‘My space trips from Chimoio’: Notes about space and temporality in sampling

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dc.contributor.authorConqui, Miltonen
dc.contributor.authorRantala, Janneen
dc.contributor.funderHorizon 2020en
dc.date.accessioned2024-07-25T15:22:16Z
dc.date.available2024-07-25T15:22:16Z
dc.date.issued2023-07-27en
dc.description.abstractThis chapter aims to think about sampling, space, and temporality, starting from the metaphor of beat making as a space journey. The notion came up during an interview the authors conducted in Chimoio, a city also known as Vila Perygoza, which is a vibrant city of Hip Hop in central Mozambique’s hinterland, less than 100 km from the Zimbabwean border and 192 km from Beira, another city of Hip Hop. With a nickname that literally means ‘a dangerous village’, it has a distinct sound in the Mozambican Hip Hop movement. While producers in Chimoio as much as anywhere else are sampling elements from all continents, particularly diasporic expressions of jazz, funk, progressive rock, and soul, some artists have preference in sampling local and regional music, to create fragments of music to use in the process of beat making, thus paying tribute towards the music from the hinterland and lands by the Indian Ocean. The method of research is listening to the local Hip Hop beats and related music, reflecting and drawing from our Hip Hop activities and experiences, particularly Milton Conqui’s sampling as well as learning from other local producers; and thus centring artists’ point of view aligned to hiphopography. Because listening is a highly personal state of being and acting, essential also in beat making, this chapter is as much about Hip Hop’s classical quests about ‘who I am’ and ‘where I am’ as it is an ambitious academic quest about sampling.en
dc.description.statusPeer revieweden
dc.description.versionAccepted Versionen
dc.format.mimetypeapplication/pdfen
dc.identifier.citationConqui, M. and Rantala, J. (2023) ‘‘My space trips from Chimoio’: Notes about space and temporality in sampling', in Williams, Q. and Singh, J. N. (eds) Global Hiphopography. Palgrave Macmillan, Cham, pp. 411–436. https://doi.org/10.1007/978-3-031-21955-9_17en
dc.identifier.doihttps://doi.org/10.1007/978-3-031-21955-9_17en
dc.identifier.endpage436en
dc.identifier.isbn9783031219542en
dc.identifier.isbn9783031219559en
dc.identifier.startpage411en
dc.identifier.urihttps://hdl.handle.net/10468/16156
dc.language.isoenen
dc.publisherSpringer Natureen
dc.relation.ispartofGlobal Hiphopographyen
dc.relation.projectMarie Sklodowska-Curie grant agreement number 101033296 (Performing Political Memory as Hip Hop Knowledge in Mozambican Rap) en
dc.rights© 2023, the Authors, under exclusive license to Springer Nature Switzerland AG. This is a post-review, pre-copyedit version of a chapter published in Williams, Q. and Singh, J. N. (eds) Global Hiphopography. Palgrave Macmillan, Cham. The final authenticated version is available online at: https://doi.org/10.1007/978-3-031-21955-9_17en
dc.subjectSamplingen
dc.subjectSpaceen
dc.subjectTemporalityen
dc.subjectBeat makingen
dc.subjectSpace journeyen
dc.subjectChimoioen
dc.subjectMozambican Hip Hop movementen
dc.subjectMozambiqueen
dc.subjectMilton Conquien
dc.subjectTimeen
dc.subjectMemoryen
dc.subjectListeningen
dc.title‘My space trips from Chimoio’: Notes about space and temporality in samplingen
dc.typeBook chapteren
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