As the rhythmic beats reverberated across the open-air setting of the French Cultural Institute’s rock club lookalike, rappers took turns confidently strutting onto the stage, adorned in oversized monochromatic attire. They unleashed a torrent of energetic and diverse rhymes encompassing funk, drill, jersey, old school, and trap styles. More than 200 attendees swayed in unison, their T-shirts drenched in sweat on the hot summer night. Some fans thrust their fists in the air and cheered with approval, while others, including myself, found ourselves fully engrossed in the captivating ambiance despite not fully grasping the intricacies of the performance. The Hip Hop Cypher, a pre-event to the Ubumuntu festival, proved to be an exhilarating convergence of music and visuals. It served as a gateway, in a way, to a year-long celebration of a genre whose authentic roots can be traced back to the 1970s in the borough of the Bronx, New York City. Originally emerging as an artistic outlet for African American youth, Hip Hop provided a means to express their discontent with the historical and ongoing oppression of their culture within American society. But this night transcended being a mere celebration of a 50-year anniversary. The cypher session, a significant hip-hop tradition where dancers or rappers assemble to showcase their skills and uplift one another, often forming a circle and taking turns in the spotlight, fostered a sense of community that is integral to hip-hop culture both in Rwanda and the United States through a collaboration with the Hip-Hop Education Center (HHEC). This particular evening marked one of the concluding sessions in a comprehensive three-day program aimed at training hip-hop rappers in Rwanda. “In terms of talent, we had high expectations from the start, but the level of excellence surpassed our wildest imaginations,” remarked Producer J, one of the trainers from HHEC, during an interview. “Initially, we assumed we would be working with beginners and novices. It quickly became evident, though, that the people we collaborated with were not only advanced but also exceptionally skilled in the realm of hip hop.” At its inception, hip hop emerged as a medium for social protest, allowing individuals to express their frustration regarding their marginalized socioeconomic status within society. However, over the years, hip hop has unfortunately acquired a tarnished reputation associated with aggression, gang violence, and derogatory depictions of women. Thankfully, renowned and highly regarded festivals like the Ubumuntu Arts Festival have recently taken on the task of challenging these stereotypes and reintroducing fresh perspectives, or perhaps even the original lenses, through which we can appreciate hip hop as an integral part of a longstanding tradition of using art for social protest. “It would be dishonest to deny the prevalence of violence and profanity in rap songs,” commented Queen Herawin, a trainer at HHEC and the MC of the hip hop cypher. “Nevertheless, it is crucial to consider the cultural context in order to comprehend the underlying reasons for the apparent abundance of these elements.” She emphasizes the importance of allowing individuals to express their authentic voices while also recognizing that there is a message embedded within the music. She further adds that if artists choose to incorporate such elements, they should do so with purpose, whether it is to convey expressiveness, passion, or to make a statement about something meaningful. Hope Azeda, the visionary behind the Ubumuntu Arts Festival, which serves as a significant repository of collective art from various corners of the globe, focusing on innovative endeavors addressing critical social traumas including racism, police brutality, government repression, sexism, sexual violence, and genocide, delved into the origins of the hip hop cypher. In the interview following the event, Azeda expressed, “There is a strong affinity among young people for hip hop. They resonate with its fashion, music, and dance. We realized that if we wanted to bring about positive change in the community, we needed to start with the youth.” Recognizing the power of music as a unifying force, Azeda added, “We initiated our efforts with hip hop, under the belief that music is humanity. It possesses the transformative power to shape society and foster community bonds.” In line with this vision, the Cypher event aimed to bring together 10 rappers and 10 producers from Rwanda for a workshop dedicated to hip hop. Throughout the three-day hip hop workshop, the participating rappers immersed themselves in every facet of the genre. They engaged in discussions about the history of hip hop and its ongoing significance in modern-day Rwanda. They delved into intricate writing patterns, explored various writing techniques, and familiarized themselves with the essentials of freestyling. While they discovered that not everything was entirely new to them, they enhanced their understanding and gained valuable hands-on experience through active learning. According to DiceKid, a hip-hop chronicler, the three-day workshop proved to be an enriching experience. He elaborated, “There's a technique called the writing web, which is like a web connecting your main topic with elements such as alliteration, metaphors, or personalization to create a seamless flow.” He further explained, “For example, if you want to incorporate a bar about senses, you can use words related to hearing, taste, or sight. It was something I wasn't aware of before, and it has greatly improved my freestyling abilities.” If the organizers aimed to attract a younger audience, they undoubtedly succeeded. The event showcased an abundance of talent and skill. The two-hour musical medley brought together a diverse array of hip-hop artists, producers, styles, eras, and regional variations. The neon-lit stage was graced by an eclectic lineup of performers, including Malaika, Kimzer, Producer X, Michael Makambe, KShot, DavyDenko, Chrissy Neat, Yassin Indistizo, Zed, Malik Worldwide, and Ehlers. Mostly, though, you just watch DiceKid constantly steal the show with his remarkable performances, time and again. Notably, after each impressive display, he made sure to remind everyone that he would be back for more. As MCee Queen Herawin extended an invitation to Deelah, a talented poet, to perform her piece “Terminator,” the previously exuberant crowd suddenly hushed, seemingly enraptured by her words. Deelah took the stage, donning a black beret atop her vibrant blonde braids, and began, “In a room, I am the elephant and I am a gruesome giant. Don’t mistake me for benevolent.” She continued, “When I walked into the party, all your favorite rappers felt irrelevant.” She was rewarded with enthusiastic cheers and applause from the audience. Around 20:30, the neon club lights shifted, casting their glow upon the two MCs as they expressed gratitude, extending their thanks to “everyone who made it to the show.” Some of the edgy-dressed youngsters casually rose from their seats, playfully colliding with one another, engaging in moshing, and grabbing snacks to replenish their energy. The Ubumuntu Arts Festival, taking place at the Kigali Genocide Memorial for the duration of the following week, boasts an impressive lineup of collaborations. Prepare to witness extraordinary theatrical pieces that merge the talents of artists from Sri Lanka and Rwanda. Additionally, a captivating fusion of dance and music awaits with the collaborative efforts of performers from Barcelona and Rwanda. In terms of set design, the festival showcases the collaborative work of a skilled sonographer from Britain and another from Japan. The performances will feature artists from various countries, including Spain, Nigeria, Burundi, Kenya, Brazil, South Africa, Sri Lanka (we already witnessed a preview of what was to come as demonstrated by Hidaayath Hazeer’s engaging performance during the cypher session), the Netherlands, Malawi, the Democratic Republic of Congo, Uganda, and France. Rap songs encompass more than just catchy beats meant for dancing at social gatherings; at least, that’s what I learned. As Azeda emphasized, “Rap shouldn't be limited to attracting only wayward souls or individuals lacking manners. It’s crucial for Rwandans to avoid labeling specific aspects, as doing so undermines our collective efforts to challenge prevailing stereotypes associated with the genre.” Instead, she suggests nurturing a hip hop scene that generates impactful lyrics with meaningful messages, thereby contributing to the advancement and betterment of the nation. While the rappers may have been delivering profound verses or trivial content, I couldn't discern the difference, as I was too busy bobbing my head to the rhythm that not only sounded good but also felt good. Occasionally, though, my attention would be momentarily diverted by a fan in the background, clad in a colorful costume reminiscent of the festive juju attire from West African countries.
