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Hip Hop Galsen
Following an historical process of appropriation of American popular music by Senegal,〔For e.g. Jazz as well as Latin American music such as salsa or pachanga were popular in Senegalese cities from the 1940s and until recently.〕 Hip Hop emerged in the Senegalese capital city in the early mid- 1980s. Although Hip Hop Galsen is now famous for its diverse musical productions, the movement there spread out from its dancing appeal rather than from its musical one. Indeed, Senegalese hip hop artists initially participated in this movement as smurfer, breakdancer, B-Boy in general performing during organised podiums. Schools, nightclubs and other temporary public stages thus played an essential role in amplifying this movement in Dakar. Besides, and in contrast to American Hip Hop, which grew from the youth in the inner city ghettos, Hip Hop in Dakar began among a somehow middle-class youth who was able to access and/or introduce in their home place new ideas and new cultural expressions coming from abroad. Indeed, Hip Hop became popular in the capital city through the intensive though informal circulation of VH7 cassettes and recorded videos, which were imported from USA (Africa Bambaataa) or France (hip hop dance TV show 'HIPHOP' animated by Sydney) by diaspora people.
Quickly, podiums enlarged their performances from dancers only to rappers as well. It was a time when soon-to-be hip hop artists were still mimicking American artists they actively used to listen to such Africa Bambaataa, Grandmaster Flash, Furious Five, Delight, Doug E. Fresh or Public Enemy for the most well-known. Indeed, rap, the MC performance, was still then a phonetic repetition, a copycatting of either American rappers or, with Hip Hop booming in France in the 1980s, of French hip hop artists such as Assassin, NTM, IAM or Mc Solaar. Without the real capacity for translating the movement and its expressions in Senegalese terms yet, the mid-1980s in Dakar were however definitively hip hop. And whenever the classical hip hop film Beat Street was circulating in local cinemas, young people were following the movie from showroom to showroom in order to view it again and again and to know by heart the famous lyrics of Grandmaster Flash.
== Evolution of a culture (1989–1994) ==
Nevertheless, this copycat period did not last long, and getting inspired by the French example, Senegalese hip hop artists soon started to write their own texts in their languages,〔Kool Kocc 6 is known for being the first to rap an entire text in Wolof: a song that Baye Fall sing in praise of Serigne Touba (Ahmadou Bamba).〕 forming groups or collective with school peers and starting to get known and recognised in their neighbourhoods. In 1989, two groups mainly dominated the Dakar scene: Syndikat initiated by Didier Awadi and King MCs led by Duggy Tee. Rather than keeping on challenging themselves, they decided to get together to create Positive Black Soul (PBS) with the desire to promote a positive image of Africa. Indeed, at that time, the first years of the structural adjustments imposed by the IMF had considerably worsened the living conditions of the Senegalese, leaving a limited choice to the younger generations: facing unemployment or, for the wealthier, leaving the country in order to study abroad. A new image, a positive one was most needed and Hip Hop appeared as an emancipating mean of expression for a disillusioned youth. From its dancing expression, Hip Hop's appeal then definitively moved to its musical expression with artists voicing out the dual anger and hunger of Senegal's younger generations.〔 Through its music form, Hip Hop stood as a language as well as a message for a youth witnessing injustice, corruption and power abuses from the political elite. Indeed, rapping their disapprobation with the harsh reality they were suffering from was a way for young artists to remind that that, they, as well, could 'represent' the voiceless population.
In late 1980s and beginning 1990s, the capacity for recording and releasing a musical product was still limited for hip hop artists so they were getting known mostly though the circulation of "demos", i.e. instrumental recordings of existing songs on which the young MC could rap. These "instru" or 'demo' were an essential aspect of the development of a soon-to-be hip hop artist as they allowed him to practice his performance, to experiment his "flow", and to try to rap on different rhythms. Moreover, these preliminary products were extremely useful for an artist aspiring to appear on a compilation to present and represent his potential. With respect, the first release of an hip hop production was finally a text of PBS, "Bagn Bagn Beug" on a compilation, "Dakar 92" produced by the French Cultural Centre. Then, after having performed in the first part of MC Solaar's show in Dakar, and with a growing popularity, PBS released "Boul Faalé", a recorded cassette in which the group articulated a vehement discourse denouncing the corruption of the PS (political party) then in power. With this release in 1994, Hip Hop Galsen was starting its genealogy.〔Abdoulaye Niang, a young researcher at University Gaston Berger of Saint Louis who produced an extensive research on rap in Dakar ("Etude interdisciplinaire du rap à Dakar à travers une approche de la complexité: entre mouvement social et groupe primaire", 2001) stresses that 1994 can be considered as the year differentiating the old school from the new one, the first generation of hip hop artists who started before 1994 and those who started afterwards.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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