Waga Hip-Hop Wrap Up 2010
November 6, 2009 | 3 Comments
Written by Magee McIlvaine
-October ’09, Washington DC.
Its a chilly 40 degrees outside…overcast, windy, its been raining the past few days. I keep asking myself- why don’t I live in West Africa?
I returned home to DC a few days ago from a 10 day trip to Burkina Faso. As I stepped off the plane, ominious NE winter winds greeted me, forcing me to pull a jacket up over my brand new Burkina Faso soccer jersey (of course i gotta rep!). Back in the US, cold, yet satisfied, and with a bag full of CD’s and footage.
I was in Burkina Faso for the 9th annual Waga Hip Hop Festival, held each year in Ouagadougou, the capitol city of Burkina Faso, West Africa.
The homeys at Stay Calm Productions and Umane Culture had organized two screenings of our film Democracy in Dakar. The screenings would be the West Africa premiere of the film. After a two day journey criss-crossing the continent with Air Ethiopia, I was picked up at the airport in dusty Ouagadougou by Mathurin aka Cool Matt J, co-head organizer of the festival. An amazing guy, Mathurin is responsible for most of the graphic and web work of the Burkina Faso hip hop community. His team and him have created an incredible hip hop festival that pulls in the best in International Hip Hop Talent each year, all in tiny Burkina Faso. Amazing.
We drove past the famous FESPACO Headquarters (the most famous and oldest African Film Festival. It was an honor for me just to be near it!), through the paved and not-so-paved streets, weaved around motorcyclists and arrived at Waga Jungle, a recording studio/house where I was to stay for the next few days. The studio is run by a former french paramilitary soldier and is one of the oldest and most well respected studios in the country. The studio has supported most of Burkina Faso’s artists at some point in their career. I said hello…and went straight to sleep (over 24 hours in a plane to get there. DC-Rome-Addis Ababa-Lome-Ouagadougou is not the most direct of flight-paths).
Several hours later, I woke up and took my first moto ride back into the city. The motorcycle immediately got a flat tire, so my arrival at festival headquarters was somewhat delayed. At the French Cultural Center, I got my first look at other Festival attendee’s and participants. I finally got up with Shivani of Big Up GB (Guiniea Bissau. Nuff respect). Was great to get up with her after so many emails. Peep the project we did together here: http://nomadicwax.bandcamp.com/track/big-up-gb-mixtape
I also got up with Abramz from the Breakdance Uganda project. What a great guy! Another guy I had been building with via email and whose work I had been admiring from a distance for a long time. It was a pleasure to finally build with him, and seem him learning french and tirelessly building with Burkinabe b-boys.
We moved on from there to my first West African emcee battle. The outdoor arena was filled to capacity, with people sitting on the walls that surrounded the theater. While most of the puchlines (in french), went over my head, the crowd enjoyed it immensely, the emcees were on point, and the freestyling was legit. The rule stands, even in Burkina Faso- spit a written in a battle and get booed off.
The next few days consisted of motorcycle, meeting, filming, motorcycle, meeting, filming, motorcycle…. I met with many different emcees, underground to famous (Ouagadougou Famous). Highlights included Faso Kombat. We shot an awesome video for their new single for their third album (to be released soon inshallah). I got to sneak peak their new album and its fire.
I got up with Burkina Faso heivyweight Smockey and we talked hip hop and politics. I saw revolutionary Thomas Sankara’s tomb, hidden away in an overgrown cemetery. I got up with international superstars Yelen and watched as they performed a unique, organic hip hop acoustic track together in multiple languages in their living room. I met up with many different groups. One of the other highlights was building and shooting the new posse cut video for Burkina Faso’s hardcore hip hop underground stars OBC. OBC, with its over 30 affiliate members, has a very Wu-Tang meets Africa feel, but don’t get it twisted. These guys are completely original. I really enjoyed shooting the video with them, each of the 7 verses in a different neighborhood of the whole city, each emcee with his own unique style of delivery and inflection. Watch out for that video, its going to be a banger.
In exploring the neighborhoods and meeting with all the members of the local Ouaga scene, I missed much of the days’ events during the conference.
Our two screenings of Democracy in Dakar were very well attended. The first night produced an extremely interesting post-screening discussion with local emcees comparing the scene in Senegal to the one in Burkina Faso. I trekked to each of the performances each night.
