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artist earnings. Despite its informal beginnings, Taf-Taf
Production included a PA system, crucial for artists to broadcast their music, while enabling Awadi to generate income. By 2003, Awadi expanded his venture, launching Studio Sankara as a formal recording facility. Concurrently, Optimist Produktion introduced initiatives like hip hop awards, enhancing the reach and impact of hip hop music in Senegal. Created in 2000, this event was first thought of as a talent awards ceremony but few years after its creation it evolved to become one of the most visible hip hop festival in the West African region. Since the emergences of these early musical structures, other festivals and recording studios dedicated to hip hop were developed by artists of the movement in Dakar but also in its banlieues as well as in the Senegalese regional cities. Meanwhile, TV as well as radio shows and webzines dedicated to hip hop galsen multiplied, increasing the diffusion of the movement and its musical productions. Besides, this new era also witnessed the coming back on the hip hop galsen scene of hip hop dance, with the revival of b-boy crews such as X-trem BBoys and the creation of the dance festival Kaay Fecc.
119:(PBS) with the desire to promote a positive image of Africa. Indeed, at that time, the first years of the structural adjustments imposed by the IMF had considerably worsened the living conditions of the Senegalese, leaving a limited choice to the younger generations: facing unemployment or, for the wealthier, leaving the country in order to study abroad. A new image, a positive one was most needed and Hip Hop appeared as an emancipating mean of expression for a disillusioned youth. From its dancing expression, hip hop's appeal then definitively moved to its musical expression with artists voicing out the dual anger and hunger of Senegal's younger generations. Through its music form, hip hop stood as a language as well as a message for a youth witnessing injustice, corruption and power abuses from the political elite. Indeed, rapping their disapprobation with the harsh reality they were suffering from was a way for young artists to remind that that, they, as well, could 'represent' the voiceless population.
178:
graphic design agencies, video production agencies, duplication plants, fully equipped rehearsal rooms, event and communication agencies, PA system rental agencies, street wear brands and designers (inspired by
Graffiti artists, i.e. the graphic expression of Hip Hop), and security agencies. These entrepreneurial dynamics of the hip hop artists were consecrated in January 2009 with the launch of THE event of the hip hop galsen community, 72H Hip Hop. This latest initiative collectively organised by these hip hop entrepreneurs stands as a three days event putting together conferences, performances, exhibitions, and workshops dedicated to hip hop galsen. Since its marking of the 20 years of the movement, 72H Hip Hop annually celebrates on January 1, 2 and 3rd, the ever promising dynamism of hip hop galsen.
123:'demo' were an essential aspect of the development of a soon-to-be hip hop artist as they allowed him to practice his performance, to experiment his "flow", and to try to rap on different rhythms. Moreover, these preliminary products were extremely useful for an artist aspiring to appear on a compilation to present and represent his potential. With respect, the first release of a hip hop production was finally a text of PBS, "Bagn Bagn Beug" on a compilation, "Dakar 92" produced by the French Cultural Centre. Then, after having performed in the first part of MC Solaar's show in Dakar, and with a growing popularity, PBS released "Boul Faalé", a recorded cassette in which the group articulated a vehement discourse denouncing the corruption of the
48:. Besides, and in contrast to American hip hop, which grew from the youth in the inner city ghettos, hip hop in Dakar began among a somehow middle-class youth who was able to access and/or introduce in their home place new ideas and new cultural expressions coming from abroad. Indeed, hip hop became popular in the capital city through the intensive through informal circulation of VH7 cassettes and recorded videos, which were imported from USA (Africa Bambaataa) or France (hip hop dance TV show
165:. Besides, hip hop as a medium of expression allowed for different messages to be articulated and thus a consequent diversification of genres in the musical productions (from hardcore to mainstream, from politically engaged to more party oriented, from a social to a more individual discourse) as well as in the groups composition with the appearance of the first female figures. In the late 1990s, beginning 2000s, hip hop galsen was definitively coming of age.
