The Human Sciences Research Council (HSRC)

Neva Again2

Neva Again: Hip Hop Art, Activism and Education in Post-Apartheid South Africa is the culmination of decades of work on Hip Hop culture and Hip Hop activism in South Africa. It speaks to the emergence and development of a unique style of Hip Hop hip-hop activism in the Western and Eastern Capes of South Africa.

Neva Again draws on the contribution of hip-hop scholars, artists and activists. It is unique in that it weaves together the many varied and rich voices of this dynamic Hip Hop scene to present a powerful vision for the potential of youth art, culture, music, language, and identities to shape our politics.

Product information

Format : 248mm x 184mm (Soft Cover)
Pages : 560
ISBN 13 : 978-0-7969-2445-2
Publish Year : April 2019
Rights : World Rights

INTRODUCTION: Neva Again: Hip Hop Art, Activism and Education in Post-apartheid South Africa – Quentin Williams, Adam Haupt, H. Samy Alim & Emile Jansen

PART ONE: Bring That Beat Back: Sampling Early Narratives

  1. Power to the People: An Interview with POC in 1994
  2. Age of Truth Two Decades of Democracy
  3. Coming to Hip Hop in the Early 90s
  4. Godessa’s Entry into Hip Hop in the early 2000s
  5. The B-boy is an Activist
  6. Bush Radio’s ALKEMY and Hip Hop Activism 2.0
  7. Bush Radio’s ALKEMY and Hip Hop Activism 1.0

PART TWO: Awêh(ness): Hip Hop Language Activism and Pedagogy

8. Hip Hop Language Critique as Sociolinguistic Activism

9. Afrikaaps and Hip Hop

10. Hip Hop as a Valorising Practice

11. Hip Hop Never Saved My Life, but It Changed My Life

12. “Pedagogies of the Formerly Oppressed” – Hip Hop Education in Cape Town, South Africa

13. Hip Hop Activism

14. Hip Hop Pedagogies: Beyond “Soul Murder,” “Linguistic Looting” and “White Supremacist Delusionalism”

15. A Commentary on Alim and Ariefdien’s “Beyond ‘Soul Murder,’ ‘Linguistic Looting,’ and ‘White Supremacist Delusionalism’”

16. Raak Wys: Countering Cultural Assimilation Through Rhyme and Reason


PART THREE: Remixing Race and Gender Politics

17. “They Tried to Bury Us”: Hip Hop Poetry, Politics & the Power of Words Worth Saying

18. The More Things Change.... Race and Representation in Contemporary SA Rap

19. A Son of the Sun: a Reflection on Hip Hop and my Father

20. Boss Bitches/Boss Ladies

21. ‘My Seeds Must Proceed’

22. My Poetic Prime

23. “Langa State of Mind”: Talking Race, Class, Gender, and Sexuality

24. Queering Hip Hop, Queering the City: Dope Saint Jude’s Transformative Politics

PART FOUR: Reality Check: the Business of Music

25. Hip Hop Activism, Change and Creativity –

26. Creative Currency: Is There an Art to Selling Art?

27. Digital Music Distribution

28. ‘Die Blikkie se Boem is Uit’: a B-boy’s Reflections

29. Building an International Profile as an Artist –

30. Decolonising Knowledge: Reading Hip Hop Sampling in Relation to Scholarly Publishing

BruinTeaser

Music composed by Bradley Lodewyk (aka King Voue), Nadine Matthews and Adam Haupt

Lyrics composed and performed by Adam Haupt, Nathan Lodewyk and Nadine Matthews

Chorus performed by Nadine Matthews

Verses performed by Adam Haupt and Nathan Lodewyk

Guitars: Adam Haupt

Bass: Grant Phillips

Drum programming: Bradley Lodewyk and Gary Erfort

Dividing Lines

Music composed by Bradley Lodewyk

Lyrics composed and performed by Amy Brown, Zama Dedan Kimathi, Agape Dirtypro Tadana and Adam Haupt

Chorus composed and performed by Amy Brown

Turntablism by John Colin

Gangsta

Music composed by Eddy Strings and Bradley Lodewyk

Verses performed by Quentin Williams, Adam Haupt and Imraan Cupido

Lyrics composed and performed by Quentin Williams, Adam Haupt and Imraan Cupido (aka Imie Vannie Delf)

Chorus performed by Naftali Solomons

Verses performed by Adam Haupt and Imraan Cupido

Guitars: Eddy Strings

Saxophones: Chloe Rezant and August West

Bass: Matthew Lenting

Percussion: Bradley Lodewyk

Guns

Music composed by Adam Haupt

Lyrics composed and performed by Amy Hendrickse (aka Amy Brown), Imraan Cupido (Imie vannie Delf), Nathan Lodewyk, Agape Dirtypro Tadana, Emile Jansen and Adam Haupt

Chorus performed by Adam Haupt

Verses performed by Amy Brown, Imie vannie Delf, Nathan Lodewyk, Agape Dirtypro Tadana & Emile Jansen

Guitars: Adam Haupt

Bass: Matthew Lenting

Drum programming: Gary Erfort & Bradley Lodewyk

Turntablism: DJ E20 (aka Enver Peters)

Persevere

Music composed by Adam Haupt

Drum programming: Bradley Lodewyk

Lyrics composed and performed by Monishia Schoeman, Emile Jansen, Adam Haupt with additional vocals by Razeen Haupt

Chorus performed by Naftali Solomons and Adam Haupt

Guitars: Adam Haupt

Bass: Robin Thompson

Keyboard: Desmond Blake

State Capture

Music composed by Bradley Lodewyk

Lyrics composed and performed by Adam Haupt, Monishia Schoeman & Natasha C. Tafari

Chorus performed by Nadine Matthews

Verses performed by Adam Haupt, Monishia Schoeman & Natasha C. Tafari

Guitars: Bradley Lodewyk, Eddy Strings and Adam Haupt

Bass: Matthew Lenting

Drum programming: Bradley Lodewyk and Gary Erfort

Trickle Down

Music composed by Adam Haupt

Lyrics composed and performed by Emile Jansen, Stefan Benting, Agape Dirtypro Tadana, Shameema Williams, and Adam Haupt

Chorus performed by Adam Haupt and Razeen Haupt

Guitars: Adam Haupt

Bass: Robin Thompson

Keyboard: Desmond Blake

Drum programming: Bradley Lodewyk

Adam Haupt is Professor of Media Studies at the University of Cape Town.

Quentin Williams is Senior Lecturer of Linguistics at the University of the Western Cape.

H. Samy Alim is the David O. Sears Presidential Endowed Chair in the Social Sciences and Professor of Anthropology and African American Studies at the University of California, Los Angeles, and the Founding Director of the Center for Race, Ethnicity, and Language (CREAL).

Emile Jansen is founding member of Black Noise and Heal the Hood.

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