When the genre emerged 50 years ago, hip-hop and activism were closely knit. Hip-hop was the ideal outlet for artists to address issues such as racism, police brutality, poverty and inequality. Marginalised voices took up microphones, voicing sharp social criticism and hoping to inspire a new generation of activists and advocates.

 Consider the track The Message by Grandmaster Flash & The Furious Five that highlighted the abject poverty in The Bronx in New York:

“Broken glass everywhere

People pissin' on the stairs, you know they just don't care

I can't take the smell, can't take the noise

Got no money to move out, I guess I got no choice”

 The influence Public Enemy had on political debate in America in the late ‘80s and early ‘90s was huge as well.

 As the genre became more mainstream, socially engaged hip-hop with activist lyrics went underground by necessity. From then on, hip-hop was mainly linked to values such as materialism, sexism and, in some cases, homophobia.

There’s an impression that rappers today – after years of social and political activism – mainly talk about bitches, money and drugs. But is that so?

Is it really true that hip-hop, since commercialisation, has become nothing more than superficial dance music?

And does music become better or more meaningful when it is socially engaged?

Hip-hop was born in a climate of protest and emancipation, but can it and should it therefore still ball its fists?

So many questions and, together with experts, we’ll search for answers! The evening starts with a virtual keynote by none other than Akua Naru (online) (rapper, poet, producer and activist). She is also the founder of international collective theKEEPERS, an online archive chronicling the cultural contributions of black women within hip-hop culture. This will be followed by a panel discussion with LIONSTORM and FREDDIE KONINGS, moderated by DJ, B-Girl and comedian Soe Nsuki.  

Mo’ answers, less problems!