Justina Mutale Gets The GAB

I recently came across a curious article in which the author “intelligently” dissected whether the Hip Hop music performed by Zambian rapper CRI$I$ was Zambian. This was written as a follow up to an earlier article by the same author titled “Crisis: the Poverty and Futility of Zambian Hip Hop ”. It made for interesting reading if nothing more. However, having known the artist in question personally since 1995 and being one that has listened to recordings by CRI$I$ and helped to promote his music both inside and outside Zambia, I was disturbed with the tone of the article – particular the closing line which said “He (CRI$I$) is a nobody”. 

My feelings are as follows beginning with some insight on CRI$I$:

CRI$I$ is a poet who addresses situations peculiar to his environment.  He may have never been to the US like millions of young Africans whom, through no fault of their own, have been influenced by mostly American media since childhood. These are kids whose first language is English – kids who grew up during the formative years of Hip Hop in the US and felt the ripples of the movement in Zambia. Kids who watched “The Fresh Prince of Bell Air” and Timmy Mvula presenting “Time for Music” on ZNBC, and were frankly more excited about Breakdance than they were about Shalawambe Bands music. This phenomenon was not only taking place in Zambia – these kids, now grown up, are everywhere; some in influential leadership positions. Little wonder that the only Zambian artist that’s been invited to perform at the continentally televised Channel O Music Awards in South Africa is indeed CRI$I$ - he can communicate through his music to that audience. He has performed on prime time television in South Africa, been granted much airtime in Zambia and other stations in far corners of the globe.

I do not wish to dwell on CRI$I$ as an individual in this article but must mention that while in South Africa I have tried whenever possible to take Zambian music to local radio stations and had the easiest job with CRI$I$ music. He is the only person I know from Zambia that has been pursued for interviews on local radio, print magazine and at one point while hanging out with him, had a popular South African artist practically pleading with CRI$I$ to sell him a particular song from his repertoire. Google “CRI$I$” and see how many results you get. In my book he is a somebody and whether or not he is accepted into the fold of Zambian artists, I’ve seen enough to confidently say that even without me defending him, Chisenga will be fine. 

We are in an era of a new dynamic pertaining to popular culture on the African Continent. As much as I am a fan of artists such as Ishmael O and Oliver Mutukudzi whose shows I have attended, I would tend to think that the most well known African artist today among young Africans is 2Face Idibia of Nigeria – recipient of the MTV Music Award for best African artist.  While the benchmark for African artists that have made a dent on the international scene has been a list with Yousu Ndour, Salief  Kieta and Baaba Maal (the latter who has recently collaborated with rappers incidentally) young artists are looking to also emulate the successes of artists such as Senagal’s music mogul Akon.

We all have different tastes and therefore should celebrate diversity. There is no obligation or duty due to virtue of nationality that falls on any one of us to conform to a prescribed manner of expression.