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20:
306: : Bois Sacre (Daara J Family) ; Carbone 14 (Alajiman) ; Urban 44 (Matador) ; Youngkoungkoung (Fou Malade) ; Zon'Art ; Waliyaane ; Yek Sen Kaw (Daddy Bibson) ; Trinain (Still crew) ; Def Waref ; Def Dara (Gaston) ; 99 Records (Simon) ; Sankara (Awadi) ; War Click (War Click) ; Almoudo (Fatim from Wa BMG 44)
279:
Abdoulaye Niang, a young researcher at
University Gaston Berger of Saint Louis who produced an extensive research on rap in Dakar ("Etude interdisciplinaire du rap à Dakar à travers une approche de la complexité: entre mouvement social et groupe primaire", 2001) stresses that 1994 can be considered
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In the realm of
Senegalese hip hop, the movement's maturation involved establishing frameworks to foster, sustain, and elevate cultural productions. Didier Awadi played a pivotal role by founding Taf-Taf Production in 1998, starting modestly in his bedroom with equipment purchased from his initial
122:
In late 1980s and beginning 1990s, the capacity for recording and releasing a musical product was still limited for hip hop artists so they were getting known mostly though the circulation of "demos", i.e. instrumental recordings of existing songs on which the young MC could rap. These "instru" or
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Meanwhile, a second "generation" was emerging in Dakar and the local hip hop scene was increasingly getting diversified. By the late 1990s, hip hop galsen had reached its peak with groups and genres booming everywhere alongside an active practice of the 'clash'. Geographically, hip hop galsen was
110:
Nevertheless, this copycat period did not last long, and getting inspired by the French example, Senegalese hip hop artists soon started to write their own texts in their languages, forming groups or collective with school peers and starting to get known and recognised in their neighbourhoods. In
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Between 2007 and 2009, there was a real booming of new structures created by hip hop artists and motivated by the desire to be locally independent in terms of musical production. These structures are now as diverse as multiple including recording studios, festivals, labels but also associations,
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touring throughout the world. Indeed, pioneer groups of hip hop galsen entered the global scene of the music industry with, in 1994, PBS signing with Island
Records and, in 1996, Daara J signing with Declic Communication. Besides, both groups were soon taking care of by internationally known
302: : Senerap International (Dakar, 2003) initiated by Awadi; Festival Guedawaye by Rap (Guedawaye) initiated by Fou Malade ; Festa 2H (Pikine, 2007) initiated by Matador; Rap-A-Ndar (Saint Louis, 2004) initiated by 10 000Problems ; Festival Arts Hip Hop (Kaolack, 2007).
343:
Hip hop structures which were initially part of the organisation committee: Africulturban, Sankara, Younkoungkoung, Weexdunq, Doxanden Squad, Kaay Fecc, Optimist
Poduktion, Nubians Enterprise, 99 Records, Baatine Agency, Bois Sacre, Waliyaane, CPAU, Lat 2
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This core and challenging practice of hip hop as a movement was not however always well understood in Dakar and some people used it to improvise themselves as rappers with the only purpose of insulting and criticising other hip hop groups or
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artists initially participated in this movement as smurfer, breakdancer, B-boy in general performing during organised podiums. Schools, nightclubs and other temporary public stages thus played an essential role in amplifying this movement in
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Quickly, podiums enlarged their performances from dancers only to rappers as well. It was a time when soon-to-be hip hop artists were still mimicking
American artists they actively used to listen to such
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From the mid-1990s, hip hop galsen was building a name for itself and becoming more and more visible globally with now well-known hip hop groups such as Daara J, Positive Black Soul (PBS) or, later on,
92:. Without the real capacity for translating the movement and its expressions in Senegalese terms yet, the mid-1980s in Dakar were however definitively hip hop. And whenever the classical hip hop film
76:
for the most well-known. Indeed, rap, the MC performance, was still then a phonetic repetition, a copycatting of either
American rappers or, with hip hop booming in France in the 1980s, of
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was circulating in local cinemas, young people were following the movie from showroom to showroom in order to view it again and again and to know by heart the famous lyrics of
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as the year differentiating the old school from the new one, the first generation of hip hop artists who started before 1994 and those who started afterwards.
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is now famous for its diverse musical productions, the movement there spread out from its dancing appeal rather than from its musical one. Indeed,
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Kool Kocc 6 is known for being the first to rap an entire text in Wolof; a song that Baye Fall sings in praise of
Serigne Touba (Ahmadou Bamba).
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For e.g. Jazz as well as Latin
American music such as salsa or pachanga were popular in Senegalese cities from the 1940s and until recently.