The highlights for me where Mic the 7th, currently based out of Toronto, and AmKoullel, representing Mali. AmKoullel put in more work for his set than most emcees I have ever seen. The post-show Sound System’s where dope, as the mic was opened up to the entire local scene (shout out to Fils du Ghetto- too famous). Moona from Benin also represented as one of the few female hip hop acts. Also, shout out to King Ayisoba (Ghana)’s snowshoe sandals. I’ve never seen anything like it.
A week in Ouaga heat and dust had me exhausted. But the ciphers, the energy of the hip hop scene there (so hungry!) kept me going. I was energized by the skills and unique styles represented by the different Ouaga emcees that I met. I can’t wait for Waga Hip Hop Festival 2010. Shout out to Mathurin, Renaud (Stay Calm Prod.), and Ali Diallo. Nuff respect.
The Cornel West Theory
October 8, 2009 | Leave a Comment
The Cornel West Theory. No, this is not a new book authored by the esteemed Scholar and well-chronicled Hip Hop “head”(though he is an active central figure in this “theory”.) No, this is not the name of a fox news pundit’s asinine ideology. This is part Negro spiritual, part Rage Against the Machine fused with oral tradition, some left over Transmat 808 polyrhythms, and a new breath into the consciousness of artivist music. The hip-hop ensemble sought out and received the blessing from Dr. Cornel West to use his name, as he and his philosophies were a direct influence and foundation of their dystopian view of America.
Seven distinct voices, (Tim Hicks, Rashad Dobbins, Katrina Lorraine Starr, Yvonne Gilmore, Samuel Lavine, John Wesley Moon and guest commentary and reflections from Dr. West himself) make up the vision that is Second Rome, the groups’ new album. A fresh look and new sound from an old idea, Second Rome as a piece of art defines and explores modern society from the view of the bible, the street poet, the politician, concerned citizen and their apathetic counterparts. As a piece of music, it re-shapes and revitalizes the beautiful traditions of the African Diaspora finding new range meaning, and sonics in which to pass down familiar tales, and powerful perspectives about race and class in the society that these forces play out and against each other in.
Heady stuff, but the music to be sure is head nod, as the live drums and instrumentation bring a jazz soul vibe that pounds a path from the past through your soul and nestles in your heart. Whether the more boom bap driven Paper Tigers, Jungle Hymn, and Durito’s Revenge or the more ethereal Second Rome or Rifles, Second Rome delivers a fantastic and focused vision of what was, is and can be. Commentary from Gilmore and Dr. West take on benedictions whether they are separate tracks or within the context of songs, such as Gentrified Chicken and Jungle hymn, redefining the ideas of hook and bridge. Tim Hicks Dan Freemanesque rants of a people wronged, with the supreme orations of Rashad Dobbins collide and mesh over Sam Lavine’s tempered percussion as Katrina Starr brings another feminine voice rounding out the venom the emcees emit. Second Rome is a new take on very classic ideas, and its done so masterfully with the care and precision of true scientists, and the heart and feeling of tribal elders.
Word is Born: A reflection on The Urban Word “Word Life” panel discussion
October 3, 2009 | Leave a Comment
Urban Word kicked off its Annual Mentor, Teacher, Educator & Community Activist Training with an experimental roundtable panel entitled “Word Life: A Performance and Conversation on Language, Identity & Power.” The panel consisted of four youth poets (Jamilla Lyiscott, Carvens Lissaint, Ceez, and Thiahera Nurse) paired with three educators and activists (Dr. David Kirkland, Regie Cabico, and novelist, Black Artemis) whose interaction and dialogue were sparked from each poet’s piece that touched on Race, Gender, and Orientation. This unique format served to breathe new life into the traditional panel format, as well as open up a new space to create conversation around well traveled but critically relevant issues.
