Paper short abstract:

This paper investigates how Senegalese popular musicians affirm themselves as urban cultural elites among Dakaroise negotiating alternate forms of urban cultural governance.

Paper long abstract:

During and after the 2000 presidential elections in Dakar, Senegal, journalists and scholars often pointed to hip hop artists as the prime agents for shaping the political outcome. However, the hip hop culture of Dakar during this time was nascent with a limited technological infrastructure, political commentary restricted to live underground events, and an audience of mostly young men and teenagers. Alternatively, mbalax, the most popular urban dance music in Dakar commanded larger audiences across age, gender, religious, and ethnic lines. Mbalax, a popular music rooted in Wolof ethnic practices was able to affect social and political change during the elections not in spite of its ethnic roots but because them. How did mbalax musicians address political issues and topics without alienating audiences? What were the politics addressed during live performances, music videos, and recordings. If mbalax is a Wolof practice, then how were musicians able to garner support across ethnic groups? I argue that the wolofness practiced through mbalax was based on an indigenous cosmopolitanism that bridged gaps across generations, ethnic groups, and gender.

This paper investigates how mbalax musicians affirm themselves as urban cultural elites among Dakaroise negotiating alternate forms of urban cultural governance. Drawn on fieldwork carried out in Dakar between 1998-2001 I examine how musicians, producers, and fans created and navigated links across digital and analog technologies, social networks, street drumming events (sabar), and nightclub performances to challenge and engage state controlled media and infrastructure.