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What does it take to build a breaking movement in Ghana—and connect it across Africa? In this episode of The Hip Hop African Podcast, we speak with Lyricx, founder of the Africa Breaking Academy and president of the Breaking Federation of Ghana. From learning dance moves on Accra’s beaches to organizing workshops, teaching in schools, and building international competitions, Lyricx shares how his passion became a commitment to creating opportunities for others. We discuss the development of Ghana’s breaking scene and the AfroBreak International Championship, which brings dancers from across the continent together in Ghana. Lyricx explains his vision for Afro breaking: connecting breaking with African music, movement, and cultural identity while respecting the practitioners who built hip hop in the Bronx. Our conversation also examines breaking’s Olympic debut and the funding, qualification, and institutional barriers that limit African dancers’ participation internationally. For Lyricx, greater visibility must come with sustained investment in training spaces, education, and opportunities to earn a living. Throughout the interview, he returns to a central message: dancers should draw inspiration from their own environments and develop a style that reflects who they are. In this episode: Lyricx’s journey from dancing for fun to building Ghana’s breaking community. The Africa Breaking Academy and the role of teaching in challenging stereotypes about hip hop. Building connections through the Afro Break International Championship. Collaborating with DJ TeckZilla to rework Ghanaian music for breaking. Exploring African cultural connections through his documentary, Roots of the Culture, and a developing theatre project. Breaking at the Olympics and the challenges of African representation. B-girls, women-led events, and the importance of visible role models. The need for training spaces, institutional support, and sustainable livelihoods. Why African breakers should cultivate their own identities and distinctive styles. This is a conversation about more than competition. It is about community, cultural knowledge, and the work of building a future for African breaking. This year the AfroBreak International Festival will take place in Accra in November. Check out their Instagram page: https://www.instagram.com/afrobreak_concepts/. Connect with BBoy Lyricx Instagram: https://www.instagram.com/bboy_lyricx/ Facebook: https://www.facebook.com/BboyLyricx

Mutombo Da Poet joins The Hip Hop African Podcast to discuss his long-awaited return to recording, the evolution of Ghana's spoken-word movement, and why he now describes his music as "melodic spoken word." A pioneer of contemporary spoken word in Ghana, Mutombo reflects on more than two decades of performance, the lasting impact of Photo Sentences, and how hip hop has shaped his artistic identity. He also opens up about fatherhood, social media, documentary photography, procrastination, and creating deeply personal work on his new project, B50. In this episode we discuss: How Def Poetry Jam inspired his journey into spoken word Why he considers spoken word and rap "first cousins" The making of Photo Sentences and its lasting legacy Developing his new sound: melodic spoken word The responsibility of artists as storytellers and social commentators Growing as an artist after twenty years Social media, criticism, and protecting creativity Why Ghana's spoken-word scene needs more open mic spaces Fatherhood and how it transformed his writing The story behind his return with B50 What's next, including two more EPs Connect with Mutombo Da Poet Follow Mutombo and listen to B50: Instagram: https://www.instagram.com/mutombodapoet/ YouTube: https://www.youtube.com/c/MutombodaPoet X: https://x.com/MutomboDaPoet Bandcamp: https://mutombodapoet.bandcamp.com/ Spotify: https://open.spotify.com/artist/2pS2rDcLNDizifz9mZeFAI If you enjoyed this conversation, subscribe to The Hip Hop African Podcast, leave a review, and share this episode with someone interested in African hip hop, spoken word, and creative storytelling.

Lyrical Joe on Faith, Language, Lyricism & the Future of Ghanaian Hip Hop One of Ghana's premier lyricists joins The Hip Hop African Podcast for a conversation about faith, language, competition & Hip Hop, and staying true to his creative vision. We first encountered Lyrical Joe's music through students in hip-hop courses at Howard University. In this conversation, the award-winning rapper reflects on his journey from leaving school at a young age to becoming one of Ghana's more respected emcees. "God is not sitting somewhere on a throne looking at me. He's inside me." Lyrical Joe Lyrical Joe explains why he resisted industry pressure to simplify his lyrics, discusses the role that faith and self-belief have played throughout his career, and shares how the annual 5th August series evolved into one of Ghanaian hip-hop's anticipated traditions. The conversation also explores rap battles, writing in English, global audiences, and why lyricism continues to matter in today's music industry. Lyrical Joe's socials: Instagram X Facebook YouTube

Originally released in 2018, this archival episode revisits the 2018 conversation about the role of Historically Black Colleges and Universities (HBCUs) in shaping the field of Hip Hop Studies. Recorded at Howard University, the panel brought together scholars from 3 HBCUs in the Washington, DC area to discuss the significance of teaching hip hop in Black academic spaces, the relationship between hip hop and activism, and the responsibility of HBCUs to preserve, interrogate, and advance Black cultural knowledge. In addition to the host, Dr. Msia Kibona Clark are: Dr. Greg Carr (Howard University) Professor Theodoros Williams (Bowie State University) Professor Jared Ball (Morgan State University) Listening back nearly a decade later, many of the questions raised during this discussion remain just as relevant. Since this conversation was recorded, Hip Hop Studies has continued to grow as an academic field. Since 2018, Howard University launched a Hip Hop Studies minor and now hosts an annual Hip Hop Studies Conference. If you have not, remember to go to hiphop.howard.edu for information on the Hip Hop Studies minor and upcoming conference (November 13-15, 2026.

