Tariq Abu Ubaida
Hipco is a unique Liberian music genre that emerged from hip-hop culture, characterized by its use of Liberian English and political messages. Originating in the 1980s, it gained prominence during the civil wars of the 1990s as a form of protest and cultural expression, reflecting the pulse of Liberian society today.
Hipco, or “Ko,” is a Liberian music style that emerged within hip-hop culture, characterized by the use of Liberian English and political and social messages.
The Guardian described it as “a unique style that combines popular discourse with political stances,” often performed in Liberian English or local dialects.
It appeared in the 1980s and gained prominence during the civil wars of the 1990s as a means of protest and a call for peace, becoming a cultural symbol that reflects the pulse of Liberian society today.
Liberia: The First Independent African Republic
Founded in 1820 by the American Colonization Society to resettle free African Americans and freed slaves, Liberia saw around 13,000 of them migrate to its coast between 1820 and 1870, establishing the first settlement at “Cape Mesurado,” known then as the “Pepper Coast.”
On July 26, 1847, settlers declared Liberia’s independence, making it the first independent African republic in modern history. The capital, “Monrovia,” was named after American President James Monroe, a prominent supporter of the colonization project in Africa.
Liberia and the American Political System
After its independence in 1847, Liberia adopted a political system inspired by the American model, including a republican constitution and a similar institutional structure. Joseph Jenkins Roberts, born in the United States, became the country’s first president.
However, this political model was accompanied by an internal colonial reality, as the Americo-Liberian elite dominated power for decades, while indigenous populations were denied civil rights, including citizenship and voting, until 1904.
During the early decades of the 20th century, indigenous populations faced systematic marginalization, subjected to heavy taxes that reached one-third of the national budget, leading to violent popular uprisings. Many were forced into labor for foreign companies until the League of Nations intervened in 1936 to end these abuses.
In the post-World War II era, a gradual reform process began under President William Tubman, who sought to bridge the social gap between Americo-Liberians and indigenous populations. Under his leadership, indigenous people were granted voting rights in 1945, marking a new phase toward equal citizenship after more than a century since the country was established as a “land of the free.”
Hipco: Resistance Through Kolokwa Language
Hipco songs are characterized by their protest and realistic tone, using strong African rhythms with an energetic vocal style. With the turn of the millennium, this music genre became the most popular in Liberia, used by rap artists to express their views on societal issues and convey social and political messages regarding poverty, corruption, unemployment, and the rejection of civil war.
During the Ebola crisis from 2014 to 2016, Hipco artists used their music to raise health awareness, further establishing it as music of resistance and social change.
Hipco and Kolokwa: A Popular Voice and Cultural Identity
The term “Ko” in Liberian Hipco music is an abbreviation of the local dialect “Kolokwa,” a colloquial language that emerged from the blending of English brought by around 19,000 freed slaves from the United States with vocabulary from over 15 local languages. According to The Washington Post, it has been used by lower classes for improvised singing since the early 19th century.
Kolokwa is a predominantly oral language with no written rules, and it is nearly unintelligible to the American ear, leading Liberia’s cultural elite to dismiss it as the language of the marginalized. However, this marginalization has allowed Hipco artists to incorporate selected Kolokwa phrases into their songs, carrying political messages within English lyrics as a form of symbolic resistance.
Musical Diversity Reflecting Cultural Plurality
Liberia is a multi-ethnic country, home to the Gola and Mende (Kissi) peoples in the east, the Kru (Bassa) in the west, and the Mandingo (Kpelle) in the north, alongside Americo-Liberians who returned to Africa in 1822. Traditional Liberian music relies on vocal harmony, repetition, and call-and-response, performed at social and formal occasions. Mandingo music is part of the rich oral griot heritage.
Hipco and Gbema: Prominent Musical Styles
Hipco is a modern blend of hip-hop in the local dialect, addressing social and political issues. Gbema is a traditional style produced electronically with fast and complex rhythms, influencing Hipco’s rhythmic patterns.
In recent years, Christian music has blended with pop and soukous styles, with names like Bernice Blackie, Pastor Clark Dorteh, Vivian Akuto, and the group “Sisters of Destiny” emerging, alongside Kanvee Adams, who won an international award in London in 2013 for her role in promoting African gospel music.
