澳门六合彩

鈥淎 lazy government which has no vision / A permanent waste with no solutions.鈥� The song听 by the Senegalese hip-hop duo Keur Gui expresses the frustrations of the people only two years after the protest movement Y鈥檈n a marre ([we鈥檙e] fed up)鈥攍ed by hip-hop artists and journalists鈥攈elped to secure electoral victory for President Macky Sall against former president Abdoulaye Wade in 2012. 鈥凄颈辞驳辞耻蹿颈鈥� begins with a speech by the rapper critiquing the lack of change since Sall鈥檚 rise to power, as well as the price and availability of electricity, gas, and water. However, these issues鈥攁nd the role of musicians in critiquing political leaders鈥攁re far from a new phenomenon in Senegal or West Africa more broadly. This article will provide an overview on how music has played and continues to play an important role in Senegalese politics.

惭耻蝉颈肠颈补苍蝉,听, have operated as听 in Senegal by expressing political critiques and participating in . By examining the historical precedents for musicians鈥� socio-political activism and peacebuilding in Senegal, we can better understand their implications ahead of the 2024 national elections.

Music as Politics听听听听听听听听听听听听听听

Music has been used as a political tool in West Africa by providing a framework through which information and ideas can be made popular. During independence in Senegal, for example, there was a shift in musical tastes among the youth from indigenous music to听. Although President Leopold Senghor鈥檚 government (1960-1981) sponsored numerous musical acts, they were primarily centered on those favored by Senghor, foremost indigenous music and jazz. As a result, Afro-Cuban music was an implicit critique of the government, as it was听 favored by Senghor.听

Afro-Cuban music contributed to another important shift in Senegalese politically oriented music: the advent of the mbalax genre, whose musicians have been some of the most creative in critiquing Senegalese politics prior to the rise of hip-hop. For example, the mbalax-funk band Super Diamono鈥檚 1988 album Cheikh Anta Diop (named after the Senegalese scholar and leftist politician) contained songs praising radical politicians, such as former听鈥攚hose politics could be seen as being at odds with the more conservative policies of former Senegalese president Abdou Diouf (1981-2000). This tradition of praising radical politicians, who often originated from outside Senegal, continues to be relevant to recent political music, such as in the rapper Didier Awadi鈥檚 album,听.

Hip-Hop, Youth Movements, and Peacebuilding

Diouf鈥檚 presidency would also see the rise of an informal political movement initiated by hip-hop artists: the Bul faale (鈥淒on鈥檛 worry鈥�) movement, which dissented the situation of youths in Senegal caused by political corruption, unemployment, and poverty. The movement鈥檚 name originates from a track released by the hip-hop duo听, made up of Awadi and Duggy Tee, which criticized the politics of the Senegalese government and praised leaders such as the late radical Burkinabe president, Thomas Sankara. This spontaneous movement built from PBS鈥� album called for the government to update its priorities, as Diouf鈥檚 presidency had been one that was often at odds with the youth. The music which caused this movement can be seen as a peacebuilding effort, as it contributed to non-violent social change through protests and political engagement.

Diouf鈥檚 tendency to be at odds with the youth can be seen especially during听, a precursor to the Bul faale movement. As the economy deteriorated, food security weakened, and youth unemployment grew rapidly, Diouf鈥檚 campaign for the elections focused on his long experience as an administrator of the nation, whereas his opponent Abdoulaye Wade, popular with the youth, ran on the slogan 鈥渃hange has arrived.鈥� Wade鈥檚 slogan went along well with听, as they criticized the poor governance of the Socialist Party (PS), the ruling party since independence.听

The youth involved in the Bul faale movement learned important lessons from the hip-hop music that inspired them, as well as听 for social change around electoral participation and campaigning. Wade鈥檚 victory in the 2000 elections, in which the youth involved in Bul faale played an instrumental role, brought hope for change. However, over the following 12 years, Wade鈥檚 presidency did not bring enough change: the youth struggled to find employment and food security was still precarious due to soaring prices.听

听By examining the historical precedents for musicians鈥� socio-political activism and peacebuilding in Senegal, we can better understand their implications ahead of the 2024 national elections.

Y鈥檈n a marre

The skills that hip-hop artists and youth activists learned during the Bul faale听movement would return in the Y鈥檈n a marre movement. By the 2012 presidential elections, hip-hop was a political force in Senegal, as the most popular artists had been politically active for decades. Y鈥檈n a marre was formed from a collaboration of hip-hop artists and journalists who were committed to nonviolent protest in the face of Wade鈥檚 decision to run for a third term, which infringed upon the Senegalese constitution. Wade, a symbol of change who had won youth support during the 2000 elections, was now seen as听 upon the people.听

The organization听called for a 鈥� which could provide a base for a 鈥榗itizens鈥� republic,鈥欌�� and supported a coalition movement that put Macky Sall forward as their candidate. Despite facing听, particularly the arrest of artists during protests, the movement succeeded in helping secure victory for the opposition. They did this through grassroots organizing and spreading their message of peaceful protest via their music.听

As peacebuilders, the Y鈥檈n a marre听movement sought to create a network of constructive relationships across ethnicities, religions, and classes to transform the structural conditions which have led to past conflict in Senegal鈥攏amely,听 of听 by the president. By organizing peaceful demonstrations in the face of harsh crackdowns, organizing citizens to vote, and spreading their message through music written and performed by popular musicians, the movement has been able to act in a vital role as civil society peacebuilders.

Way Forward

Y鈥檈n a marre originated with the desire to improve democratic engagement between the state and the average Senegalese citizen, particularly youths, and prevent a president from infringing upon the constitution. These same desires which drove their creation have now driven them into organizing against Macky Sall鈥檚 government. During my fieldwork in Dakar, Senegal during 2019-2023, I spoke with musicians, many of whom were active in the Bul faale and Y鈥檈n a marre movements, who discussed the worry that Sall would attempt to run for an unconstitutional third term. Likewise, they highlighted the need for the Senegalese government to improve human security鈥攑articularly civil rights, food security, and poverty reduction鈥攊n the nation.听

As part of their peacebuilding work in advance of the election鈥攐ne which,听 of activism in Senegal, is expected to feature crackdowns by police鈥�Y鈥檈n a marre has recently issued a warning to Sall with their听 meaning 鈥淒on't Even Try鈥� in Wolof. This messaging will go a long way in educating the public and calling for action against Sall鈥檚 government, urging citizens to stay vigilant ahead of the upcoming 2024 election and encouraging them to vote. Likewise, the organization has peacefully protested the government鈥檚 attempts to silence opposition politicians, often听 to critique the government and educate the public. As in 2000 and 2012, the youth鈥攍ed by civil society peacebuilders like Y鈥檈n a marre鈥攚ill be a critical component of peaceful protests amid the opposition movement.

James J. Fisher is a PhD Candidate in History at Ohio University. His current research examines the intersection of governance, media, and education in Senegal and The Gambia.

The opinions expressed on this blog are solely those of the authors. They do not reflect the views of 澳门六合彩 or those of Carnegie Corporation of New York. 澳门六合彩鈥檚 Africa Program provides a safe space for various perspectives to be shared and discussed on critical issues of importance to both Africa and the United States.