In this solo episode of The Hip Hop African Podcast, Msia explores the question: What is Hip Hop Studies? The episode approaches Hip Hop Studies from an African Studies and cultural studies perspective. Msia explains that Hip Hop Studies is not simply the study of rap music. It is an interdisciplinary field that examines hip-hop culture as performance, politics, language, identity, pedagogy, social critique, and global knowledge production. The episode traces the growth of Hip Hop Studies in the academy, including Howard University’s historic role in hosting one of the first university hip-hop courses and conferences in 1991. It also discusses the rise of Hip Hop Studies programs at institutions such as the University of Arizona, Bowie State University, North Carolina Central University, and Howard University. Msia highlights the field’s foundational texts and scholars, including James Spady, Tricia Rose, Joan Morgan, Bakari Kitwana, Imani Perry, Gwendolyn Pough, Jeff Chang, Samy Alim, Murray Forman, and Mark Anthony Neal. A major focus of the episode is the place of Africa and the African diaspora within Hip Hop Studies. Msia argues that Africa should not be treated as peripheral to the field or only as a source of influence. Instead, African hip-hop scenes and scholarship must be understood as central to how Hip Hop Studies is being redefined globally. Topics Covered Mentioned Texts Nation Conscious Rap — James Spady Black Noise — Tricia Rose When Chickenheads Come Home to Roost — Joan Morgan The Hip Hop Generation — Bakari Kitwana Prophets of the Hood — Imani Perry Check It While I Wreck It — Gwendolyn Pough Can’t Stop Won’t Stop — Jeff Chang Roc the Mic Right — H. Samy Alim That’s the Joint!: The Hip-Hop Studies Reader — Murray Forman and Mark Anthony Neal Link to our list of Hip Hop journals Closing Thought Hip Hop Studies is not only about where hip-hop began. It is also about where hip-hop travels, how communities use it to narrate their realities, and how Africa and the Global South are reshaping the field itself.

Description: The stories told through Hip Hop's musical artists are unique when looked at through an African lens. This episode of Continental Cadences explores why African Hip Hop "hits different" by examining aspects of the genre's complex versions of identity and how they are portrayed through the musical artists' performances. The goal of this podcast episode is to break down three main points that are used as mediums to interpret African Identity: the use of indigenous languages, aesthetics, and political framing, which all contribute to African artists' self-expression and cultural understanding. We explore how language is used as a compass, where indigenous African languages speak to an artist's origins as they use their rap medium to tell their audience something. Artists' aesthetics move beyond the "poor and sickness-ridden" misconceptions placed upon Africa, giving artists an opportunity to represent their livelihoods through visual narratives of African life. Lastly, artistic political framing responds to African artists' relationships with their home countries' political systems and how that affects them. Through this conversation, Diandra, Abiba, and Aardashini stimulate conversation around how audience members are brought into the world of African artists through these points, which bring their identities to the forefront. With the art created by African Hip Hop artists being outstanding in the field of music, their work leaves viewers astonished and inspired to learn more.

In this episode, we’ll talk about Hip-hop artists who have engaged in protest Literature and Combat Literature based on the analysis of Frantz Fanon’s Wretched of the Earth, as expanded Dr. Msia Clark in her book Hip Hop in Africa: Prophets of the City & Dustyfoot Philosophers. Throughout the continent, Hip-hop has been used to stand up against injustice, but which artists and songs have engaged beyond critique? We’ll explore a track from South Africa, Fees will fall, which is standing up against the rise of tuition, also how Egyptian rappers such as MC Deeb fueled the Arab Spring/2011 revolution, and the way Somali rapper K'naan used rap to unite a war-divided country. Theses artist illustrate that combat literature is when artists engage in struggle, instead of only joining in post-movement.  They do this by using music as their weapon to mobilize people in real time. One of the important patterns is how political context shapes the fight. Deeb used metaphors since the government had artists censored, while Gigi and K’naan were more direct in addressing the people with power as they call out the heavy injustice. Hip Hop has become the tool of resistance, where the microphone acts as a weapon to challenge power and amplify marginalized voices. This connects to the theme of resistance in the diaspora, especially when K’naan was speaking on Somalia from outside the country. People should care about this because these artists prove that young people can create real-world change and get involved in global issues.  Thanks for listening to Buna After Dark. Be sure to check out the artists we talked about below: Egypt (MC Deeb) –Masrah Deeb South African (Gigi Lamayne)- Fees Will Fall Somali K'naan- Soobox

This podcast is hosted by Shamma Alhammadi and Sandra Senpeteri, and it takes a closer look at Ghana through conversation, culture, and personal perspective. We talk about what makes Ghana unique beyond the usual facts, highlighting its history, identity, and the stories that give it real depth.