In the first decade of the 21st century, as the state attempted to control resistant musical activity, the country experienced social and artistic reconstruction. The Liberia Broadcasting Corporation became the main body responsible for broadcasting Liberian music, despite the establishment of FM radio stations and online platforms.
American Influence and Highlife Music
Western styles such as twist, cha-cha, soul, and country music dominated the Liberian music scene for decades, with local bands like “J. Richard Snider” and “Melody 8 Dance” leading the way.
Conversely, highlife music and palm wine, also known as calypso or maringa or “highlife guitar,” spread across West African countries, including Liberia, thanks to sailors who contributed to unique playing styles like “fireman.”
This music peaked in Liberia during the 1970s under the name “Highlife Liberian Electric,” creating a unique local blend of regional and international influences.
The Liberian National Anthem: A Foundational Symbol and Linguistic Controversy
The Liberian national anthem is titled “The Peace of Liberia, Peace to You,” composed by the third president Daniel Bashiel Warner and arranged by Olmstead Luka, officially adopted since 1847. In 1974, President William Tolbert formed a committee to review national symbols, including the anthem and flag, aiming to remove controversial phrases.
The committee, known as the “Dishield Committee,” recommended in its 1978 report to replace the phrase “I am not afraid” with the word “brave,” in an effort to modernize national discourse and promote unity.
Hail Liberia, Hail (Hail)
This glorious land of freedom
Will remain with us for long
With our hearts and hands
We defend our nation’s cause
We will face the enemy
With indescribable courage.
Maurice Durley and the Birth of Afroliberian Music
In the 1960s, the migration of rural populations to cities led to a significant musical transformation in Liberia, with Maurice Durley (also known as Demoris Dully) being a prominent figure who launched the “Afroliberian music” style by blending merengue, highlife, pop, soul, and calypso. Born in 1946, Durley began playing the congas at age 16, learned guitar from an American musician, and mastered “Palm Wine” music that preceded highlife among the Kruh people.
He founded the “Sunset Boys” band and recorded his works in local studios. Durley distinguished himself as the first to move away from traditional American songs toward authentic Liberian music, singing in multiple languages, which earned him regional fame, especially after participating in the arts and culture festival in Lagos.
Maurice Durley gave the country a national identity with songs like the famous “Who Are You, My Love.”
Nimba Disco and Afrolibso: Renewed Liberian Styles
Harris Sarko, from the Nimba region and a member of the Liberian Police Orchestra, launched a new dance style called “Nimba Disco,” while guitarist Cesar Gator, of Bassa descent, promoted the distinctive rhythms of his region.
Tecomsay Roberts was one of the most prominent stars of Liberian music in the 1970s and 1980s, leading the “Liberian Dream” band and creating the “Afrolibso” style that blended African and Caribbean rhythms. He recorded his first album titled “Must Get It” and presented the official song for the African Unity Organization conference in 1979.
He gained widespread fame and was described as having popularity rivaling Michael Jackson in Liberia. He participated in performances at the Apollo Theater in the United States in 1986 and sang for Bob Marley before returning to perform his famous song “Ma Sosu.”
Tecomsay Roberts’s career ended tragically during the first Liberian civil war in 1990 when he was killed at a rebel base after being summoned to perform, amid allegations regarding his sexual orientation, and his body was thrown into the St. Paul River.
Despite the passage of time, his murder continues to spark controversy, with calls for the establishment of a war crimes court. Meanwhile, the artistic community continues to honor his legacy through festivals held between 2015 and 2018 celebrating his contributions to Liberian music.
Liberia, founded in 1820 by the American Colonization Society, became the first independent African republic in 1847. Initially established for freed African Americans, it faced internal colonialism as the Americo-Liberian elite dominated power, denying civil rights to indigenous populations until the early 20th century. This historical context set the stage for the emergence of Hipco as a voice for the marginalized.
The evolution of Hipco music reflects Liberia’s complex socio-political landscape. As a blend of hip-hop and local dialects, it serves as a medium for social commentary, particularly during crises like the Ebola outbreak. The genre’s roots in the struggles of the past highlight…
