to conscious and introspective flows. Inspired by U.S. hip hop podcasts that spotlight new music, this episode aims to showcase the incredible range of hip hop being produced internationally. The mix begins with South Africa’s Zulu Mecca—who will also be speaking at this year’s conference—and closes with Yugen Blakrok, from her powerful new album The Illusion of Being. Check out the full playlist and links to the featured artists: ZuluMecca "Iller Than" Modenine "Adidas" Wakazi "Crooked Crown" Eno Barony "No Manual" K. Keed "Dilemma" Fid Q & Mex Cortez "Simba" Sarkodie "Hustlers Dream" Gemini Orleans "Gasoline" Stamina "Bado Nipo" AYORKOR RONZY "Darkovibes" Falz the Bahd Guy & Shaybo "Popping Tonught" Angel Mutoni "Ousaah" Cassper Nyovest "Kusho Bani" Gigi Lamayne "COME OUTSIDE" Nadia Nakai & Moozlie "Sipthipithi" Eva Alordiah "I Look Good" Awa Khiwe "Rap Gandaganda" Ugly Dray "Not Love" Kweku Smoke "Agyekum" Yanga Chief "What If" Erigga "Just Breathe" MOJO AF "Samson"

Unapologetic: African Women in Hip-Hop 15.08.2025

In this episode of Let Her Cook called Unapologetic, two of our students dive into the world of African women in hip-hop. They discuss artists from West, East, and Southern Africa: Eno Barony (Ghana), Keko (Uganda), Gigi Lamayne (South Africa), and Reespect (Nigeria), women who aren’t waiting for permission to speak; they’re taking the mic and making space for themselves. From Keko’s fearless visibility as a queer rapper in Uganda to Gigi’s protest-driven lyrics in South Africa, these women use their voices as both art and activism. They also talk about braggadocio, that classic hip-hop confidence, and how African and African American women flip it to challenge what society says they should be. This episode is all about power, presence, and being unapologetically loud. Check out our 2019 interview with Keko on Episode 38: Keko on Hip-Hop V. The Politics of Sexuality in Uganda. Or our 2021 interview with Gigi Lamayne on Episode 63: Gigi Lamayne on Representation & Dismantling Respectability Politics.

The Sound of the Diaspora: Identity and Resistance in African Hip Hop 01.08.2025

Tracks “Becky” by Amine “Hello Africa” by Blitz The Ambassador “Never Fight an African” by Styles P “Sue Me” by Wale “Sue me, I’m rootin’ for everybody that’s Black.” This lyric embodies more than a mindset as it reflects a movement rooted in solidarity. The African diaspora refers to the global dispersion of people of African descent, beginning with the trans-Atlantic slave trade and continuing through modern-day immigration. According to The African Diaspora: History, Adaptation and Health, the term first appeared in literature in the 1950s and refers to global communities whose ancestors migrated as early as the 15th century (Rotimi et al.). This term is often closely linked to Pan-Africanism–an ideology emphasizing solidarity and unity of people of African descent.  The global popularization of hip hop aided in creating a platform for artists of African descent, specifically those who migrated to the United States, to express their pride in their identity as well as resistance to racism in their countries. This mixtape explores how first-generation artists from the United States, like Style P, Aminé, Blitz The Ambassador, and Wale, use their music to reflect the complexity of belonging to the African diaspora, highlighting their heritage while speaking out against systemic oppression faced by Black people.  Since its origin in the Bronx, New York, hip hop has always been an outlet for speaking out about racial disparities and politics. One song on the mixtape, “Never Fight an African,” comes from David R. Styles, famously known as Styles P, who was born to a South African mother and Jamaican father in Queens, New York City, and has never shied away from speaking out about U.S. politics and resisting systemic oppression. In his song, “Never Fight an African,” Styles says: “Not a Trump supporter, not a Clinton supporter, and Obama slipped too, we need to get it in order…if one brother starves, we ain't eat right” - Styles P ...highlighting a disillusionment with politics, across of parties. His main concern is the advancement of Black people, but in a country where systemic oppression is prominent, he refuses to align with any leader, even the first Black president, if meaningful progress is lacking. Aminé, an Ethiopian artist from Portland, Oregon, similarly addresses the idea that justice for Black people is not dependent on politicians or modern-day America in another song on the mixtape, “Becky,” when he says, “I'm fed up with the looks that we get in restaurants…I'm fed up with a world that I know I can't change.” His lyrics reflect the exhaustion from mistreatment due to his skin tone. Aminé, outwardly, spoke against the injustices in the U.S. during 2020, a year of civil unrest and an increase in Black Lives Matter protests. In an interview about the album done for French Fries Magazine, Aminé states “My beliefs on these issues have always been the same. The music industry has amplified and spread the messages I believe in. I don’t hold back from letting my fans know what I stand for.” Amine Together, Styles P and Aminé use their platforms to critique America’s failures in politics and affirm their identities as Black men in society by speaking out against the struggles they go through and reflecting a shared experience of systemic oppression throughout the diaspora. 

