This introductory essay argues for a decolonial approach that privileges qualitative methods in ways that position African digital experiences as "epistemic sites" of knowledge production in their own right in digital media scholarship. In proffering this argument, we challenge and confront elements of the global knowledge system, which are driven by an implicit "civilising mission" in which methods and intellectual approaches drawn from the West are seen as sacrosanct, while approaches and concepts emerging from the Global South are deemed to have a lower ontological density in the hierarchical ordering of knowledge. We explore methodological questions that relate to the studies carried in this Special Issue and consider various strategies for aligning digital media scholarship with Southern epistemologies-whether these are found in the "epistemologies of everyday" popular culture or epistemologies emerging through the work of African activists and artists. Equally, we emphasise the value of methods that pay attention to issues of power and economic extraction to understand the very different roles of social media platforms in various African countries. The paper also considers how the precarious and contingent nature of infrastructure and African cities in general demands methods that pay attention to issues of digital materiality and infrastructure. Finally, we discuss Big Data methods and the need for African researchers to establish themselves more firmly in this space.
Hip hop artists are early adopters of digital media in the township areas of Grahamstown. This article describes the emergence of particular media ecologies that depend on a do-it-yourself ethic where young people are always ‘hustling’ to get hold of data bundles, software and computer parts, and assembling them in novel ways. This mobile-first generation are increasingly adopting desktop and laptop computers to supplement their media production, and could provide insights into the evolution of low-income digital media practices and the transition from mobile-only to mobile-first (computer-second) practices, as well as how the computer’s increased affordances for production influence such digital media practices. Living in backyard shacks made from corrugated iron and mud, where there are makeshift electrical connections criss-crossing the roof and no flowing water inside, here there is indeed Internet connectivity, although exclusively through the mobile phone. These hip hop artists are supported by various digital service providers, such as WAP-site designers who hack together sites that function both to promote and distribute local media as well as pirated content, to backyard computer repairers who cannibalize parts from discarded old PCs to create workable township machines. This article will provide a digital ethnography of these young people and how they work collectively to record and mix music, design posters, album covers and avatars, and then distribute these through their phones via Bluetooth and online social media. The article will tie these digital practices to the identity formation of these young people, who resist succumbing to the despair of unemployment through embracing notions of themselves as artists, hustlers and ‘explorers of technology’, identities they attribute to the local culture of hip hop music production and its values of consciousness, creativity and resilience.
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