The first poem, “Diaspora” performed and written by Jamilla Lyiscott; was partially the re-telling of oppression and segregation of the African Diaspora, and partially a reflection on the inconsistencies and contradictions that the Diaspora faces in a post-neocolonial world. Dr. Kirkland, an expert in the field of language and pedagogy was the direct respondent to this piece. His reflection focused on two main points; the powers of language to transform, inform, and liberate groups, and that this specific language used represented a valid and important component within academia. Dr. Kirkland rhetorically asked all of us within the forum, “How do we make space for this type of non-traditional language?” Control of language gives us the power to define our existence, set the parameters for how external forces view us while supplying the group with a weapon to defend itself against those forces. Jamilla, who is a young educator in training, commented on the life experience that influenced her writing. This idea that lived experience as primary source to draw information and theory from while creating the foundation on which to shape, refine and build knowledge was one of the underlying themes throughout the panel.
“Switch” was a group piece performed by Urban Word 2009 slam teammates Ceez, and Carvens Lissaint that parallel the hate crimes of Matthew Sheppard and Rashawn Brazzell. The piece not only utilized powerful spoken word but physical language as well, re-enacting the violence that these two young men faced in their unseemly and untimely deaths. Their respondent Regie Cabico, a youth educator who utilizes theatre along with spoken word remarked that the piece “told more in three minutes then most playwrights can do in an entire play.” Regie focused on the danger that artists and educators face in revealing these often painful and graphic truths, but also wanted to know the process the poets went through to create such a powerful piece of art. Carvens spoke of the courage he found in confronting his own insecurities around the portrayal of these two openly gay men. He believed that his duty as an artist is to call people to action. Ceez reflected on the synergy generated from the two poets interacting with one another, and bringing their shared ideas to the table. The discussion centered on educators needing to put themselves on the line first and foremost if they wish to cultivate young minds to face that danger. Black Artemis expressed educators need to “Walk the Talk” while Dr. Kirkland openly challenged everyone in the room to face the danger, and see it as an opportunity for heroism.
The final piece, “Queens’ performed by Thiahera Nurse was inspired from an interaction the young poet had on the subway with adolescent boys. Her poem examined the meanings behind the colloquial use of the term ‘Queen’ to describe women. Black Artemis, a novelist and policy advocate spoke about how the piece highlights the potential to redefine words and ourselves through language. The larger question became, can and how do we reclaim language? Can an oppressed people who still exist under that oppression reclaim oppressive language? Thiahera’s conundrum came from the reality that although the term had been used as one of endearment, the actions after the word contradicted its supposed meaning. In her community and school she also reflected on the small amount of safe space allotted to express and define ones identity. Within all three pieces, this was a recurring trope.
This community discussion displayed the spoken word medium as a powerful bridge to connect people to realities that become less defined by boxes, and stereotypes. The use of language, both verbal and physical provides a means to push boundaries, see individuals in a new light, and open up channels to start discourse on a myriad of issues for those in the lower hierarchy of society. Most importantly the ownership of this language gives ownership of identity to these groups as well. Rethinking the ideas of self-determination, art as a revolutionary weapon can be seen in one’s own ability to define self. In particular, youth’s opportunity to express, explore, and shape ideas has a powerful ally in spoken word, a form that can usurp the role traditional academia looks to play in shaping the future.
- “Mikal Lee is a Artist/Teacher, founder of Fresh Roots Music and co-founder of Say Word Entertainment
Iraq Is The Bomb
September 24, 2009 | 1 Comment
The Narcicyst – reviewed by Nick Conway
http://iraqisthebomb.com/
I’m always conflicted when it comes to so-called “conscious rap”. Labels serve a purpose, yet at the same time they are confining and often times misleading. Immortal Technique is a “conscious rapper”, yet one can find countless homophobic and misogynistic lines throughout his albums. Cam’ron is a “gangsta/crack rapper”, and yet his classic tracks “D.R.U.G.S.” and “Sports, Drugs, & Entertainment” both astute commentaries that even Nancy Reagan could have championed in her “Just Say No” crusade. Another problem I have with the “conscious” label is that it immediately strips the music of its aesthetics and style. It removes the craft and art from the music. All to frequently, we as the listener tend to conflate “good message” with “good music”. If I want conscious, well-reported journalism, I can simply listen to Amy Goodman and her brilliant show “Democracy Now”. Truth is we live in a star-struck, People-magazine-obsessed society where we all too frequently look to our Tiger Woods’, Angelina Jolie’s, and Kanye West’s for our answers to society’s problems. In particular, I find hip hop to be held to an extremely high standard. Nobody ever labels folk or country or rock as “conscious” or “gangsta”. Johnny Cash has numerous classics that could easily fit under the “gangsta” label, and quite frankly, I don’t think we should be looking to Uncle Murda for “conscious rap”. If that is not the reality he lives in, then we can’t expect that of him. And it doesn’t mean we should feel guilty about enjoying the stylistics of his music. “Bullet! Bullet!” is my joint, yet I can still can discern from the fact that I have no valid reason to ever put an actual bullet in someone. On the contrary, if you rhyme about noble issues like decreasing one’s carbon footprint and rescuing kittens, yet your wordplay is soft and your metaphors are predictable, then I really don’t want to hear it. I can respect the message, yet not enjoy the craft.