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Etude interdisciplinairedu rap à Dakar à travers une approche de la complexité: entre mouvement social et groupe primaire
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and King MCs led by Duggy Tee. Rather than keeping on challenging themselves, they decided to get together to create
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Niang, Abdoulaye (2006). "Bboys: Hip-Hop Culture in Dakar, Senegal". In Nilan, Pam; Feixa, Carles (eds.).
470:"Deuxième édition de battle Urbanation Bboy : Les breakdancers de la sous-région en congrès à Dakar"
127:(political party) then in power. With this release in 1994, "hip hop galsen" was starting its genealogy.
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489:"72 heures du Hip-Hop Galsen - Un partenariat scellé entre le ministère de la culture et les rappeurs"
145:) and booking agents (MMP for PBS and Furax for Daara J), boosting their respective career worldwide.
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367:(June 2007). "Language, Localization, and the Real: Hip-Hop and the Global Spread of Authenticity".
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Mangin, Timothy (2004). "Senegalese Rap: Appropriations and Enactments". In McNee, Lisa (ed.).
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On Walf TV, Top FM, RFM for TV and radio shows but also webzines such as Boyjump or Kingsize
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Following an historical process of appropriation of American popular music by
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451:"K'Naan, Daara J Family and others: Yes We Can – Songs About Leaving Africa"
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1989, two groups mainly dominated the Dakar scene: Syndikat initiated by
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emerged in the Senegalese capital city in the early mid- 1980s. Although
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523:. Maitrise de Sociologie, Université Gaston Berge de Saint Louis.
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represented in Dakar and in its most popular banlieues, such as
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publishers (Polygram-Universal for PBS and BMG for
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375:(2). Sydney: University of Technology: 101–115.
512:Global Youths? Hybrid Identities, Plural Worlds
188:ALIF (Liberate Attack of the Feminist Infantry)
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369:Journal of Language, Identity & Education
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169:Development of an economy (2000s–present)
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52:animated by Sydney) by diaspora people.
519:Niang (Unpublished), Abdoulaye (2001).
421:"Actu de Star: Awadi, il ne rigole pas"
356:
254:
157:but also in the regional cities, like
2875:LGBT representations in hip hop music
193:AURA (United Artists for African Rap)
7:
487:Ndong, Maguette (January 5, 2009).
131:Booming of a generation (1994–2000)
106:Evolution of a culture (1989–1994)
14:
449:Denselow, Robin (June 10, 2010).
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1:
2880:Feminist activism in hip hop
468:Gueye, Awa (June 25, 2010).
2870:Partner violence in hip hop
427:. July 2010. Archived from
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80:artists such as Assassin,
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2334:Bosnian and Herzegovinian
1347:Bristol underground scene
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381:10.1080/15348450701341246
1108:Sudanese popular music
24:
2048:Alternative reggaeton
1327:Universal Zulu Nation
560:African popular music
22:
2813:Contemporary R&B
2622:Minneapolis/St. Paul
1417:Chopped and screwed
1322:Five-Percent Nation
728:African heavy metal
365:Pennycook, Alastair
233:Matador (WA BMG 44)
117:Positive Black Soul
2923:Culture of Senegal
330:2011-02-07 at the
41:Senegalese hip hop
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407:Back From Babylon
304:Recording studios
100:Grandmaster Flash
62:Grandmaster Flash
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23:Flag of Senegal.
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1019:Muziki wa dansi
882:Burger-highlife
842:Congolese rumba
696:Nigerian reggae
583:African hip hop
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1981:Florida breaks
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1976:Baltimore club
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245:(Jolof 4 Life)
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37:hip hop galsen
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2167:South African
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2150:Port Harcourt
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1931:Vigilante rap
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1901:Nuyorican rap
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1701:Fusion genres
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1454:Freestyle rap
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1412:Chipmunk soul
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887:Igbo highlife
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571:African blues
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431:on 2010-07-25
430:
426:
425:AbidjanTV.net
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409:. SUNY Press.
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203:Lord Alajiman
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71:
70:Doug E. Fresh
67:
63:
59:
53:
51:
47:
42:
38:
34:
30:
21:
2897:
2845:Hip hop skit
2840:Drum machine
2801:Other topics
2694:
2595:Philadelphia
2569:
2038:Funk carioca
1988:Ghetto house
1860:
1846:Boomba music
1736:Hip hop soul
1649:Sample drill
1644:Jersey drill
1471:Instrumental
1066:Santé engagé
1009:Moroccan pop
924:Kadongo Kamu
904:Isicathamiya
847:Coupé-décalé
706:Zimdancehall
654:
576:desert blues
520:
514:. Routledge.