In this special introduction episode, The Hip Hop African Podcast launches a curated student series featuring standout final projects from the Hip Hop & Social Change in Africa course at Howard University and George Washington University. These short podcast episodes highlight how students are critically engaging African hip hop as culture, politics, storytelling, identity formation, and resistance. The featured projects move beyond surface-level conversations about music to examine how artists across the continent use hip hop to navigate history, power, language, migration, and social change. Featured Episodes Voices of Ghana Hosted by Shamma Alhammadi and Sandra Senpeteri, this episode explores Ghana through culture, conversation, and lived perspective. The hosts examine the histories, identities, and stories that shape contemporary Ghana beyond stereotypical narratives. Continental Cadences: The Global South Has Something to Say Diandra, Abiba, and Aardashini explore why African hip hop “hits different” by examining: Indigenous African languages in rap Visual aesthetics and representation Political framing and self-expression The episode investigates how artists use hip hop to communicate identity, challenge misconceptions about Africa, and create new cultural narratives. The Vanguard of the Revolution? Buna After Dark Podcast This episode examines African hip hop as protest and combat literature through the lens of Frantz Fanon and resistance movements across the continent. The discussion includes: The Fees Must Fall movement in South Africa MC Deeb and the Arab Spring in Egypt K’naan and hip hop’s relationship to diaspora, conflict, and national identity in Somalia Together, these projects demonstrate how hip hop functions not only as music, but also as political critique, cultural memory, and a tool of resistance across Africa and the diaspora. About The Course Hip Hop & Social Change in Africa is an interdisciplinary course examining African hip hop cultures through history, politics, gender, identity, globalization, and social movements. The course is taught collaboratively between Howard University and George Washington University. Listen & Follow Follow The Hip Hop African Podcast for more conversations on African hip hop culture, scholarship, and global Black cultural movements.

In this episode of The Hip Hop African Podcast, we sit down with South African hip-hop pioneer Osmic Menoe to explore the history, evolution, and future of hip-hop culture in South Africa. From founding Back to the City, Africa’s largest hip-hop festival, to building the South African Hip Hop Awards and developing the continent’s first hip-hop museum, Menoe reflects on archiving and institution building. We also discuss AI in music production and what he thinks it means for the future of hip-hop. “Every step of my journey has been about documenting and archiving the culture.”

Is Afrobeats hip hop? In this solo episode of The Hip Hop African Podcast, Msia breaks down one of the most persistent debates in global music: the confusion between Afrobeats and hip hop. While the genres often overlap — and frequently collaborate — they are not the same. This episode explores the structural, historical, and political differences between African hip hop and Afrobeats, from breakbeats and cyphers to groove-driven production and dance-centered arrangements. Msia examines how streaming algorithms, global music marketing, and even academic scholarship have blurred the lines between Nigerian hip hop, Ghanaian hip hop, and Afrobeats. She argues that collapsing the genres erases African hip hop’s activist traditions, lyrical depth, and cultural elements like deejaying, breakdancing, and graffiti. If you’re interested in African music, global hip hop culture, Afrobeats history, or the politics of genre classification, this episode offers critical context and clarity. Afrobeats is global. African hip hop is powerful. But they are not the same. Listen now.

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. “We were the first generation, so nobody understood this music — they watched their kids transform in front of their eyes.” 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. “If you want to be good, you must be prepared to be a student for life.” This is a rich conversation about culture, politics, craft, and legacy — from one of hip hop’s most respected global pioneers.

In this episode, we talk with Simon, rapper and co-founder of Y’en a Marre, the Senegalese movement that turned hip hop into a force for political change. Simon reflects on the group’s impact during the 2011 elections, their call for a “New Type of Senegalese,” and his new project Rapping History, which uses hip hop to decolonize education and reclaim African narratives. “We realized the fight was not only political — it was also about changing mentality.” Simon 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.” Simon

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: Languages: English, Swahili, Ga, Yoruba, and more. Artists: Established names like Modenine, M.anifest, Nadia Nakai, alongside rising voices you may be hearing for the first time. Sounds: From classic boom bap and Afrobeats-inspired beats, to high-energy club tracks, to conscious and introspective flows. 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: ZuluMecca "Iller Than" Modenine "Adidas" Wakazi "Crooked Crown" Eno Barony "No Manual" K. Keed "Dilemma" Fid Q & Mex Cortez "Simba" Sarkodie "Hustlers Dream" Gemini Orleans "Gasoline" Stamina "Bado Nipo" AYORKOR RONZY "Darkovibes" Falz the Bahd Guy & Shaybo "Popping Tonught" Angel Mutoni "Ousaah" Cassper Nyovest "Kusho Bani" Gigi Lamayne "COME OUTSIDE" Nadia Nakai & Moozlie "Sipthipithi" Eva Alordiah "I Look Good" Awa Khiwe "Rap Gandaganda" Ugly Dray "Not Love" Kweku Smoke "Agyekum" Yanga Chief "What If" Erigga "Just Breathe" MOJO AF "Samson"