Nafada: industrial, hip-hop, and the diasporic condition

Khamis, S; collins, S; Gunn, R

Nafada: industrial, hip-hop, and the diasporic condition

Khamis, S

collins, S Gunn, R

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Publisher:: Palgrave Macmillan
Publication Type:: Chapter
Citation:: Bodies, noise and power in industrial music, 2022, 1st, pp. 37-54
Issue Date:: 2022-01-01

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Field	Value	Language
dc.contributor.author	Khamis, S https://orcid.org/0000-0002-6513-6844
dc.contributor.author	collins, S
dc.contributor.author	Gunn, R
dc.contributor.editor	Whittaker, J
dc.contributor.editor	Potter, E
dc.date.accessioned	2023-01-17T04:35:58Z
dc.date.available	2023-01-17T04:35:58Z
dc.date.issued	2022-01-01
dc.identifier.citation	Bodies, noise and power in industrial music, 2022, 1st, pp. 37-54
dc.identifier.isbn	978-3-030-92462-1
dc.identifier.uri	http://hdl.handle.net/10453/165062
dc.description.abstract	In September 2019, industrial band Konqistador released Nafada, a nine-track album that is in collaboration with female Arab-Muslim hip-hop artists originating from various regions in the Middle East and North Africa (MENA). The purpose of Nafada was to shine a light on women artists existing within regimes characterised by censorship, obscurantism, and gendered discrimination, and to produce an artistic statement of defiance to these paradigms of control. The ethos of industrial music is rooted in critiques of control (Kromhout, Popular Music and Society 34(1), p. 31, 2011; Oksanen, Secessio 2(1), 2013; Reed, Assimilate: A Critical History of Industrial Music. Oxford University Press, 2013, x; Steirer 2015, 185). As Reed states, industrial has “expressly framed itself as an anti-establishment mouthpiece for decades … and so this is a natural approach to the genre” (Assimilate 137). Similarly, hip-hop has proven a productive genre that marginalised groups can assert presence in transgressive, resistant, and distinctly localised ways. The union of industrial and hip-hop genres creates a vehicle that is philosophically primed for mobilising voices against oppressive forces. Nafada generates and draws on these synergies to tell experiential life stories that render visible counter-hegemonic representations of MENA women. Further, we discuss the importance of the internet in the creation of Nafada, arguing that the ability to digitally traverse national borders has “cultural and cross-genre implications”. This chapter contributes to broader fields of music production, industrial music, non-Western hip-hop studies and examines the intersections between music, politics, and representation.
dc.format.extent	1
dc.language	en
dc.publisher	Palgrave Macmillan
dc.relation.ispartof	Bodies, noise and power in industrial music
dc.relation.ispartofseries	Pop Music, Culture and Identity
dc.relation.isbasedon	10.1007/978-3-030-92462-1_3
dc.rights	info:eu-repo/semantics/embargoedAccess
dc.title	Nafada: industrial, hip-hop, and the diasporic condition
dc.type	Chapter
utslib.citation.edition	1st
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/FASS Faculty Administration
utslib.copyright.status	embargoed	*
pubs.consider-herdc	true
utslib.copyright.embargo	2025-03-10T00:00:00+1000Z
dc.date.updated	2023-01-17T04:35:57Z
pubs.edition	1st
pubs.place-of-publication	Cham, Switzerland
pubs.publication-status	Published
dc.location	Cham, Switzerland

Abstract:

In September 2019, industrial band Konqistador released Nafada, a nine-track album that is in collaboration with female Arab-Muslim hip-hop artists originating from various regions in the Middle East and North Africa (MENA). The purpose of Nafada was to shine a light on women artists existing within regimes characterised by censorship, obscurantism, and gendered discrimination, and to produce an artistic statement of defiance to these paradigms of control. The ethos of industrial music is rooted in critiques of control (Kromhout, Popular Music and Society 34(1), p. 31, 2011; Oksanen, Secessio 2(1), 2013; Reed, Assimilate: A Critical History of Industrial Music. Oxford University Press, 2013, x; Steirer 2015, 185). As Reed states, industrial has “expressly framed itself as an anti-establishment mouthpiece for decades … and so this is a natural approach to the genre” (Assimilate 137). Similarly, hip-hop has proven a productive genre that marginalised groups can assert presence in transgressive, resistant, and distinctly localised ways. The union of industrial and hip-hop genres creates a vehicle that is philosophically primed for mobilising voices against oppressive forces. Nafada generates and draws on these synergies to tell experiential life stories that render visible counter-hegemonic representations of MENA women. Further, we discuss the importance of the internet in the creation of Nafada, arguing that the ability to digitally traverse national borders has “cultural and cross-genre implications”. This chapter contributes to broader fields of music production, industrial music, non-Western hip-hop studies and examines the intersections between music, politics, and representation.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/165062