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.

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.

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.

This is a rich conversation about culture, politics, craft, and legacy — from one of hip hop’s most respected global pioneers. 

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.”

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:

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:

We’re also excited to announce that Howard University will host the 3rd Annual Hip Hop Studies Conference from November 14–16, 2025. This year’s theme is Respect the Technique: Hip Hop & Technology. The call for submissions is open until September 20, 2025. For details, visit hiphop.howard.edu.

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.

“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. 

On a lighter note, the mixtape also features songs celebrating their identity, reflecting the vastness of the diaspora. Blitz Bazawule, a Ghanaian artist known professionally as Blitz the Ambassador, makes his self-pride apparent in his song, “Hello Africa,” where he talks about traveling all over Africa to bask in its beauty and richness in culture. This song encourages unity amongst all African countries while also using African dialect and English to promote Pan-Africanism. Wale, a D.C. native with Nigerian heritage, expresses Pan-Africanism in the song “Sue Me.” Wale states, “I carried my bitterness of a kola nut…I favor Black businesses… spent ‘bout two racks on handmade durags” The “rooting for everybody Black” ideology is not just a lyric in Wale’s song, “Sue Me,” Though it may seem like just support for Black people, rooting for everybody Black represents Pan-Africanism, promoting unity throughout the diaspora. Both Blitz and Wale celebrate their identities unapologetically, conveying pride in being Black and a commitment to Pan-Africanism, which shapes the African diaspora. 

In closing, it is evident that hip hop continues to serve as a vehicle for celebrating the African diaspora and reclaiming identity. Styles P, Aminé, Blitz The Ambassador, and Wale collectively embrace the range of shared experiences in the African diaspora–on one hand, there are rappers that use their music to speak out against hardships on Black people, whereas the others use it to highlight their love for their culture and to promote unity. This mixtape underscores how hip hop bridges the vast identities and culture throughout the diaspora and serves as a mirror for identity, pride, and resistance.

References

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:

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.

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

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.

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.

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

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

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.