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Living the Hiplife
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  • 2019De-westernizing creative labour studies: The informality of creative work from an ex-centric perspective101 cited
  • 2016Racial Capitalism and the Crisis of Black Masculinity94 cited
  • 2013Transnational circulation and digital fatigue in Ghana's Azonto dance craze79 cited
  • 2016Fashioning the Future: Entrepreneuring in Africa’s Emerging Fashion Industry41 cited
  • 2020The work of hope: Spiritualizing, hustling and waiting in the creative industries in Ghana39 cited
  • 2018Mobilising African music: how mobile telecommunications and technology firms are transforming African music sectors33 cited
  • 2016Toward an ‘African’ take on the cultural and creative industries?29 cited
  • 2017The making of a ‘superstar’: the politics of playback and live performance in post-genocide Rwanda24 cited
  • 2017Parody after identity: Digital music and the politics of uncertainty in West Africa20 cited
  • 2016LOCATING HIP HOP ORIGINS: POPULAR MUSIC AND TRADITION IN SENEGAL18 cited
  • 2021Care in creative work: exploring the ethics and aesthetics of care through arts-based methods17 cited
  • 2012Introduction: Audio Work: Labor, Value, and the Making of Musical Aesthetics14 cited
  • 2019African hip hop as a rhizomic art form articulating urban youth identity and resistance with reference to Kenyan genge and Ghanaian hiplife

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14 cited
  • 2016Inalienable performances, mutable heirlooms: Dance, cultural inheritance, and political transformation in the Republic of Guinea11 cited
  • 2018Advancing student success: assessing the educational outcomes of music and dance education in Ghanaian senior high schools10 cited
  • 2015Roots, Routes and Rhizomes: Sounding Women's Hip Hop on the Margins of Dakar, Senegal9 cited