Fortunately for us all, there exist emcees such as Narcy, an Iraqi emcee raised in Canada, who effortlessly weave aesthetics and message together. It is music whose both form and content leave one feeling enlightened. Let’s start with the title, The Narcicyst. Personally, I dig it. I loved it even before I began listening to the first track. From what I’d heard of said emcee, I had a hunch he really wasn’t going to turn out to be all that big of a narcissist at all. Regardless, it left me intrigued. From the eery, ominous strings of the opening track “Good Morning”, Narcy sets the tone of the album, letting us know he has something of relevance to say and isn’t delivering us a sugar-coated sound or message. This minute long preface transitions smoothly, both stylistically and thematically, into Narcy’s voice on “Vietnam”, a track where he skillfully draws analogies between that war and so many other imperialist atrocities, rhyming phrases of the like, “They say Lebanon’s Vietnam, Iraq’s Vietnam, Palestine’s Vietnam, they wanna see us gone, so far from home, I can feel the bombs…” The track closes with a great quote from an unknown (well, at least unknown to me) source speaking upon the nature of war. She quotes Mark Twain who said, “History may not repeat itself, but it does rhyme.” A slick and fitting metaphor, particularly because Narcy proves throughout the album that he has a gift for rhyming clever metaphors himself.
Perhaps the track that most embodies Narcy as an emcee, messenger, and thoughtful human is “Iraqi Prime Time News”, a joint where he unleashes a powerful message regarding the way media all too frequently chooses to portray Arab culture as villainous to further a self serving agenda. One listen to this insightful track and it is no surprise to discover that Narcy wrote a masters thesis (brilliantly sampling Public Enemy by titling it, “Fear Of An Arab Planet”) dissecting the Arab-American experience in Hip Hop. Yet again, it’s not strictly what he’s saying, but how he says it, skillfully creating pleasing polyrhythms with his deft lyricism and cadences. “Truth’s loose in newspapers, the new savior to boost ratings, and use hate as a tool to crusade us, ain’t nuttin’ new playas!” Truth be told, that line looks dry as I type it on the screen. That is one of the powers of the spoken word. A gifted artist such as Narcy truly breathes life and meaning into the words, amplifying their power and scope.
As one might expect from such a deliberate artist in which each track, interlude, sample, and lyric seems painstakingly intentional as though it is but one piece in the larger picture, Narcy revisits the title of his album, cueing the listener in to his meaning behind it, on the track “The Narcicyst”. Cleverly sampling the Slick Rick classic “Lodi Dodi” in which MC Ricky D explores the concept of vanity, inquiring, “Mirror mirror on the wall, Who is the top choice of them all, there was a rumble tumble, five minutes it lasted, the mirror said, ‘You are you conceited bastard!’”, Narcy creatively uses his artistry to make the music’s sonic production match the song’s subject matter. Narcy then proceeds to give his own take on narcissism and how he embraces and molds it to his own personal needs. Much the same way youth inspired by Hip Hop have taken their humble surroundings, recontextualized them, and spit them back out for their own purposes (and frequently for the auditory pleasure of the rest of us), Narcy has flipped the word, explaining how he employs it as way of making fun of the current state of Hip Hop while cherishing the confidence with which he approaches his craft and mission of providing quality music that both pleases and inspires). It’s a beautiful take on the word. If one is ever to truly be of any good to society as a whole, that individual must first learn to love oneself.
