Hip-hop, a resilient art form that emerged from life’s struggles, has undergone a remarkable journey in the last 50 years. From its humble beginnings in the Bronx in 1973, it has evolved into a global movement, embodying grit, determination, and a defiance to remain relevant. However, in Canada, despite being the birthplace of exceptional talents like Drake, PARTYNEXTDOOR, and Nav, the genre grapples with a struggle for mainstream recognition.
Mark V. Campbell, a DJ, scholar, and participant in the University of Toronto’s Hip-Hop Diaspora, sheds light on the persistent challenges faced by Canadian hip-hop. He notes that the industry’s reluctance to embrace hip-hop is a question that echoes back to 1984. Even in 1983, lobbying for a Juno Awards category for Black music resulted in a Calypso-slash-reggae category, excluding funk and entirely neglecting hip-hop.
The Junos introduced a rap music category only in 1991, acknowledging the genre’s success with artists like Maestro Fresh-Wes, Main Source, and Dream Warriors gaining global recognition. However, the subsequent decade saw a decline in Canadian hip-hop’s visibility, with zero hits on the Canadian Top 100 Pop Charts.
In 1998, the Rascalz, with their anthemic single “Northern Touch,” reignited Canadian hip-hop. Despite winning Best Rap Recording at the Junos for their album “Cash Crop,” they were relegated to a backstage press room during a non-televised portion of the ceremony. This incident, according to Campbell, marked a watershed moment, highlighting the lack of infrastructural support for hip-hop in Canada.
Campbell emphasizes that the consistent struggle for attention with American media industries and the perception that the audience for hip-hop is limited to Black communities in Canada have hindered the genre’s growth. He points out that Canada’s large size and sparse population make it challenging to compete for attention, reinforcing the argument that the market for Black music is limited.
The solution, according to Campbell, lies in the internet, which has become the catalyst for the global future of Canadian hip-hop. The internet provides a platform for artists to reach beyond national borders, connecting with audiences worldwide. The future of Canadian hip-hop is not limited to Canada; it’s a global phenomenon, breaking free from historical constraints.
In celebrating hip-hop’s 50th anniversary, the University of Toronto’s Hip-Hop Diaspora, curated by Campbell, plays a crucial role in exploring and expanding the genre’s knowledge production practices beyond the U.S. This symposium series, featuring scholars, practitioners, and community organizers, aims to understand the challenges and opportunities in global hip-hop culture.
Pablo D. Herrera Veitia, a post-doctoral fellow and Afro-Cuban rap producer participating in the Hip-Hop Diaspora, emphasizes the importance of gaining access to resources, technology, and sound libraries. Canadian hip-hop, despite limited resources, has become influential globally. Artists like Sol Guy, Khemo, and Nomadic Massive have contributed to the global hip-hop scene through collaborations and technology.
Campbell concludes that the future of hip-hop in Canada is not confined within its borders. The focus on the diaspora is intentional, acknowledging that hip-hop is a global phenomenon. Canadian artists are finding success worldwide, from Havana to London, from Toronto to Stockholm. The future of Canadian hip-hop is an expansive, borderless narrative, reaching audiences in Switzerland, Italy, Kenya, and beyond. The journey continues, breaking free from geographical constraints, guided by a vision that transcends national boundaries.
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