• icon+265(0)111 624 222
  • iconresearch@unima.ac.mw
  • iconChirunga-Zomba, Malawi

Are you a UNIMA researcher? Login

The Language of Malawian Rap


Author(s) : Ken Lipenga
Pop Music, Culture and Identity

Abstract


Language has always been one of the key areas of focus in discussions of rap music. This chapter has the intention of exploring the language used in Malawian rap music, not merely to show the blending of local languages with English, but to highlight the impact of this linguistic activity on the status of the artists and, consequently, on their situation of waithood. The chapter locates the language used in Malawian rap music as drawing from Global Hip Hop Nation Language (GHHNL), but also formed among the youth as an African Urban Youth Language (AUYL). The hypothesis is that linguistic versatility, as it is expressed in the music, provides a passport up the ranks of social status and may also translate into economic gain. The chapter presents the three key trends in Malawian rap, and also highlights various other linguistic features that determine how rappers are evaluated. The discussion features some extracts from rap songs in order to illustrate the use of language by the rappers.


Original language en
Pages (from-to) 37-61
Publication status Published - 2023
    1. HS Alim (2004). pp. 387.
      https://doi.org/10.1017/CBO9780511809880.023
    2. HS Alim (2006). .
      https://doi.org/10.4324/9780203006733
    3. HS Alim (2009). pp. 1.
      ———. 2009. Intro: Straight Outta Compton, Straight aus München: Global Linguistic Flows, Identities, and the Politics of Language in a Global Hip Hop Nation. In Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language, ed. H. Samy Alim, Awad Ibrahim, and Alastair Pennycook, 1–22. New York: Routledge.
    4. HS Alim (2011). Review of Research in Education, Vol. 35, pp. 120.
      https://doi.org/10.3102/0091732X10383208
    5. . .
      Banda, Sam. 2020. Call Him Dr Namadingo. 16 November. Accessed August 26, 2021. https://times.mw/call-him-dr-namadingo/.
    6. RM Beck (2010). Africa Spectrum, Vol. 45, (3), pp. 11.
      https://doi.org/10.1177/000203971004500302
    7. . .
      Bee Jay. 2020. Ndimakhala Busy Remix. Accessed January 4, 2022. http://joynathu.com/download/ndimakhala-busy-remix-featuring-macelba-ace-jizy-martse-krazie-g-crispy-mw-virus.
    8. . .
      Bee Jay and Ace Jizzy. 2021. Joy Nathu. 13 August. Accessed August 26, 2021. http://joynathu.com/download/made-on-monday-freestyle-bee-jay-x-ace-jizzy.
    9. E Charry (2012). pp. 1.
      Charry, Eric. 2012. A Capsule History of Rap. In Hip Hop Africa: New African Music in a Globalizing World, ed. Eric Charry, 1–25. Bloomington: Indiana University Press.
    10. MK Clark (2018). .
      https://doi.org/10.2307/j.ctv224tz77
    11. J Comaroff (2005). pp. 19.
      Comaroff, Jean, and John Comaroff. 2005. Reflections on Youth: From the Past to the Postcolony. In Makers & Breakers: Children & Youth in Postcolonial Africa, ed. Alcinda Honwana and Filip de Boeck, 19–30. Oxford: James Currey.
    12. . .
      Culture Trip. 2016. Top 10 Contemporary Malawian Musicians. 7 November. Accessed July 12, 2021. https://theculturetrip.com/africa/malawi/articles/an-electrifying-brew-top-10-contemporary-malawian-musicians/.
    13. RM Deja (2016). .
      Deja, Richard Michael. 2016. From Place to Placelessness: Malawian Musicians, Commercial Music, and Social Worlds in Southern Africa. PhD Thesis. University of Illinois at Urbana-Champaign.
    14. FK Erastus (2020). Africa Development, Vol. 45, (3), pp. 13.
      Erastus, Fridah Kanana, and Ellen Hurst-Harosh. 2020. Global and Local Hybridity in African Youth Language Practices. Africa Development 45 (3): 13–32.
    15. . .
      Fenn, John Bennett. 2004. “Rap and Ragga Musical Cultures, Lifestyles, and Performances in Malawi.” PhD Thesis, Folklore and Ethnomusicology, Indiana University.
    16. . .
      Gwamba. 2020. AfroCharts. https://www.afrocharts.com/song?id=acf4c962fb.
    17. KT Hansen (2008). pp. 3.
      Hansen, Karen Tranberg. 2008. Introduction: Youth and the City. In Youth and the City in the Global South, ed. Karen Tranberg Hansen, 3–23. Bloomington: Indiana University Press.
    18. . .
      https://doi.org/10.1093/acrefore/9780199384655.013.157
    19. E Hurst (2020). .
      ———. 2020. Language Birth: Youth/Town Language. In The Oxford Handbook of African Languages, ed. Rainer Vossen and Gerrit J. Dimmendaal. Oxford: Oxford University Press.
    20. M Kamanga (2007). Journal of Humanities, Vol. 21, pp. 46.
