Arabic hip hop is hip hop music and culture originating in the Arabic-speaking world. It is performed in Arabic, and local Arabic dialects, English, French, Berber languages (Tamazight). Like most artists of the genre, the artists from the Arab world are highly influenced by American hip hop.
Also considered part of Arabic hip hop are emcees of Arab origin in the Arab diaspora including Europe, North America, and Australia.
Arabic hip hop is played on radio stations and shown on TV programs, but live hip hop performances only began in the 1990s. Many hip hop groups are still underground because their political views could lead to government censure. Therefore, the Internet has been a major outlet for most groups.
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Before Arabic hip-hop emerged as a separate genre, Arab-Americans were regularly involved in hip-hop in the United States, notably producer Fredwreck, based in L.A. and Miami-based DJ Khaled.[1] American hip-hop music began to see popularity in the Arab World in the early-to-mid 1990s. Northern African Arabs, mostly residing in France, the epi-center of European hip-hop,[2] were the first to begin making the music that constitutes the Arabic hip-hop genre. For example, the Super Saian Crew and IAM had Arabic members.[3] This music, a product of the French banlieue’s beur and noir communities, was a blend of traditional American hip-hop, the French styles popular at the time, and Raï, a popular music style from Northern Africa.[2] French hip-hop rose to popularity partly because of Francophone radio broadcasting requirements, begun in 1994, that established quotas for all stations of 40% of daily broadcasts to be in French.[4]
Groups began to emerge in Palestine in the mid-90s, including popular group DAM. DJ Lethal Skillz was promoting new local groups “such as Aks El Seir” at around the same time. In Egypt, hip-hop was less popular, but a small buzz led to an emergent b-boy population. In 2004, the first hip-hop show took place there when the RZA, member of the Wu-Tang Clan, performed in the Siag Hotel in Cairo alongside Kinetic 9 of Killarmy, a Wu-Tang Clan affiliate, Cilvarange (a Moroccan-Dutch, and the first Arab to get signed by an American rap group) and Saleh Edin, an Arab Moroccan rapper.[3]
In 2006, Arabic hip-hop solidified its mainstream presence in the Arab World with Hip Hop Na, a reality TV show on MTV Arabia hosted by Fredwreck and Qusai, a Saudi Arabian Artist.[3] Hip-hop, both Arabic and American, is followed and created to varying degrees in most of the countries of the Arab world, including where social and political restrictions make this difficult. For example, Saudi Arabia is home to the group Dark2Men, who competed in the HipHopNa reality show mentioned above. In addition, break dancing "has become a popular pastime in the kingdom".[5]
It is difficult to establish numbers for albums sold or listenership by demographic in the Arab world due to the lack of reliable statistics. Furthermore, viewership of satellite TV in the Arab world cannot be accurately quantified.[6] However, we can discern popularity through marketing techniques utilized by satellite television providers. According to a 2007 report, more than 85 percent of urban households in the Arab world have satellite television," a forum that has expanded to include music channels such as MTV Arabia which "[at the time] plan[ned] to offer a hefty dose of [mainly western] hip-hop and much of the same youth-lifestyle programming MTV beams across the U.S."[7]
Although it is unclear whether or not there is a separate and distinct female Arabic hip-hop genre, artists such as Malikah, from Lebanon, and Shadia Mansour are the forebearers of the art form. Female hip-hop artists are involved in a number of outreach activities in the Arab World. For example, Malikah has been included in the Egyptian conference "Initiatives in Education, Science and Culture Towards Enhanced US-Muslim Countries Collaborations", where she performed as part of a series of events designed to address that topic.[8] Female Arab Rappers also performed at "Home and Exile in Queer Experience", a conference organized by Aswat, "an organization for Arab lesbians with members in Israel, the West Bank, and Gaza Strip".[9]
Arabic hip-hop artists, commensurate with those of the overall genre, engage in the process of sampling. According to Jannis Androutsopoulos, sampling is "a process of cultural literacy and intertextual reference... taken from various domains, such as traditional folk music, contemporary popular music, mass media samples, and even poetry."[10] Artists in the genre cite musical references, influences, and sampling material from a number of contemporary and classical sources, including 20th century Lebanese singers Fairuz, Majida al-Roumi, and Julia Boutros,[3] as well as a number of modern mainstream and underground hip-hop artists,[11] and regional music styles from countries such as Jamaica.[12] Arabic hip hop artists have used full Arabic orchestras in beat-making as well as beats inspired by traditional Arabic music styles.[3]
Certain regional variations of the music, most notably French and Northern African styles, incorporate influences from the musical genre known as Raï,[2] "a form of folk music that originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African and Arabic musical forms, which dates back to the 1930s." (Wikipedia, "Rai")
While some Arabic hip hop artists focus on the topics most closely associated with mainstream American hip hop, many choose a topical focus influenced by and addressing a number of social and political circumstances and situations. The topics approached depend largely on region, and there is a particular divide between Arab emcees who live and work in the Arab World and outside.
