K'NAAN- THE DEADLY FOOT PHILLOSOPHER

Imagine telling a Somalian teenager in 1992, who’s unable to speak English living in war torn Mogadishu that one day he’ll master the English language and perform throughout the world. Furthermore he will go on to support the son of the great Bob Marley, and will collect a Junno (Canadian Grammy) for being able to communicate much of his Somalian upbringing. 
Imagine telling him he will be in the centre of London with a community of Somalians and Africans from around the world, (Many of which are able to identify with his story.) you would either have to believe in the idea of fantasy or at least be partial to the possibility of miracles. 

SPECIAL MISSION?
Sunday April 9th 2006 a packed market place in Oxford Street, central London full with new faces and familiar regulars of the Amplified weekly hot spot Mahogany. Many had heard the murmur of a Somalian artist booked to grace the Mahogany stage. And it was predominantly a Somali core that arrived earliest to investigate this rumour. By approximately 9.00pm the management had enforced a one in one out policy. Mahogany regulars came through the doors slightly bemused as to why it was packed so early. I mean they had heard that a Canadian artist was going to perform but who on earth is K’naan?

Some may call it luck, others purpose. But some people are gifted with a certain experience that appears to be guided by God himself. And looking at the harrowing life of Somalian Poet and Emcee K’naan it’s easy to toy with the idea that maybe he has been selected for a special purpose.
Coming from a rich ancestry of poetry and art, his Aunt Magool is a Somali icon, a politically charged singer forced into exile due to her outspokenness. His Grandfather is so embedded in Somali culture; some of his poems are common Somali sayings. “So what I’m doing is not that big,” K’naan says with a wry smile “I have a very long way to go.” This may be true, but he’s come an awful long way too. 


HISTORY
Somalia, East Africa 1992 is a country on the verge of social collapse after a war between differing clans have been ensuing in Mogadishu since 1989. The country essentially controlled by these clans of war lords have stepped up conflicts in Mogadishu, Somalia’s Capitol. At least 14,000 people were killed alone in between Nov 91 and Febuary 92 3,000 people were dying daily to starvation. There were political assassinations, famine, drought young kids were walking around with Russian guns trigger happy. And what was the government doing? It is one of the few places in the world, that don’t have a government. Mayhem was the elected party.
Embassy’s had decided to head for home, predicting the ensuing onslaught to intensify. The U.S embassy flew out on what was to be the last commercial departing flight from Mogadishu. A Somali woman who had continually been to the American embassy looking for visa’s had repeatedly been turned away. She had turned up for the last time; however on this occasion she was shown mercy. One of the embassy staff in a rare act of compassion stamped her passport to ensure her family joined them on the last commercial departing flight, giving them access to the new world. One of her 14 year old sons although not able to speak a word of English had miraculously managed to phonetically repeat popular rhymes from rappers like Rakim courtesy of his U.S based father 

A decade later the young boy named K’naan, is a radically changed individual. After first residing in Harlem, his family moved to a bigger Somali neighbourhood in Toronto, Canada. Over the years he’s learned to come to terms with the psychological effects of social collapse, and he is introducing the world to the pain and history of the Somali people. In his first offering the stunning “The Dusty Foot Philosopher” is an awe inspiring effort that is an interwoven autobiographical and fly on the wall account of his life and emotional turmoil. As well as the verbal ability to convey his complex feelings, the musical journey is equally stunning. He manages to introduce western audiences to African cultural music and traditions in a way that is easily digestible to people cautious to embrace something new and essentially African. 

BEST OF BOTH WORLDS
In a sense he’s literally made the best of both worlds. “I grew up in Somalia half my life the other half I was in North America, so what else could I have done?” Though subconsciously people outside of America are so influenced by America that their artistry is guided by how much they can impress and break into the American market. (Goes for Canada and UK) Can they out rap the rappers? Can they out sing the singers? Considering K’naan has all the odds against him, he is remarkably guided by his art and purpose. He is like God’s own little experiment, thrust out of the East African environment and social conflicts adorned with African traditions and placed in America, with the question. If we take an African artist, place him at the centre of contemporary American environment, how would he fare?
Answer “The Dusty Foot Philosopher,” his debut offering that earned him the Canadian Junno, (Canadian equivalent to Grammy) is essentially a journey that harbours surprises on every track. You really don’t know what to expect from one song to the next. It is totally unpredictable. Is he going to tell a story? Is he going to speak English or Somali? Will he rap or sing? Will he half rap and sing rap? Will he battle rap? Will he tell a story? Paint a picture? Cry or smile? It’s an album that’s hard to get bored of listening to and very easy to press repeat on. 

WHO'S STORY?
He hasn’t set out to tell the story of Somali people, he’s simply told his story, but in doing so he’s expanded the imagination of Somali’s, musicians and true rap fans the world over. It has managed to urge listeners to empathise (not judge) migrants fleeing wars the world over. (Who may well be our neighbours) Because of that he’s been both embraced and rejected by his own people. “The Black community in general sees me as someone who is really representing something valid and worthwhile.” K’naan begins “But its interesting cause the majority of Somali people have been at the forefront of what I’m doing. But they have also been at the forefront of those who are against what I’m doing. You would think that they would be my biggest following, but they are not. And I understand. It’s not because of a lack of quality or the way I’m singing but it’s more to do with what they are ready to admit to the world about themselves. And I should be just in the way I address these things. I had to go through a certain process to be ready for the things that I’m writing. And if someone has not gone through the process that I’ve gone through its just hard to now see it in mainstream media all in their faces -the struggle they tried so hard to ignore.” 

VIVA LA HIP HOP
When Chuck D said Hip hop was the Black CNN, he said it at the height of Political rap’s strangle-hold on hip hop. However, as a result of American Rap giving up that ghost. K’naan is an example of what the rest of the world can bring to hip hop and what people of dual heritage can bring to music and art in general. Hip hop has long been in need of a resurrection. Who would have thought an East African, youth, unable to speak English in 1992, living in war torn Somalia would possess such potential.