- Title Pages
- Dedication
- Epigraph
- Abbreviations
- Figures
- Acknowledgments
- 1 Introduction
- 2 Interlude
- 3 Born in Africa (1990)
- 4 Tears Run Dry
- 5 Singing in the Shadow of Death
- 6 Music, HIV/AIDS, and Social Change in Nairobi, Kenya
- 7 Interlude
- 8 Using Music to Combat AIDS and Other Public Health Issues in Malawi
- 9 Visual Approaches to HIV Literacy in South Africa
- 10 Ngoma Dialogue Circles (Ngoma-Dice)
- 11 Interlude
- 12 HIV/AIDS Poster Campaigns in Malawi<sup>1</sup>
- 13 Contemporary Uses of the Musical Arts in Botswana’s HIV/AIDS Health Education Initiatives
- 14 “We Are the Loudmouthed HIV-Positive People”
- 15 “C’est Le Wake Up! Africa”
- 16 Singing Songs of AIDS in Venda, South Africa
- 17 Interlude
- 18 Aesthetics and Activism
- 19 A Lady Who is an Akadongo Player
- 20 “What Shall We Do?”
- 21 Swahili AIDS Plays
- 22 Confronting AIDS through Popular Music Cultures in Kenya
- 23 Interlude
- 24 Siphithemba—We Give Hope
- 25 Young and Wise in Accra, Ghana
- 26 Singing as Social Order
- 27 “I’m a Rich Man, How Can I Die?”
- 28 Interlude
- 29 <i>Kwaito</i> and the Culture of AIDS in South Africa
- 30 Positive Disturbance
- 31 “EdzI Ndi Dolo” (“AIDS is Mighty”)
- 32 Representing HIV/AIDS in Africa
- 33 Postlude
- About the Authors
- References
- Index
Positive Disturbance
Positive Disturbance
Tafash, Twig, HIV/AIDS, and Hip Hop in Uganda
- Chapter:
- (p.362) 30 Positive Disturbance
- Source:
- The Culture of AIDS in Africa
- Author(s):
Gregory Barz
Gerald C. Liu
- Publisher:
- Oxford University Press
This chapter draws on an ethnographic “experimental moment” in research with female MCs in Uganda, during which the authors of this chapter consciously engaged in what could be understood as a manipulation of popular musicians. The authors asked Ugandan hip hop artists known for their socially conscious rap music to record music responding to their own self-described inability to achieve commercial airtime. The tracks that emerged highlight social concerns related to rape, HIV/AIDS, and specific gender issues such as pregnancy, spousal abuse, and education—issues that speak directly to youth in Uganda in ways heretofore unachieved through other popular media. By analyzing the HIV-related lyrics of MCs Tafash and Twig through the lens of each rapper’s spiritual grounding, the authors show how understandings of the disease contribute to a sense of dialogic theology and personal struggle within Ugandan hip hop society.
Keywords: hip hop, MCs, Uganda, hip hop artists, rap music, HIV/AIDS, youth, Tafash, Twig, dialogic theology
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- Title Pages
- Dedication
- Epigraph
- Abbreviations
- Figures
- Acknowledgments
- 1 Introduction
- 2 Interlude
- 3 Born in Africa (1990)
- 4 Tears Run Dry
- 5 Singing in the Shadow of Death
- 6 Music, HIV/AIDS, and Social Change in Nairobi, Kenya
- 7 Interlude
- 8 Using Music to Combat AIDS and Other Public Health Issues in Malawi
- 9 Visual Approaches to HIV Literacy in South Africa
- 10 Ngoma Dialogue Circles (Ngoma-Dice)
- 11 Interlude
- 12 HIV/AIDS Poster Campaigns in Malawi<sup>1</sup>
- 13 Contemporary Uses of the Musical Arts in Botswana’s HIV/AIDS Health Education Initiatives
- 14 “We Are the Loudmouthed HIV-Positive People”
- 15 “C’est Le Wake Up! Africa”
- 16 Singing Songs of AIDS in Venda, South Africa
- 17 Interlude
- 18 Aesthetics and Activism
- 19 A Lady Who is an Akadongo Player
- 20 “What Shall We Do?”
- 21 Swahili AIDS Plays
- 22 Confronting AIDS through Popular Music Cultures in Kenya
- 23 Interlude
- 24 Siphithemba—We Give Hope
- 25 Young and Wise in Accra, Ghana
- 26 Singing as Social Order
- 27 “I’m a Rich Man, How Can I Die?”
- 28 Interlude
- 29 <i>Kwaito</i> and the Culture of AIDS in South Africa
- 30 Positive Disturbance
- 31 “EdzI Ndi Dolo” (“AIDS is Mighty”)
- 32 Representing HIV/AIDS in Africa
- 33 Postlude
- About the Authors
- References
- Index
