This article traces how Tanzanian Bongo Flava hip hop has shifted from a politically conscious genre at the dawn of democratization and liberalization to its contemporary articulations, more commonly aligned with glamorous, geographically abstracted Western pop sensibilities. It argues that ‘swag’, as an intimately embodied and musically performed charisma, has served as a connective thread across political and economic transformations because of its capacity to generate phantasmatic deferrals to common experiences of dispossession. These fetishistic qualities mediate the attachments of artists and consumers within the splintering musical genre, holding open space to reach for a diversity of desired futures.

本文追溯了坦桑尼亚的邦戈·弗拉瓦（Bongo Flava）嘻哈如何从民主化和自由化初期的政治意识流派转变为当代的发音，更通常与迷人的，具有地理位置抽象意义的西方流行音乐相呼应。它认为，“赃物”作为一种亲密体现并在音乐上表现出的魅力，已成为跨越政治和经济变革的连接线，因为它具有产生对惯常剥夺经验的幻象式延期的能力。这些拜物教的特质在分散的音乐流派中调解了艺术家和消费者的依恋，为广阔的未来空间提供了广阔的空间。