The album concludes with a bonus track, fittingly called “GOOD NIGHT!”, filled with assonance-laden battle rhymes (“I used to spit you never heard of me verses, so ill tracks cut behind surgery curtains”), punch-lines (“ever heard of an Arab kid this arrogant?….I stay fresh to death like miscarriages”), and metaphors (“my breath control like Baby’s son…Lil Weezy”) galore. Narcy again does a skilled job of setting the tone through his deliberate order of tracks (the point is further emphasized by the fact “GOOD NIGHT!” checks in a full twenty-seconds after the album’s actual outro, informing the listener that what you are about to hear is a break from the previous 18 tracks), leaving us with the reminder that despite the fact he just dropped a cohesive album full of insight and inspiration, he’s not above tearing up the microphone simply for the pure joy of fiercely stringing syllables together in mind-boggling fashion.
Canada’s Ian Kamau Does it Again
September 21, 2009 | Leave a Comment
So as I write this, the date of September 9th has come and gone, and unfortunately, the anticipated release from Ian Kamau has not materialized. Ian though did not however leave us completely wanting, and dropped vol. 2 of the now “September 9th” series. With his album pushed back, Ian put together another mixtape to tide us over as the album gets together. Vol. 2 definitely feels like more of a mixtape with the very noticeable tracks from Kid Cudi (Day & Night) and Dilla (instrumental off Donuts) mixed in, along with two songs from the previous mixtape (Alarm Call and April Fools are reprised in the second installation). This tape also introduces us to a few of Ian’s cohorts, TheRealVoyce, Narcy, Paul, Equinox, and Daneo whom all have decent moments but don’t quite match Ian’s performances throughout.
Ian starts again with “Dear Summer”, re-visiting new moments, memories of hope, and everyday life. Then “Workingonit” is sort of a playful jab at the predicament of the album not being released. Still, Ian’s strength is his direct observations on what’s really going on. “Somebody” is the best example of what shined the brightest on vol. 1 . A bouncy jazzy track, that Ian rides effortlessly again offering up himself as he sings the hook “I am what I am I am”. Somebody is a track that shows the full spectrum of what Ian does on a track. The voice, flow, and his ability to take personal subjects; address them, but keep it universal. “ThirtySomething” is a crew track with each emcee offering their thoughts on turning the big 3-0. The highlights from this tape are Ian’s own brand of self deprecation on “Successful”, “Getsyoudown”, “Father Time”, his rawness on “Old Boys Club”, and “Cant make you love me”.
The dynamic style that Ian displayed on vol. 1 is still present, though he doesn’t show you the whole range as he did on the first tape (missing are the harmonies that gave so much soul to the vol. 1). With that said, Vol. 2 continues to be a solid tape, and Ian still makes the mundane magnificent with his matter of fact common man proclamations. Next up, the Album…..
Written by Mikal Lee for Nomadic Wax
http://www.zshare.net/download/6529439766bea28e/
House of Stone Lays Down African Hip-Hop Foundation
September 13, 2009 | Leave a Comment
For those who say rap has become nothing but shallow, commercial and
offensive, Zimbabwe Legit’s album, House of Stone, is here to prove
otherwise. Characterized by easy going tempos and well layered
melodies, House of Stone is pleasantly reminiscent of an old school
hip hop aesthetic. However, it’s the uncomplicated delivery of a
powerful message that really makes the album noteworthy Hip hop isn’t
dead; it’s just been overshadowed by an abundance of industry
dispensed, mediocre rappers.
In “Take Back the Mic (KHZ Remix),” a winding, almost menacing melody
crescendoes with confident lyrics that blame the industry for the
deterioration of hip hop. This track isn’t simply hating on the
mainstream; its assertions are earnest, backed by savvy lyrics that
critically flip pop references unto themselves: “Take it to the steps
of City Hall/We need to clean up Rap City cause it’s shitty y’all.”
Far from being self conscious about the assertions it makes,
(“Nowadays hip hop seems strange, like a relationship that done
changed”), the track doesn’t make attacks just for the sake of making
them. Instead, it takes a deep look at how hip hop has become
commercialized, thereby making clear this urgency behind taking hip
hop back to its roots. All of a sudden the song is over, when the
music just cuts off instead of fading out. In a stupor of silence, the
listener is left to process all the words that have been said. I
really appreciate the way the track focuses on being effective instead
of aggressive. Leaving cheap shots out of it, the track really gets to
the heart of matter with lyrical content that truly is legit.
