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 Africa Bambaataa, Grandmaster Flash, Furious Five, Delight, Doug E. Fresh or Public Enemy 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 French hip hop artists such as Assassin, NTM, IAM or Mc Solaar. 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 Beat Street was circulating in local cinemas, young peo

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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 Africa Bambaataa, Grandmaster Flash, Furious Five, Delight, Doug E. Fresh or Public Enemy 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 French hip hop artists such as Assassin, NTM, IAM or Mc Solaar. 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 Beat Street 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 Grandmaster Flash. (en)
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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 Africa Bambaataa, Grandmaster Flash, Furious Five, Delight, Doug E. Fresh or Public Enemy 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 French hip hop artists such as Assassin, NTM, IAM or Mc Solaar. 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 Beat Street was circulating in local cinemas, young peo (en)
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  • Hip Hop Galsen (en)
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