You were born in Eswatini and are now working within the South African hip-hop ecosystem. How has that cross-border identity shaped the way you document the culture?
Growing up in Eswatini, a relatively small and traditional country where hip-hop and creative expression struggle for recognition, has influenced my understanding of the arts, especially when contrasted with South Africa’s thriving creative scene. This experience has instilled in me a strong desire to advocate for greater creative liberties, rights, and opportunities in a region where such aspects are not always readily available. My aspiration is to witness greater recognition and respect for artists, which remains a pivotal dream for me.
Hip-hop journalism is often dominated by male voices. What invisible barriers have you faced as a woman reporting on rap culture?
Indeed, this industry tends to favor male perspectives, and as a woman, I often feel a lack of respect and recognition. The low representation of women in journalism makes our presence a rarity. While it can make it easier to stand out, it also makes it simple to be marginalized due to gender. Although I appreciate the opportunities I’ve received, it would be misleading to say I haven’t encountered situations where I’m judged more for being female than for my work as a journalist. Many artists express concerns that modern music journalism prioritizes promotion over critical analysis. Do you think hip-hop media in Africa is still genuine? As journalists, our role should be to deliver unbiased narratives, allowing audiences to form their own opinions based on accurate information. Yet, I notice a trend where music journalism leans towards promotional content, with journalists sometimes favoring certain artists over a broader cultural representation. This shift may have damaged our credibility. I long for a return to a more authentic, inquisitive approach rather than one driven by popularity. Regarding whether African hip-hop media remains truthful, it appears subjective. Though the focus may have shifted toward promotion, different perspectives still hold their own form of truth, albeit not always providing comprehensive insights.
As someone studying broadcast journalism while actively covering music, how do you balance academic storytelling frameworks with the raw energy of hip-hop culture? My studies encompass various interests that are closely tied to my work. Daily, I find that my experiences as a music journalist with SAHHR complement my academic pursuits, creating a seamless balance. What I discover in school enhances my media work, and vice versa, as I remain committed to continuous learning. You interviewed artists early in their careers, like when you spoke with Uncle Waffles before her global explosion.
