A Showcase of the increasingly Queer Voice of Hip-Hop In Africa
By Kenneth Gambles
The main goal of the mixtape is to celebrate the presence and normalization of LGBTQ+ voices and experiences in African Hip-Hop. To acknowledge and celebrate the people who are coming out and being their truest self in the face of adversity and persecution, and to commend the great strides towards freedom that have already been made. There are many parts of the world, and especially of African where homosexuality is still criminal, but every year things are getting better for LGBTQ+ people. Hip-hop, which is a medium often dominated by the youth, has had a major role in allowing queer people to get their voice out, to call for equality. While it is important to continue the fight against queerphobia, it can be disheartening for every piece of media that features a certain minority to be about them suffering and fighting oppression. We saw this kind of trend for a long time in western media; how black people would only major roles in somber movies about the civil rights movement or enslavement, we didn’t get to be the main character of a fun romcom or goofy action move. This same effect could be felt in queer people, who’s only representation is in media about homophobia or fighting oppression. Even though the ongoing fight cannot and should not be forgotten, I still wanted to ensure the mixtape highlights the normalization of queer existences as well as the fight for it.
The First song is Hypocrites by Falz the bad guy, a song where he speaks out against the criminalization of homosexuals and advocates in favor of the LGBTQ community. Although Falz is not a member of the LGBTQ+ community it is still important to recognize the voices call from outside the community as well as those within. The most important part of Falz’s message is that it came alongside many other criticisms of Nigerian government and society. Falz treated the criminalization of homosexuals as an equal issue to the others that plague his community such as corruption in the government. In doing this he spread the message to people who may have been cognizant of corruption but who may not have put much thought into the plight of queer Nigerians.
The Second song is “Aint shit to me” by Angel Ho. A confident queer anthem in which Angel Ho firmly rebukes anyone who has an issue with her being trans. While a portion of the song is spent decrying those who would harass her, the true focus of the song is hyping herself up. As well as encouraging others like her to have that same confidence. In this way Angel Ho is fighting, simply by unapologetically being her truest self. The strong flow, the energetic beat and track of this song all serve to add credence to our classes theory that artists who are unrestrained and true to themselves produce better, more interesting material.
The third song is “We can fall in love” by MX Blouse. An earnest love song written in a queer perspective; these types of songs are necessary. They display a facet of queer life beyond fighting against oppressions and for rights. This song features no mention of oppression or homophobia and is just about the connection MX Blouse feels with some he met at the club. The song has a calm, entrancing beat and could fit perfectly in a lounge setting. This song gives us a view into the world, that people who fight for LGBTQ rights are trying to create. A world where queer people can be themselves and love who they want without fear of prejudice. This kind of representation is especially important in Africa, which is generally behind when it comes to queer acceptance. In west, conservatives will rally against representation, but they cannot stop it altogether, this is not the case in many African countries.
The fourth song is “Alphas” by Dope Saint Jude, in this song Saint Jude takes the role that is often attributed to male MCs. She portrays herself as dominant sex symbol, as an “Alpha”. This is a term and role that is usually associated with men. In the song she brags openly about her ability to seduce and pleasure women, which is yet another part of the male rapper identity. Saint Jude uses the same braggadocio that male rappers use to establish her own greatness. This is another instance of an Artist breaking conventional roles, just by being themselves. This song has little mention of female oppression or homophobia; it is mainly focused on Dope Saint Jude, and her confidence in herself. Despite this, it still has a role in pushing against them, simply by treating the queer dating experience as normal and equal to the heterosexual dating experience.
The fifth song is “2 Femme” by Gyre, a soulful song about the difficulties navigating queer romance. Particularly focusing on Gyre, an openly gay and confidently feminine man having trouble progressing a relationship with a partner is less sure of themselves and in their sexuality. This is a problem commonly faced by queer people around the world, but due to the lack of a queer voice in music there are very few songs about it. I think songs like this are a vital step towards normalization of queer people and their identities. Although I wanted to focus on more positive LGBTQ songs, this one felt like it fit because it is mournful in the way that heterosexual song about a break would be, as opposed to the kind of sadness normally present in LGBTQ media.
These are just five songs of many that make mention of the queer experience in Africa. Like I stated before, the fight for rights and for equality is ongoing across the world, but there is more to the queer experience than fighting for the right to exist. In the past, popular western trends in hip-hop have been adopted soon after by the African hip-hop scene. If this trend continues then it is likely that queer representation and music will become increasingly common, and even “normal”. Hip-hop as a genre has always been about breaking conventions and subverting societal norms, about speaking from the heart and representing yourself, it only makes sense that the rise of LGBTQ acceptance in Africa can be traced through hip-hop. Personally, I can’t wait for the when more and more queer rappers enter the scene and bring their new beats and ideas. Time and time again we have seen how many of the greatest musicians are those who were willing and able to be their truest, fullest self.