Ep. 100: Fou Malade: Hip Hop, Resistance, and the Making of a New African 21.07.2025 16min

This episode is from a 2024 interview with Malal Talla—better known as Fou Malade—a legendary figure in Senegalese hip hop and co-founder of the activist collective Y’en a Marre. A key voice in Senegal's social and political landscape, Fou Malade shares his journey from early musical influences and socially conscious lyricism to organizing protests and grassroots mobilization through music. In the interview, we explore: His early days as an MC influenced by Pan-Africanism, figures like Kwame Nkrumah and Thomas Sankara, and groups like Positive Black Soul The evolution of Senegalese hip hop from political consciousness to mainstream commercialization The rise and impact of Y’en a Marre and its influence across Africa, including his arrest in the DRC How governments have tried to co-opt or silence politically engaged hip hop movements The role of hip hop festivals in fostering Pan-African artistic and political collaboration His vision for a “new type of African”—one rooted in ethics, activism, and social responsibility Whether you’re into hip hop, social movements, or Pan-African politics, this episode offers a powerful look into how culture can be used to inspire change across the continent.

Thank you for your support 17.07.2025 5min

We are back after a 1-year hiatus. It was difficult to maintain the production schedule as it was, so we will be scaling down a lot. We will continue to release conversations about Hip Hop in Africa and the African diaspora. Our first episode back will be an interview with Senegalese hip hop artist and co-founder of the activist collective Y’en a Marre, Malal, aka Fou Malade. He is a major voice in Senegal's social and political landscape. Fou Malade shares his journey from musical influences and lyricism to organizing protests and grassroots mobilization through music. This includes his role in the Y’en a Marre movement and his arrest in the Congo in 2015. Over the next couple of weeks, we will also be posting two bonus episodes, a podcast, and a mixtape created by students in the Hip Hop & Social Change in Africa class. Additional student mixtapes & podcasts can be found on hiphopafrican.com. This year, gender and the African diaspora were major themes in the projects. The mixtape The Sound of the Diaspora: Identity and Resistance in African Hip Hop, features the following songs “Becky” by Amine (Eritrea and Ethiopia) “Hello Africa” by Blitz The Ambassador (Ghana) “Never Fight an African” by Styles P (South Africa and Jamaica) “Sue Me” by Wale (Nigeria) In the podcast Unapologetic: African Women in Hip-Hop, two student hosts discuss the power behind the works of several artists, including Ghana’s Eno Barony, South Africa’s Gigi Lamayne, Uganda’s Keko, and Nigeria’s Reespect. The hosts like how these women aren’t waiting for permission to speak, but are taking the mic and making space for themselves. “It’s not just a career move, it’s a statement”.Unapologetic: African Women in Hip-HopTweet Again, the podcast will continue to post interviews and conversations around hip hop in Africa and the African world. The goal is to return to the monthly format, with shorter episodes, less than 20 minutes. This is more sustainable. On our website, we will continue to feature additional content and press releases, including information on hip hop events, releases, and news.

HHAP 99: ZuluMecca, Finding Truth in Creative Expression 07.07.2024

ZuluMecca, also known as Mandisa Nduna, has made a name for herself as a rapper and actress. With a unique style and powerful lyrics, ZuluMecca is a versatile artist who transitions between music and acting. A talented lyricist and actor, ZuluMecca's presence in the entertainment industry has continued to grow. She most recently released the EP Seams. This conversation with the podcast and our students took place in April, about 2 months before the EP dropped. Look, I am in no physical condition to listen to wack shit"Iller Than", Seams EP The episode opens with the track "Iller Than" and ends with the track "Job Not Finished", both from the new EP. In the episode, ZuluMecca discusses her entry into Hip Hop and some of her influences. She reflects on the balance artists must make between staying true to themselves and servicing the industry. She also talks about having a successful acting career and the relationships between her music and acting skills and interests. ZuluMecca also talks about her spiritual journey and how that has impacted her career. During COVID-19, ZuluMecca reflects on her creative journey and taking the time to work on her writing and incorporating spirituality into her music. ZuluMecca became an ordained spiritual healer, using this background to inform her hip-hop and bring spirituality to her music. I gave you prophesy, showed you the God in me I gave you knowledge, gave you Garden routes I gave Harlem Streets, I gave you Carter III, God MC I gave you Vaudeville, all the skill in my discography "Culture", Wept ZuluMecca on Social Media