Much of the hip hop generated in the Arab World deals with a mix of social circumstance, such as poverty, violence, and drug-use, as well as political reality, insofar as this is possible given censorship. The hip hop of Palestine in particular has generated much interest in this respect and the music is considered a means of opposition. For example, the song "Meen Erhabe" by DAM aligns itself with opposition to the Israeli occupation, and was referred to critically as a "theme song for Hamas".[13]
| “ | True to form, the Hip-Hop of occupied Palestine evokes themes of struggle and resistance as artists lay beats about drugs, violence, and the daily oppression they face under Occupation. Reminiscent of the multiple messages voiced through American Hip-Hop and Rap, artists in Palestine use music as a means to unify people who share common struggles. Their artistic expression represent the "drama of the streets", the harsh reality of cultural and ethnic subjugation, and continues to be a productive means of expression for Palestinian youth to communicate with one another across the region and hopefully soon, with the rest of the world. | ” |
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—Greta Anderson Finn, Political Art: "Arab American Hip-Hop" |
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Outside of the Arab World, artists focus on many of the same types of issues, but there is a stronger focus on issues associated with immigration and living as ethnic minorities. In France, for example, much of the "socially critical" music focuses on "migration related problems such as discrimination, xenophobia, and the problematic identities of young people of foreign descent."[10] Furthermore, these artists deal with the government enforced impetus for assimilation "coupled with the age-old stereotypes rooted in colonial references and the stigma of the marginalized banlieue."[2]
Arabic hip hop artists in the west, particularly Great Britain and North America, who also deal with racism and marginalization in their content, specifically mention an experience of "doubleness" - internal conflict between traditional and modern culture. For some rap and spoken word artists, hip hop is seen as being true to both, due both to the rich Arabic poetic history and to the utility of hip hop as a form of expression for marginalized or demonized communities. The poet Lawrence Joseph addresses the conflict explicitly in his poem "Sand Nigger".[14] From British-Iraqi rapper Lowkey, who views his situation as further complicated by his dual eastern and western heritage (a conflict which plays heavily in his music):
| “ | "My name's Kareem, I've never felt accepted as a British person in this country, but I've never felt truly accepted as an Iraqi person - what do I know about Iraq? People accept me as an Arab because that's my racial appearance." [15] | ” |
The view of mainstream America towards the Arab population, domestically and worldwide, and military intervention in the MENA region factor prominently in Arab-American hip hop and other western forms.[12][14] Certain artists from the Arab world approach the western viewpoint similarly, such as the Emirati group Desert Heat who rap in English specifically for the purpose of "educating" westerners on a realistic view of Arabic culture and history.[16]
On the other extreme, Mohammed Kamel Mostafa, whose father Abu Hamza al-Masri is in prison on terrorism charges, uses hip-hop to express solidarity with groups such as Hizbollah and Hamas, as well as to glorify violent Jihad. His message is different from other opposition rappers who have gained popularity in the genre insofar as he explicitly establishes his credentials by referencing his military skill and ability to cause violence.[17]
Associative life and media are restricted to varying degrees throughout the Arab world. Reasons for censorship, whether state enforced or community enforced, generally fall under two categories - political or religious. Vis-a-vis state control, satellite TV has done much to restrict the state monopoly on television programming. This has directly impacted the space allowed for hip-hop music and culture.[18]
In religiously conservative Arab states, such as Saudi Arabia, "singing and dancing can be viewed as shameful," therefore enforcing somewhat of a social censorship (enforced as a "taboo") on hip-hop and other art forms. As of 2008, concerts and nightclubs were non-existent in the Kingdom, and local radio and TV played mainly Arabic pop music (all state enforced policies). Tamer Farhan, a member of the Saudi rap group Dark2Men that appeared on HipHopNa, said that rappers in Saudi Arabia are forced "underground because of the wrong impression people have of them".[19] Even socially cautious acts are subject to censorship. This phenomenon is not restricted to Saudi Arabia however, as relatively liberal Kuwait joined them in banning the group Desert Heat's first album despite their "pro-Muslim" message and "cautious approach to religion, politics, and society".[20]
However, hip-hop music, both Arabic and American, has managed to circumnavigate some of these restrictions. In addition to subversion via the internet or bootleg record sales, it seems that censorship inconsistencies and/or linguistic difficulty associated with translating hip-hop from English may account for some English language records making their way to cities where they would otherwise be banned. Abdullah Dahman of Desert Heat offers an example of west coast rapper Snoop Dogg, whose records are available for purchase in Jiddah in Saudi Arabia.[20] Another example, 2 Live Crew's album "As Nasty as They Wanna Be", released in 1989, made it by censors due to translational difficulty.[21]
Algerian hip hop has roots that lie in French hip hop. Many French emcees originated from Africa, and of those, most from Algeria.
