Globalization of Art and Pop Term Paper

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Increasingly, the majority of black South Africans became disillusioned with the political system and those ruling it. In the opinion of many, they had simply traded one form of oppression for another - they are now exploited not only by white rulers, but also by those who are black (Clark, 2007). This is expressed in the current forms of South African Hip Hop. Artists working against the apartheid of the past are now working against the exploitation of the poor.

In addition to being politically oriented, Hip Hop also focuses on the African enjoyment of dancing. The earliest forms of this, also advertised and accepted via the media, included break dancing. Currently, South African Hip Hop has evolved to a form of house music called kwaito. This music is very popular among the black youth, whether oppressed or not. As such, it is a well established form of music in the country, with both new and established artists making a success of the market. Brown Dash for example has received raving reviews of his latest efforts, while Spikiri is an old favorite.

Interestingly, while the genre reach South Africa via the mass media, this is by no means a two-way communication effort. Kwaito is not well-known in the United States, and even online music lovers would struggle to find it in electronic, downloadable form. This is perhaps indicative of how truly indigenous this form of music has become in South Africa. As an instrument of protest, Hip Hop and its concomitant forms have become one of South Africa's greatest cultural assets.

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It is however also true that Kwaito artists such as TKZee and Boom Shakka have had great success in their performances abroad (Wright 1999)

While many have argued that kwaito and Hip Hop are not the same genre and should not be seen as such, others such as Steve Wright have called kwaito "South African Hip Hop." As such, the South African youth now uses the music not only to express their frustration and sense of oppression, but also the unique beauty and rhythm of each culture, story, and hope inherent in the South African nation (Clark, 2007). Specifically, some of the themes addressed by South African artists include class struggle, gender, corruption, HIV and racism.

Ironically, although used as a voice for all who find themselves oppressed and marginalized, Hip Hop in South Africa has proved especially difficult for female groups in terms of respect and equality. Female artists such as Godessa, for example, struggle with sexism in a musical world that is often perceived by its artists to be a male only environment. This very struggle is further indicative of the themes addressed in the genre, and brings home the hypocrisies often found not only in politics, but also in the protest against political and social oppression. South African Hip Hop has evolved into a mirror of South Africa's unique cultural and political setting......

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