Hip-hop in Zambia

This text provides an overview of hip-hop in Zambia, a country where every citizen from an early age is already familiar with certain common rhythms and rhymes, either to welcome the first rains or simply during kindergarten song-and-dance sessions.

Origins

In Zambia modern hip-hopfirst emerged in the late 1970s and early 1980s through tracks by American acts such as the Sugarhill Gang’s ‘Rapper’s Delight’, which was popular on the local disco scene. Discos at the time were a trend that eventually pushed the Zambian version of rock ‘n roll (known as Zam-Rock) out of business. Aspiring Zambian musicians and the youth of the era enjoyed miming to the hits that played in discos.

Being naturally embedded in African society, rapping had previously been sporadically used in a few notable Zambian songs in the 1980s .For example, Rikki Ililonga’s political hot potato ‘Olemekezeka’ and ‘Sansakuwa’, Oliya Band’s ‘Chenda Mundeke’, Paul Ngozi’s ‘Day of Judgment’ and PK Chishala’s ‘Chimbayambaya’ all have interesting rap elements in them.

In the early 1980s, the Rusike Brothers, a Lusaka-based group (with Copperbelt roots) ventured into the boogie/disco/hip-hop realm with titillating vocal and stage performances. The group, managed by their Zimbabwean-born journalist dad Abby Rusike, was fashioned on the Jackson Five and their chart topping single ‘Saturday Night’ became a huge hit on Zambian (and Zimbabwean) dancefloors.

The all-powerful rockers the WITCH, hit by the downfall of their Zam-Rock genre, decided to shift their style to disco for a more international and youthful appeal. Their two LPs, Moving On and Kuomboka, attest to this. Included in the new look WITCH was Patrick Chisembele, a well-known disco dancer and Michael Jackson lookalike. Chisembele later established a new dance/singing crew, Chemanganya (or simply “Chema”) Cult. One of their interesting experiments was rapping in vernacular languages.

1990s: The rise of Zed Hip-Hop

Omart (aka Robert Mapara) released thepioneering rap album Your Love in 1993 on his Rota Music label. It carried tracks like ‘Mummy’, ‘Lay Off’ and ‘Like I’m Just Talking’. Omart delivered his act in English.

The fall of apartheid in South Africa in 1994 opened new doors and opportunities to the Zambian music scene, which was then dominated by a fading Kalindula scene and Congolese Rhumba. Kwaito music, a style of South African township rap, hit the airwaves, taking the Southern Africa region by storm. Much of this music was aired on the satellite TV channel Channel O. Many young Zambian artists, initially inspired by US acts like MC Hammer and Tupac Shakur as well as Jamaican artists such as Shabba Ranks and Buju Banton, enviously turned their attention to South African acts like Boom Shaka and TKZee. At the same time, other African countries like Kenya offloaded the likes of Gidi Gidi Maji Maji, while Tanzania offered its own version of hip-hop version called Bongo Flava.

Zambian artists such as Danny, Mainza and K’millian have told stories of how they once rushed down south with their demo tapes (mostly done in English), only to return disappointed after failing to attract interest from South Africa record labels due to the kwaito upswing. Going vernacular was the only solution - and it worked. To create their own identity, as their rock predecessors had done with Zam-Rock, the term 'Zam-Ragga' was coined to represent the new local rap/R&B/hip-hop scene. Other refer to it as 'Zed hip-hop'.

On 24 October 1998, Sugar Shacks Sounds disco and Tiyende magazine held the ‘Rap for a Million’ contest at Lusaka’s Olympia Swimming Pool. The event attracted 10 groups, duos and solo acts. A duo called Dark Syde won the cash (1000 Kwacha) but the contest also gave rise a myriad of other promising performers. The contest was such a huge success that magazine owner and promoter Chisha Folotiya was inspired to launch Mondo Music Corporation and their maiden hip-hop/rap anthology, The Rythm Nation Project. Captured on the CD were artists such as Black Muntu, Shatel, Tribal Cousin, Lindi, Mainza, Daddy Zemus, Joe Chibangu, C.R.I.S.I.S and Chilu Lemba.

Meanwhile another label, Cypher Music, brought out the likes of Alubusu, Mampi and Slap Dee. On local television appeared promising acts such as the Rap Prophets (‘Take Time to Pray’) and Nasty D (‘Shanty, Shanty’ and ‘Gudu Mililie’).