Egypytian rap is unique in the fact that it is included in both African Hip Hop and Arabic Hip Hop. Hip-hop artists in Egypt tried to gain national recognition in the late 1990s, but rap was not yet accepted as a viable form of music. Rappers built an underground hip-hop scene, which grew over time. The pioneering Egyptian rap crew was MTM formed in 1999 the first rap group to actually rap in Arabic. Egyptian rap has more recently become more heavily promoted in Egypt and The Middle East. Princess Emmanuelle a.k.a. EmpresS *1 in 2001 appeared in the Egyptian Hip-Hop scene, where there were no other females. She gained the title of "First Female Egyptian Rapper" in Egypt. Egyptian Underground rap is now growing rapidly, due to the feeling of injustice that mainly affects youths in the country.
The most famous groups were MTM, MTM emerged with a music video called "Omy Mesafra", which some hip-hop elements but was still accepted by people as an Egyptian song and became quite popular. Other popular solo artists were Omar Boflot, MC Amin. Other famous rap bands or families is the Cairo City G'zz, members of this family only sing Gangsta Rap or Chicano Rap, it is a family based on the street life style that combines Latin, English, Arabic and even French in their tracks.
One of the most successful rappers from Jordan is Ostaz Samm, mostly known for competing on MBC 4's Arabs Got Talent.[22]
Lebanese hip hop is a pioneering movement in Arabic hip hop as Lebanese youth were among of the first to be affected by hip hop culture. Also considered Lebanese hip hop is the output of Palestinians living in refugee camps in Lebanon, who add to the Lebanese hip hop culture. There is also great hip hop scene in the Lebanese diaspora in USA, Canada, Australia and Europe which is considered Lebanese rap as well.
Arabic Hip Hop artists enjoy regular Festival performances, TV/Radio appearances and commercial endorsements.
Dutch and Moroccan artist Salah Edin who performs his music in the Moroccan dialect Darija.
Cilvaringz is the most successful Moroccan rapper and an affiliate of the Wu-Tang Clan. He performed in 46 countries alongside the Wu-Tang Clan and successfully sold his debut album I all over the world. He who speaks out against anti-Islamic sentiment along with fellow Dutch Moroccan rappers Salah Edin, Appa, and Sjaak.
Palestinian hip hop supposedly started in 1998 with Tamer Nafar's group DAM. The group, based in Israel was founded in 1998, and is made up of three Palestinian men: Tamer Nafar, his brother Suhell Nafar, and Mahmoud Jrere. They blend Arabic melodies and hip hop beats in their music. The group's name is the Arabic verb meaning "to last forever" (دام), and is similar to the Arabic word for "blood" (دم), but can also be an acronym for "Da Arabic MCs.".
Hip-hop in the Kingdom of Saudi Arabia began emerging around 2003. Among the earliest Saudi rappers is Klash who began his career in 2004. He was a famous rapper in Saudi Arabia later becoming a well-known rapper in the Middle East. In 2007 he was arrested by the Saudi Arabian government for what he claimed on LBC's TV show Ahmar Bel Khat Al Areed as referencing homosexuality between teenagers in on of his records.
Saudi rapper Qusai, who began his music career in the United States before returning to Saudi Arabia, has become a well-known performer in the Middle East.
The Murder Eyez from Aleppo city, was the first-ever rap band in Syria made of brothers Abdul Rahman (The Don Mega), Talal (Rebel) and Houseen (DJ Spider). Sham MCs is a collective of rappers, who have released a debut album Crossword. Another well-known name is the Syrian-Lebanese MC Eslam Jawaad, ILLZ, a Dominican/Syrian rapper and Syrian-American Omar Offendum are making their names in the States.
Desert Heat is a hip hop duo based in Dubai. Formed in late 2002, Desert Heat consists of two Emirati brothers ‘Illmiyah’ (eel-mee-yah) & ‘Arableak’. Desert Heat primarily rap in English, but the majority of their songs contain some Arabic literature. They speak about their own struggles, what it’s like being a Muslim Arab in the Middle East and what all 'normal' things they do. Desert Heat had high exposure when they were surprisingly auditioned for Akon in Dubai. After impressing Akon, Desert Heat were pushed to open up the launch of MTV Arabia alongside Akon and Ludacris. Shortly after Desert Heat released their first video "Desert Heat - Keep It Desert"
Rap and Hip-hop Culture existed as early as 2005 but it only achieved widespread popularity 2008 when the Hip-hop in Yemen took a leap forward and began to spread around the youth of Yemen, especially in Sana'a, Aden. Several teenagers have started to perform on local stages and make video clips; most of the homegrown rappers are still underground because there still no support from the Ministry of Culture for improved production and legal distribution of their work.
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