African Emcees Battling to be Heard
Interview by Lidet Tilahun
Photos of Baaboo Rhymz and Ben Herson by Tracy Thorpe
The presence of Hiphop in Africa is a demonstration of Hiphop’s ever expanding reach not only as an art form but also as a cultural force that strongly influences youth and affects social change in places beyond its American birthplace.
Take the American producer, Ben Herson and the Senegalese artist he manages, Baaboo Rhymz. Herson has been recording and working with Senegalese artists for the past four years. Baaboo freestyles in Wolof, French and English, transitioning from one language to another seamlessly, with little noticeable effort. His ability to rap in three languages demonstrates his cultural range and linguistic dexterity, while his lyrics show his passion for a united Africa.
We interviewed Baaboo Rhymz and Ben Herson during a recording session.
HHA: How did you get interested in African Hiphop?
BH: It started about four years ago. At this time I was studying African drumming in Senegal. While in Senegal, I picked up a Hiphop cassette, after listening to it … quality-wise it wasn’t what I expected. But the one thing that stuck in my mind was that there was something else that must be going on in Senegal in Hiphop music. When I returned I met Shiffai, one of the artists I am currently working with, and he introduced me to Hiphop in Senegal.
HHA: Why is it hard to find African Hiphop music in the U.S?
BH: Hiphop in Africa is different; each major city has its own scene. For the most part, African Hiphop is so large. From a record company’s perspective, they would not know what the hell to do or where to go. Number two, the emcees rhyme in languages other than English. In a lot of ways, record companies are skeptical about that and do not realize that there are a lot of talented emcees in these countries.
HHA: In African countries, Hiphop is seen as a form of political/social expression. Would you agree with this statement?
BH: Absolutely, that’s what it looks like. In all honesty that’s one of the reasons I work exclusively with African emcees. I am not saying there is no integrity in American Hiphop; there is. It exists. But the opportunity for those artists to be able to record, to make quality records, to get them distributed is not going to be affected by me helping them. Whereas in Africa, specifically in Senegal, one of the reasons I work there is because I feel the majority of artists really have something to say, something that is original, something that is incredibly important and based in reality.
HHA: Now Baaboo, did you grow up listening to Hiphop in Senegal?
BR: Yes, I grew up with Hiphop, listening to P.B.S. [Positive Black Soul] and MC Lida. When Hiphop was growing in America, it was also growing in Africa.
HHA: How is Hiphop viewed by the general public in Senegal?
BR: In the beginning Hiphop was taken as a joke and it was hard because everyone was trying to rap in English. But the text was not strong. And then artists like P.B.S refined it, making their song “Boul Falé”( which roughly translates to "I don’t care.") This music became very popular in Senegal and the youth started saying Boul Falé. Hiphop, I would say, gave the African youth freedom of speech.
HHA: As an African Hiphop artist, do you feel Hiphop is a force for social change in Africa?
BR: Yes, I can tell you about what took place in Senegal. From 1960 to 2000, there was only one political party. The first President was Senghor, and then he appointed his Prime Minister Abdou Diouf. But from about 1974 to 2000, democracy was building in Senegal; the people wanted change. The Hiphop generation was speaking out against corruption and the “election.” But the youth could not vote because they were under the voting age. And they grew up with this struggle. Abdoulaye Wade lost elections a few times. Finally, when Wade—the current President—ran for office for the last time, the Hiphop generation was 18 (the voting age) and they were behind him, mobilizing the youth to vote. He had struggled for a long time and the youth identified with him. When he won, he did a great act by thanking the youth. At that time at least two or three songs per album were about politics. I remember at the time Mr. Kane, a Senegalese producer, put out a Hiphop compilation album called “Politichien.” You know, chien in French means “dog.” This doesn’t mean they [emcees] stopped their commitment now; they are still talking about promises not kept.
HHA: Hiphop grew out of urban America. Yet it is said to have evolved from the Griot in West Africa. Do you see the relation?
BR: First of all, I say all black people are the same; they all come from Africa. The Griots are in Africa. They use their lyrics in native languages. It has rhythm. It sounds like rap but we call it Tasu. We don’t call it rap in Senegal. My personal view is that rap is one of the cultural things they brought with them to America, and it’s something that stayed in their souls.
HHA: Is it hard to be accepted as an African Hiphop artist in America?
BR: The culture is different. Hiphop that sells here are about guns, booty shaking and chains. That’s what sells most. That’s what the youth know and that’s what they buy. African Hiphop mainly is about the struggle. It’s about poetry. There is a lack of interest in African music. People should be familiar with this growing trend.
HHA: What are the issues you write about?
BR: I talk a lot about African Unity. I do not blindly say, “Africa, Africa is the best.” I talk about the realities; also, [I] accept what is going on. We should have our minds straight about who we are and we should talk about ourselves the proper way. It’s nothing to say, “I am an African.” So what? If you are African, present yourself first, respect yourself—then represent Africa. When they talk about Africa, they show you Rwanda. That’s all you see. It’s true—that happened. But also talk about the good of Africa. Be realistic about it, represent it no matter what. You have to be able to see your faults to build yourself up.
Check out Baaboo Rhymz spittin' some verses at a recording studio:
You can email Baaboo Rhymz at ndiogouba27@hotmail.com and Ben Herson at Ben_Herson@hotmail.com.
Contact: Lidet Tilahun
tilahun@hiphoparchive.org
Shout-out to Shiffai and Ernesto.