Following a similar path, “Vicious Circle: Aka the Struggle” laments
hard times, but without bitterness. Jazzy and full of rich
instrumental sounds, the beat instantly caught my attention. Laced
with some truly evocative images (there’s a rose of concrete growin in
every corner”), the stories of the struggle become more than an old
cliche. I want to hear more about the girl “with the life full of
drama” because she’s characterized in a realistic, personal way. It’s
this kind of detail with which Zimbabwe Legit crafts narratives that
make their songs seem to speak words of truth.
The most noteworthy feature worth mentioning is the focus on
internationalism that runs through the album. In addition to national
pride, Zimbabwe Legit celebrates Africa and all its countries can
contribute to hip hop as an international genre. An interlude titled
Mfowethu, lays rich vocals over a solid, steady, snare and creates a
wonderful combination of sound in a mere 50 seconds. In “All Over the
Map” featuring African All Stars Maggz, Kenny Majozi and Ziggy-Lah,
rapping in multiple languages is just one of the talents this
collaborative track has to offer. The beat is multifaceted and the
lyrics thought provoking in terms of how African artists and others
approach pan African identity. Overall, House of Stone successfully
accomplishes an ambitious project; to portray realities that the
members of mainstream world have overlooked in the past. Classic
beats, insightful lyrics and a multidimensional approach to rap music
result in unique creations that build a new bridge between Africa and
hip hop. This bridge is one I think many hip hop fans should enjoy.
Written by Camille Gutierrez for Nomadic Wax
Democracy in Dakar at the Toronto African Film & Music Festival
August 20, 2009 | Leave a Comment
TAFMF is dedicated to celebrating African culture and history. TAFMF showcases the works of filmmakers and musicians from over 50 countries, in Africa, with the emphasis on film and music produced within the African continent.
MASHOKO! THE SPOKEN WORD EVENT
August 20, 2009 | Leave a Comment
MAGAMBA PRESENTS…
MASHOKO! THE SPOKEN WORD EVENT
22 AUGUST 2009
3PM TILL AFTER 6PM
FREE ENTRY
MANNENBERG JAZZ CLUB
FIFE AVENUE SHOPS
FEATURING…
THE PEOPLES PODIUM
MASHOKO YOUTH
P.S.P
BATSIRAI
UPMOST AND STAN
OUTSPOKEN AND THE ESSENCE(straight from bushfire festival swaziland)
COMRADE FATSO AND CHABVONDOKA(straight from south african festivals and shows)
“OUR WORD IS OUR WEAPON”
Breaking News!!
Magamba now has a partnership with The Lounge, Bulawayo’s premier spoken word event. So each month will alternate between having artists from The Lounge at Mashoko and vice versa. Through the exchange we aim to strengthen the two cities’ radical minds and to inspire new, cutting edge poetry. Coz our words are our only weapons, comrades!
Estillo Hip-Hop at The Maysles
August 20, 2009 | Leave a Comment
ESTILO HIP HOP chronicles the lives of Eli Efi, Guerrillero Okulto, and Magia, three hip hop activists from Brazil, Chile and Cuba who firmly believe that hip hop can change the world. These three inspirational leaders mobilize young people to become politically active. However as the stakes assume greater risks, the leaders are faced with challenges and have to make life-altering decisions that ultimately impact the course of their lives and of the hip hop movement.
Loira Limbal, Vee Bravo (2009) 56 Min
The Maysles Cinema
343 Malcolm X Blvd.
(Between 127th and 128th Street)
Mayslesinstitute.org
For Reservations:
Cinema@mayslesinstitute.org
or
212-582-6050
$10 Suggested Donation
Heal The Hood Breakdance Competition in South Africa
August 19, 2009 | Leave a Comment
Heal the Hood (www.healthehood.org) is putting on the First Ever All-African Breakdancing Championships in Cape Town next week, and the winning team will be sent to Germany to compete in the World Championships. Please consider purchasing tickets for youth and their family members who otherwise could not afford to attend. Each ticket is 50 Rands, which is the equivalent of a little more than $6. You can purchase tickets at http://www.computicket.com/web/event/african_hip_hop_indaba/18903599 .