511:
492:
482:
473:
463:
454:
444:
433:. Retrieved
429:the original
424:
415:
406:
372:
368:
359:
339:
320:
311:
303:
299:
295:
285:
275:
266:
257:
229:(Chronik 2H)
217:(Pee Froiss)
198:Didier Awadi
176:
172:
147:
134:
121:
113:Didier Awadi
109:
93:
74:Public Enemy
66:Furious Five
54:
49:
36:
26:
2865:Video vixen
2860:Synthesizer
2833:Turntablism
2818:Disc jockey
2751:New Zealand
2531:Palestinian
2426:Montenegrin
2217:Bangladeshi
2212:Azerbaijani
1951:Derivatives
1936:Zenji flava
1911:Songo-salsa
1841:Bongo flava
1721:Country rap
1609:Memphis rap
1592:Mafioso rap
1587:Gangsta rap
1562:Underground
1557:Turntablism
1481:Chicano rap
1383:Hipster hop
1378:Alternative
755:Ambasse bey
672:Zenji flava
667:Bongo Flava
474:Walf Fadjri
209:Baay Sooley
163:Saint Louis
95:Beat Street
68:, Delight,
16:Music genre
2917:Categories
2746:Australian
2725:Salvadoran
2661:West Coast
2607:Midwestern
2585:New Jersey
2575:East Coast
2421:Macedonian
2396:Portuguese
2289:Sri Lankan
2279:Philippine
2244:Indonesian
2187:Zimbabwean
2162:Senegalese
2000:Glitch hop
1993:Ghettotech
1962:Electronic
1851:Cumbia rap
1811:Trap metal
1746:Industrial
1661:Latin trap
1620:Trap music
1604:Horrorcore
1547:Snap music
1531:Religious
1498:Mumble rap
1493:Miami bass
1449:East Coast
1342:Golden age
1337:New school
1332:Old-school
1296:Production
1249:Battle rap
1232:Beatboxing
1133:Ziglibithy
979:Marrabenta
964:Mahraganat
827:Chimurenga
684:Zimbabwean
650:Senegalese
558:Genres of
435:2010-09-06
351:References
223:(Rap'Adio)
151:Guédiawaye
138:Pee Froiss
2808:Auto-Tune
2788:Colombian
2771:Brazilian
2710:Dominican
2666:Northwest
2627:Wisconsin
2580:Baltimore
2486:Ukrainian
2466:Slovenian
2431:Norwegian
2406:Icelandic
2401:Hungarian
2356:Bulgarian
2294:Taiwanese
2284:Singapore
2274:Pakistani
2264:Mongolian
2259:Malaysian
2172:Tanzanian
2130:Mauritian
2043:Reggaeton
2015:Freestyle
1971:Breakbeat
1836:Afroswing
1802:Rap metal
1781:Rap opera
1741:Hip house
1629:Afro trap
1582:Dirty rap
1535:Christian
1520:Conscious
1515:Political
1442:Crunkcore
1427:Cloud rap
1358:Subgenres
1286:Festivals
1123:Wassoulou
1039:Palm-wine
929:Kidandali
837:Coladeira
805:Cape jazz
790:Bend-skin
780:Bantowbol
740:Afro-soul
723:Afro-rock
718:Afrobeats
662:Tanzanian
635:Mauritian
493:Le Soleil
389:144933263
300:Festivals
215:Gee Bayss
205:(Daara J)
90:Mc Solaar
2900:Category
2823:DJ mixer
2776:BrasĂlia
2737:Oceanian
2700:Canadian
2639:Southern
2541:Tunisian
2526:Lebanese
2511:Egyptian
2441:Romanian
2361:Croatian
2349:Scottish
2324:Austrian
2319:Albanian
2310:European
2269:Nepalese
2249:Japanese
2207:Armenian
2177:Togolese
2157:Nigerien
2145:Nigerian
2140:Namibian
2135:Moroccan
2125:Malawian
2110:Ghanaian
2100:Botswana
2095:Beninese
2085:Algerian
2010:Illbient
1916:Scam rap
1891:Motswako
1876:Igbo rap
1827:Regional
1816:Nu metal
1791:Trip hop
1786:Rap rock
1771:Punk rap
1751:Jazz rap
1654:UK drill
1573:Hardcore
1552:Southern
1508:Chap hop
1503:Nerdcore
1405:Road rap
1390:Boom bap
1269:Feminism
1264:Activism
1225:Emceeing
1218:Graffiti
1204:Breaking
1024:Ndombolo
1014:Motswako
994:Mbaqanga
877:Highlife
852:Edo Funk
820:Moroccan
815:Algerian
775:Bajourou
750:Amapiano
713:Afrobeat
679:Togolese
645:Nigerien
640:Nigerian
630:Moroccan
625:Malawian
598:Ghanaian
588:Algerian
328:Archived
290:artists.
