Rapping Postcoloniality: Akala's 'The Thieves Banquet' and Neocolonial Critique

Research output: Contribution to journalSpecial issue (Academic Journal)peer-review

3 Citations (Scopus)
1331 Downloads (Pure)

Abstract

MC/rapper, public speaker, journalist, graphic novelist and founder of the Hip-hop Shakespeare Company, Akala (b. Kingslee James Daley, 1983) is one of the rappers at the forefront of the UK's thriving hip-hop scene. His lyrics and music demonstrate an awareness of history and, in particular, the British Empire's shameful past as global colonizers and profiteers of the slave trade. Focusing on his album The Thieves Banquet (2013), this article investigates Akala's engagement with postcolonial thinking and neocolonial critique through the use of Western classical music tropes and multi-accentuality to create hybrid counter-narratives reflective of twenty-first century global power relations.
Original languageEnglish
Number of pages13
JournalPopular Music and Society
Volume40
Issue number1
Early online date29 Sep 2016
DOIs
Publication statusPublished - Feb 2017

Structured keywords

  • Centre for Black Humanities

Keywords

  • Akala
  • hip-hop
  • postcolonialism
  • rap
  • popular music
  • The Thieves Banquet
  • UK hip-hop

Fingerprint Dive into the research topics of 'Rapping Postcoloniality: Akala's 'The Thieves Banquet' and Neocolonial Critique'. Together they form a unique fingerprint.

Cite this