HHAP 98: Hip Hop’s Golden Ticket? 24.06.2024

Go to the announcements page for information on events and albums discussed in the episode. In this episode, I break down the road to breakdancing at the 2024 Paris Olympics. I also have a solo debate about the topic of appropriation, referencing Ada Enechi's 2023 article: Are Black People Being Pushed out of Hip Hop? I also discuss the online hubbub about South African artist Tyla's racial identification, referencing Marti Bowser's article in Blavity. There are also a few milestones to recognize. 30 years ago...In Ghana, Reggie Rockstone & others were starting the Hiplife movement. In Senegal, Positive Black Soul Recorded their 1st track "Boul Faale" ("Don't worry") in which they denounced the corruption of the local political system, and the groundbreaking group Daara J is formed. 20 years ago... K'naan released his 1st studio album, My Life Is a Movie. In Nigeria: Mode9 released his 1st album, Malcolm X. In Tanzania, X Plastaz released their first and only album Masai Hip Hop, which put Tanzanian hip hop on the map.

HHAP 97: Graffiti and Streetology w/S. Africa’s Breeze Yoko 04.06.2024

I'm doing a PhD in Streetology, in the University of LifeBreeze Yoko  Breeze Yoko created a series of works at the Hall Of Fame in Brixton, U.K. Breeze Yoko is an internationally known South African graffiti artist. Breeze Yoko grew up in Cape Town, in Gugulethu and Nyanga East. He is known for his vibrant and thought-provoking street art, and for bringing a unique perspective to the urban art scene. His work often showcases a blend of cultural influences and social commentary, sparking conversations and challenging perceptions. With a bold and fearless approach to art, Breeze Yoko's creations have made a lasting impact on the streets of South Africa and beyond, inspiring others to see the world through a different lens. Breeze Yoko on the graffiti scene in South Africa post-apartheid... The domination of walls became very, very, very white at some stage, you know, and I think that also influenced what I wanted to reflect on the walls, I thought shit, you know, put on more us on the wall. We're in Africa after all. And slowly that gave birth to what is now slowly becoming a uniquely South African style. There’s crews in Joburg as well, who are adding Ndebele elements into their graffiti. You know, were were starting to learn how to borrow from our cultures in order to develop what we had seen somewhere else. And so, so yeah, the scene grew from that. Breeze Yoko Breeze Yoko's work often addresses topics such as inequality, poverty, and the struggles of marginalized communities. One of the remarkable aspects of Breeze Yoko's art is his ability to engage with the local community and involve them in the creation process. He often collaborates with residents, youth groups, and schools to create murals that resonate with the area's history and context. This approach not only beautifies the surroundings but also empowers the community to take ownership of the art and the messages it conveys. His dedication to using art as a platform for change and empowerment sets him apart as a talented and socially conscious artist in the street art scene in South Africa. Breeze Yoko on the dilemma artists sometimes face when offered money for work that doesn't feed their spirit or takes them away from their goals ... ... that "gotta eat" has fucked us over. As a nation. As a generation. As a race. That "gotta eat" shit. That "gotta get the bag shit"... awe man, we're dying. And our creativity is dying from that as well Breeze Yoko Breeze Yoko on social media Twitter Instagram

HHAP 96: Hip Hop Anniversaries and Events 09.05.2024

Political protests, breakdance competitions, U.S. artists and Africa, new book on London hip hop, call for papers, events on women & hip hop, The Grammys recognizes African hip hop, the Rock & Roll Hall of Fame inducts hip hop, and... 30 years since Prophets of da City performed at the inauguration of Nelson Mandela on May 10, 1994 There are also upcoming Hip-Hop events happening in Accra, Johannesburg, Jinja/Kampala, Brussels, and Brooklyn. Find information on events and albums on our “Announcements“ page

Rhythms of Identity: A Conversation With Cameroonian Artist and Student Astrid Mafogang 24.04.2024

In this conversation, Kat and I had the pleasure of speaking with Cameroonian international student and hip-hop artist Astrid Mafogang about her experience in the music industry today as a part of the African diaspora. We dove into the complexities of identity and representation, gaining insight into Astrid’s music-making process and how she views and incorporates her Cameroonian identity into her music, despite living outside the continent and making much of her music in London. A special thanks to Astrid for joining us and engaging in this great conversation! She is out on all platforms as Mafogang, please feel free to check her out!