      Kamanga, Mervis. 2007/2008. Interpretation of Chichewa Idioms: An Optimality Theoretic Account. Journal of Humanities 21: 46–71.
    21. C Kamanga (2014). Studies in the Languages of Africa, Vol. 45, (2), pp. 257.
      https://doi.org/10.1080/10228195.2014.910249
    22. R Kiessling (2004). Anthropological Linguistics, Vol. 46, (3), pp. 303.
      Kiessling, Roland, and Maarten Mous. 2004. Urban Youth Languages in Africa. Anthropological Linguistics 46 (3): 303–341.
    23. . .
      Krazie G. 2019. 10-2-50 feat. Blakjak & AK (Prod. Janta & AK). 12 September. Accessed August 26, 2021. https://www.malawi-music.com/K/268-krazie-g/7303-10-2-50/12669-10-2-50-feat-blakjak-ak-[prod-janta-ak].
    24. D Künzler (2007). pp. 89.
      Künzler, Daniel. 2007. The ‘Lost Generation’: African Hip Hop Movements and the Protest of the Young (Male) Urban. In Civil Society: Local and Regional Responses to Global Challenges, ed. Mark Herkenrath, 89–127. Zurich: LIT Verlag.
    25. KJ Lipenga (2020). Nordic Journal of African Studies, Vol. 29, (3), pp. 1.
      Lipenga, Ken Junior. 2020. Youth, Alcohol and the Forging of Community in Malawian Hip-Hop Music. Nordic Journal of African Studies 29 (3): 1–15.
    26. KJ Lipenga (2021). pp. 83.
      ———. 2021. The People’s Joker: The Popularity of Mr Jokes’ Stand-up Comedy in Malawi. In Stand-up Comedy in Africa: Humour in Popular Languages and Media, ed. Izuu Nwankwo, 83–101. Hannover: ibidem-Verlag.
    27. . .
      Liwu. 2020. Nyasa Vibes. 24 November. Accessed June 1, 2022. https://nyasavibes.com/downloader.php?ssi=2771.
    28. . .
      Martse. 2017. Tchweeee!!! 17 January. Accessed September 6, 2021. https://www.malawi-music.com/M/153-martse/2396-single/5666-tchweeee-prod-ak-janta.
    29. T Mitchell (2001). pp. 1.
      Mitchell, Tony. 2001. Introduction: Another Root—Hip-Hop outside the USA. In Global Noise: Rap and HipHop Outside the USA, ed. Tony Mitchell, 1–38. Middletown: Wesleyan University Press.
    30. M Morgan (2011). Daedalus, Vol. 140, (2), pp. 176.
      https://doi.org/10.1162/DAED_a_00086
    31. F Moto (2001). Nordic Journal of African Studies, Vol. 10, (3), pp. 320.
      Moto, Francis. 2001. Language and Societal Attitudes: A Study of Malawi’s ‘New Language’. Nordic Journal of African Studies 10 (3): 320–343.
    32. . .
      Namadingo. 2021. Namadingo & Tay Grin La La La (Official Video). 16 July. Accessed August 26, 2021. https://www.youtube.com/watch?v=OPh_FUp7GVQ.
    33. T Oloruntoba-Oju (2018). pp. 181.
      https://doi.org/10.1007/978-3-319-64562-9_9
    34. T Omoniyi (2006). World Englishes, Vol. 25, (2), pp. 195.
      https://doi.org/10.1111/j.0083-2919.2006.00459.x
    35. A Pennycook (2007). Journal of Language, Identity, and Education, Vol. 6, (2), pp. 101.
      https://doi.org/10.1080/15348450701341246
    36. A Pennycook (2009). pp. 25.
      Pennycook, Alastair, and Tony Mitchell. 2009. Hip Hop as Dusty Foot Philosophy. In Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language, ed. H. Samy Alim, Awad Ibrahim, and Alastair Pennycook, 25–42. New York: Routledge.
    37. I Perry (2004). .
      https://doi.org/10.2307/j.ctv31jm90p
    38. A Perullo (2003). pp. 19.
      Perullo, Alex, and John Fenn. 2003. Language Ideologies: Choice, and Practices in Eastern African Hip Hop. In Global Pop, Local Language, ed. Hans M. Berger and Michael Thomas Carroll, 19–51. Jackson: University Press of Mississippi.
    39. . .
      Phyzix. 2019. Chinyamata Chikukoma. 18 December. Accessed July 19, 2021. https://www.malawi-music.com/P/25-phyzix/7768-chinyamata-chikukoma/13209-chinyamata-chikukoma-feat-wikise.
    40. . .
      ———. 2020. They Will Know ft. Hyphen (Prod. Stich Fray & Daredevilz). 25 May. Accessed August 25, 2021. https://www.malawi-music.com/P/25-phyzix/8577-they-will-know/14171-they-will-know-ft-hyphen-prod-stich-fray-daredevilz.
    41. . .
      Rodrigues, Alexandre CÉSAR. 2014. “Punchlines in North-American Rap Music.” Bachelor’s Thesis, Instituto de Letras, Universidade federal da Bahia.
    42. T Rose (1994). .
      Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover: Wesleyan University Press.
    43. G Smitherman (1997). Journal of Black Studies, Vol. 28, (1), pp. 3.
      https://doi.org/10.1177/002193479702800101
    44. M Terkourafi (2010). pp. 1.
      Terkourafi, Marina. 2010. Introduction: A Fresh Look at Some Old Questions. In The Languages of Global Hip Hop, ed. Marina Terkourafi, 1–18. London: Continuum.
    45. . .
      Waxy, K. 2017. Made on Monday Freestyle. Accessed January 23, 2022. http://joynathu.com/download/made-on-monday-freestyle-5.