By: Lebohang Maluke
MASERU – In a meeting of cultures and languages, Sannere, a rising hip-hop artist from Lesotho, brought the flavors of Sesotho to the global stage with his lyrical dexterity and rhythmic flair. Meanwhile, an American rapper countered with his own flow, spitting bars in English with a style as bold and brash as the streets of the urban jungle.
As these two worlds collided, a cultural mosaic unfolded, each artist celebrating their respective roots while pushing the boundaries of language and genre in a harmonic dance that defied linguistic boundaries and celebrated the global appeal of hip-hop. Hip hop emerged from the Black community in the 1970s in the Bronx, New York, yet its origins can be traced back to African oral traditions, jazz, and funk. African Americans were influenced by the storytelling, rhythms, and rhymes of their ancestors.
Sannere’s distinctive combination of Sesotho lyrics and hip hop rhythms exemplifies the evolution and adaptation of culture. He is not merely replicating American hip hop; rather, he is innovating while remaining faithful to his heritage.
He proudly embraces his Basotho heritage. Artists that resisted conforming to industry norms, instead forging his own paths by merging cultural identities with hip hop.
Some individuals argue that his music, the emerging talent from Lesotho, is not producing “authentic” hip hop due to the incorporation of Sesotho elements in his sound. However, it is essential to clarify this misconception.
Tupac Shakur, the iconic American rapper, transformed hip hop in the United States by infusing it with his personal experiences, fervor, and unfiltered honesty. In a similar vein, he is reshaping the hip hop landscape in Africa with his unique Sesotho influence.
The influence on American hip hop was profound: He tackled social issues such as police brutality and racism in his lyrics and blended hip hop with jazz, funk, and spoken word, creating a novel sound. He motivated a generation of artists to embrace their true selves however, Sannere is following a similar trajectory in Africa:
He is inspiring a new generation of African artists to express themselves with pride and raps in Sesotho, thereby promoting his native language and culture by integrating traditional Basotho music with contemporary hip hop beats.
A significant figure in the hip hop movement to arise from New York City was Afrika Bambaataa, often referred to as “The Godfather.” Bambaataa was a groundbreaking DJ and music producer who organized block parties in the Bronx during the late 1970s. He was a visionary leader who directed the city’s youth away from gang involvement, substance abuse, and violence.
He established the Universal Zulu Nation, an organization focused on music that promotes peace and unity through hip hop culture. This initiative introduced urban youth to DJing, breakdancing, rapping, and visual arts. Shortly thereafter, Bambaataa identified these forms of expression as the “four elements” of hip hop. To this day, Zulu Nation continues to disseminate hip hop culture globally.
DJ Kool Herc also played a pivotal role by introducing the “break-beat” DJ technique, a mixing style he adapted from Jamaican dub music. He incorporated funk, soul, and other genres with prominent percussive segments. Utilizing two turntables, he would play two copies of the same record, alternating between them to prolong the percussive section known as the break. He termed this break-beat juggling technique “The Merry-Go-Round.” This innovative approach to significantly influence the development of hip hop music, rapping, and breakdancing.
The break section became the most eagerly awaited part of a song, where dancers showcased their skills. Break-dancers would form circles, reserving their most impressive moves for the break. Herc referred to the dancers as B-Boys and B-Girls, abbreviations for Break-Boys and Break-Girls. Over time, breaking evolved into a global subculture that permeated mainstream culture.
Numerous individuals contributed to the formation of hip hop, but the most prominent pioneers include Herc, Bambaataa, and Grandmaster Flash. These three innovators are collectively recognized as the “Holy Trinity” of hip hop. Kool Herc also played a crucial role in developing the rhythmic spoken delivery of rhymes and wordplay performed by MCs.
Herc played a pivotal role in shaping the rhythmic spoken delivery of rhymes and wordplay that characterized the performances of MCs. He would articulate his words in a rhythmic and rhyming manner over the instrumental segments of songs to energize the audience. His unique style of lyrical chanting and rhythmic expression can be seen as an early iteration of rapping, drawing inspiration from the Jamaican tradition of toasting
In addition, he collaborated with his friend Coke La Rock, who took charge of the microphone at their gatherings. During one event, Coke La Rock famously proclaimed, “There is not a man that cannot be thrown, not a horse that cannot be rode, a bull that cannot be stopped, there is not a disco that I Coke La Rock cannot rock.”
The break section of a song became the most eagerly awaited moment, where dancers showcased their skills. Break-dancers would gather in circles, reserving their most impressive moves for the break. Herc designated the dancers engaging with his music as B-Boys and B-Girls, abbreviations for Break-Boys and Break-Girls. Over time, breaking evolved into a global subculture that permeated mainstream culture. Numerous individuals contributed to the formation of hip hop; however, the most prominent pioneers include Herc, Bambaataa, and Flash.