Hip-hop in Benin

Overview of the situation

Young students from schools and universities expressed themselves by imitating hip-hop American stars seen on TV or sometimes heard over foreign radio stations.

The phenomenon rapidly spread after the 90s. Young people were inspired and emulated all levels of the artistic and cultural life. Sakpata Boys launched ‘Aduma’ which became a cult song among all audiences.

Other bands like Ardiess with the song ‘Réfugiés’ from their first album, and the single ‘Yémalin’ which rallied the entire hip hop generation, came later. Another example is Radama Z’s song ‘Migbè’ which revealed the agonistic behaviour of the youth through a rap enhanced with African tones borrowed from all over.

Findings

There is a hint of hip hop when looking at the repertoire of the famous group Poly-Rythmo from the 70s, with hits like ‘Gbètimadjro’ that falls under the world music category. The new generation was lulled by the diversity of urban music while elders ignored it for its form and lyrics.

Hence a diversity of hip hop, rap, slam and sometimes fusion of local instruments were adopted by the young generation/students. Parents found their fashion complicated and completely rejected the new trend resulting in transfers from the universities and parents sending their children on trips to isolate them from each other and save the family reputation.

Traditional inspiration

Apouke band had a strong impact on public opinion. Inspired in part by traditional rites and practices, the band won over the young audience. Songs like ‘Tata’, ‘A Minti’ very popular in the streets of Cotonou, or Bmg Yari’s ‘BioGuera’ and Kaysee M.’s ‘My Life’, remain classics.

Afafa, H2o, Ardiess, All Bax, Zeynab, Blaaz, Dibi Dobo, CTN and Diamant Noir who became popular after the inter-college competitions and neighbourhood competitions and campaigns throughout Benin, were amongst the most prominent bands. This demonstrated once again the musical symbiosis of regions from North to South and East to West.

Economic impact

The economic performance of young talents like Dibi Dobo, Diamant Noir or CTN, showed another step towards professionalization achieved through training and mastering of new technologies. Music had become a profitable business. Hip hop artists, amongst others, filled the stadiums in Benin and secured credible sponsors. Some of them already lived from their art and created wealth through value added.

Evolution and influences of urban music

With the evolution of urban music, all conventional marketing strategies were trampled. Yet, young talents experienced unprecedented success which surprisingly happened through word of mouth rather than a distribution of audio cassettes, compact discs, and other clips.

Popular artists promoted their songs in school and college playgrounds rather than on the radio. They were the only ones to understand this process that would bring them unprecedented success. The important cultural events featured urban music with increasing diversity. Today, a new trend of urban music is emerging: Kmal’s Slam is creating quite the buzz among new Beninese talents.

As a result of the foregoing, there were no performances on a scale as great as the Festival National des Musiques Urbaines. Production of Beninese urban music, however, shined on the continent and beyond, thanks to globalization.

The Beninese authorities supported the implementation of the National Charter of arts, Artist’s status and Cultural Aid Fund. This initiative contributed to the profound restructuring of the arts sector and provided a solid foundation for the new generation.

Hip hop music is in touch with a wide audience, the artistic and technical aspect of the music can sometimes be mediocre. Urban music would greatly benefit from more stable and proactive financial support to become a true source of wealth and education for the Beninese youth.

---