Abstract
This paper deploys a notion of “musical borderlands” to understand the practice and meaning of music production in an African context. This concept stresses flow rather than stasis, and liminal not dualistic thinking and being; it also relates economic and social practices to cultural content. It shows how Francophone (West and Central) African participants in hip hop music use translocal networks to sustain their community, and demonstrate dynamic relationships between material production and social reproduction. This enables new socialities to emerge with the potential to rearticulate political relations, which reaffirm trans-local, trans-urban, trans-border solidarities.
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