Much of the Zambian hip-hop success story revolves around the later big album releases. Black Muntu (a duo of Mwembe Chulu and Leo Bweupe) unleashed Wisakamana (1991) and Kokoliko (2002). There was also Chibaba from the late Daddy Zemus (1999) and JK’s self-titled debut (2001). These best sellers from the Mondo label helped ‘Zambianise’ the local hip-hip scene, as did Nyanjalize Bembalize (1999) by Nasty D (real name Davis Ngoma), even though it was recorded and pressed in the UK.

Zambian hip-hop today

Hip-hop in Zambia has enjoyed steady growth over the years, with various subgenres being adopted by Zambian artists. For example, MC Wabwino raps in a traditional chikunda/nsenga style stewed with rhumba, while Moses Mulenga (Mozegater) has revisited his childhood with what he calls chiunda music. Mozegeter’s ‘Chikokoshi’, JK’s ‘Elyoni’ and Danny’s ‘My Jane’ tap into the musical repertoire of both rural and urban contexts, past and present.

Zambia also has hip-hop artists like Zone Fam, C.R.I.S.I.S, Roberto and Cactus Agony following the western style of the genre. Another style, called Boostele, derives from sports cheer leaders.

Interestingly, numerous regional styles have also cropped up. Most popular is the Copperbelt’s Kopala Swag (‘kopala’ being colloquial for copper). This movement revolves around artistes like Macky 2, Chef 187, Dandy Krazy, Afunika, Baska, Krummy and more. In the northern parts of the country there is Kasama Swag, which produced Alphonso. The Lusaka scene meanwhile circles around XYZ (Example Yapa Zed or ‘example from Zambia’), anchored by Slap Dee and Rough Kaida.

Zambian record labels are yet to attain the huge commercial successof their predecessors in the 1970s and 80s: the defunct Teal Records and Zambia Music Parlour. Though Mondo Music, Muvi Studios and Cypher Music picked up the mantle in the 1990s, most of the today’s labels and recording studios are small enterprises relying heavily on the cheaper technology offered bythe computer age.

Labels and studios that are currently popular in Zambia, particularly for hip-hop artists, include Roma Side Studios, Sling Beats, XYZ, Danger Zone, Jeraboh Unit, Dragon Records, Alpha Entertainments, Godysaurus and Blazer all owned by local producers and artists.

Challenges and strengths

The hip-hop (Zam-Ragga) scene has not been without challenges. Its weakest link has been too much dependence on ‘techno’ sounds rather than live instruments. This, as echoed by many critics, has robbed Zambian music fans of authentic live performances that showcase the musicianship of the artists.

The relative ease of downloading and copying digital material has not been well regulated, hence music piracy is rife in Zambia. Also worrying is the pilfering of beats and lyrics among artists. In general the lack of big commercial investment in the industry restricts opportunities for musicians to make a living out of hip-hop.

Despite these obstacles, music has become a key employer (both formally and informally) among the Zambian youth. Also noteworthy is the relatively high quantity (and status) of female artists in the hip-hop scene, far more than both the Zam-Rock and kalindula eras that preceded it. For example, Mampi is arguably Zambia’s most influential female hip-hop artist and is revered for her vocal prowess and lively stage presence. Hip-hop has also lasted longer than earlier pop genres: roughly 1996 to the present (whereas Zam-Rock existed between 1971 and 1980 and Kalindula from 1980 to 1996).

Hip-hop has even been transposed onto other popular genres such as gospel, with artists such as Pompi, Magg 44 and Abel Chungu taking centre stage.

The genre has seen more artists gaining international exposure and recognition. C.R.I.S.I.S (Chisenga Katongo), Ruff Kaida (Masautso Nkhoma) and J Rox (Jackson N’gambi Banda) all have global BEFFTA (Black Entertainment, Film, Fashion, Television and Arts) Awards to their names. B-Flow (Brian Bwembya) has been recognised by US president Barack Obama for his talent and socially conscious songs. JK has also placed Zambia on the international map through collaborations with Oliver Mtukudzi, Yemi Alade and was part of R.Kelly’s collaborative ‘One8’ team.

Together the artists outlined above ensure that after two decades in the mainstream, Zambian hip-hop continues to grow from strength to strength.