182:See also
155:Thiaroye
2855:Sampler
2783:Chilean
2720:Mexican
2715:Haitian
2649:Memphis
2644:Atlanta
2617:Detroit
2612:Chicago
2546:Turkish
2521:Israeli
2516:Iranian
2476:Swedish
2471:Spanish
2456:Serbian
2451:Russian
2416:Italian
2376:Finnish
2339:British
2329:Belgian
2227:Chinese
2222:Burmese
2182:Zambian
2115:Ivorian
2105:Gambian
2090:Angolan
2076:African
1921:Stronda
1886:Low bap
1871:Hiplife
1761:Pop rap
1731:Emo rap
1726:Electro
1712:General
1686:UK trap
1464:Jerkin'
1422:Chopper
1400:British
1369:General
1315:History
1301:Theater
1259:Fashion
1242:Culture
1191:Hip hop
1148:Zouglou
1143:Zoblazo
1118:Tabanka
1103:Soukous
1098:Singeli
1049:RaĂŻ'n'B
1034:Odi Pop
969:Makossa
959:Madiaba
934:Kizomba
899:Hiplife
800:Bikutsi
785:Batuque
733:Zamrock
603:Ivorian
593:Gambian
159:Kaolack
143:Daara J
33:hip hop
29:Senegal
2671:Alaska
2551:Yemeni
2506:Arabic
2461:Slovak
2446:Romany
2436:Polish
2386:German
2381:French
2344:Celtic
2254:Korean
2232:Indian
2120:Kenyan
1881:Kwaito
1599:G-funk
1540:Jewish
1432:Comedy
1395:Bounce
1306:Genres
1113:Taarab
1088:Shaabi
1076:Seggae
1061:Salegy
1056:Sakara
989:Mbalax
984:Maloya
974:Marabi
954:Logobi
944:Kwaito
939:Kuduro
862:Funaná
810:Chaabi
770:Azonto
765:Assiko
701:Seggae
613:Boomba
608:Kenyan
387:
50:HIPHOP
2705:Cuban
2683:Latin
2654:Miami
2632:Omaha
2481:Swiss
2411:Irish
2391:Greek
2371:Dutch
2366:Czech
2198:Asian
2030:Other
2020:Wonky
2005:Grime
1866:Hipco
1856:Genge
1776:Ragga
1681:Tread
1671:Plugg
1666:Phonk
1634:Drill
1476:Latin
1459:Hyphy
1437:Crunk
1291:Music
1254:Dance
1211:DJing
1128:Zaley
1083:Semba
1029:Njuup
1004:Morna
999:Mbube
949:Kwela
909:Jaiva
894:Hipco
867:Gnawa
795:Benga
760:Apala
618:Genge
385:S2CID
250:Notes
238:Moona
221:Keyti
211:(PBS)
46:Dakar
2299:Thai
2237:Desi
1676:Rage
1488:Lofi
1281:LGBT
1071:Sega
919:JĂąjĂş
872:Gqom
857:Fuji
832:Colá
745:Alté
344:Gun.
324:See
227:K-ID
1044:RaĂŻ
914:Jit
377:doi
161:or
153:or
88:or
86:IAM
82:NTM
72:or
2919::
491:.
472:.
453:.
423:.
397:^
383:.
371:.
125:PS
102:.
84:,
64:,
60:,
31:,
1182:e
1175:t
1168:v
551:e
544:t
537:v
495:.
476:.
457:.
438:.
391:.
379::
373:6
334:.
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