This article critically considers the legacy of hybridity in African popular music studies and questions whether contemporary African engagements with diasporic popular musics like hip hop call for new interpretations of musical genre. Through ethnographic research with hip hoppers in Senegal, I explore how practices of musical intertextuality reinscribe global connections as diasporic ones and challenge the conditions for musical hybridity. I argue that the formal parameters of musical genre themselves constitute conscious and strategic social practice that situates human actors in local and global place.

Responding to an increasing sense of urgency about sexual harassment and assault during ethnographic fieldwork in the era of #MeToo, this article offers a lesson plan for effecting systemic change in the discipline of ethnomusicology. We show how disciplinary assumptions about the field where harassment occurs reify colonizing histories of racial othering, reinscribe heteronormativity, and alternately conflate or erase specific types of violences. We identify feminist scholarly genealogies that provide alternate models for theorizing in and through personal experience. We argue that this analytical work cannot and must not be absent from the important questions of how we practically approach and prepare students for fieldwork in ethnomusicology.

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