The term ‘Afro’ represents Africa, so it naturally follows that ‘Afro-Dancehall’ is synonymous with ‘African Dancehall’.
While some may argue semantics, the facts remain unchanged. The current debate surrounding this title is largely fueled by recency bias, which tends to obscure the true origins and contributions to the genre.
In the music industry, while titles and bragging rights are often subjective and can be inflated by personal biases, the importance of factual history cannot be overstated.
Before your favorite artistes emerged on the scene, someone had already laid the groundwork and set the pace for them to follow. The influence of pioneers like Yoggi Doggi, Sonni Balli of blessed memory, Root Eye, and others cannot be dismissed, even if their visibility has diminished over time. Their contributions are still relevant today.
That brings us to SAMINI. For those who are fans of modern-day ‘Afro-Dancehall’, it’s important to recognise that your favorites do not compare to him. When your current GOATS were still finding their footing, SAMINI was already reigning supreme as the African Dancehall King, a title he claimed with authority and far-reaching influence. The records speak for themselves.
It’s worth noting that your ‘World Alerted Lyrical Entertainer’, after a brief brush with fame, lost his ‘bandana’ and disappeared for a time, only to re-emerge in 2013 by leveraging controversy and the denigration of a woman. This has been his modus operandi ever since.
Let’s set the record straight: the ‘African Dancehall’ genre and the title of ‘African Dancehall King’ were coined by Samini around 2006/2007.
This is evident in his feature on Tic Tac’s ‘Kangaroo’ track and in his song ‘African Lady’ from the Samini album, released in 2007.
Since his industry debut in 1999, Samini has used his unparalleled musical talent to inspire, motivate, entertain, and influence millions of music lovers worldwide. Before Samini, the ‘African Dancehall’ genre or title simply did not exist.
The true ‘African Dancehall King’ has held the throne since the early 2000s, representing the culture for years. Samini even took it upon himself to leave a lasting legacy by mentoring and guiding some of the artists who are now celebrated as ‘GOATS.’
It’s common for students to surpass their teachers in terms of achievements, status, and more, but that doesn’t diminish the value of those teachers. Their teachings and guidance shaped who we are today.
It’s natural and fulfilling to outshine those who taught us—after all, as the Bible says, “the glory of the latter shall be greater than that of the former.” However, it’s important not to let ignorance cloud our judgment or prevent us from learning and improving.
“Nipa yɛ ade ah, ɔsɛ ayeyi. Sɛ wonnyi n’ayɛ ah, mɛnsɛi ne din.” Now, find time and listen to the lyrics of Samini’s feature in Tic’s song, ‘Kangaroo’. It encapsulates the essence of this entire conversation. The song was released in 2006—where were your ‘GOATS’ and kings back then?
Samini was already leading the charge, long before the genre gained the mainstream recognition it enjoys today.
About the author
Amelley Djosu, a versatile media and marketing communications professional, merges creativity and analytical thinking to explore diverse subjects. Her works aim to project the arts with various disciplines, both in writing and on-air presenting.
Email: amelleydjosu@gmail.com
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