Articles tagged with ‘breakdancing’
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2nd Generation Migrant Expression in Australian Hip-hop
“Lebanon ain’t got no money, but there’s no land more greener, So proud to be a child of the cedar. Some Aussies can’t believe it when I look ‘em in the face. Proud to be a wog, I mentally laid them to waste. They say ‘But wait, you’re Australian’. ‘You wait and stop your speaking, I am, but I’m descendant from Phoenicians.’ … What we gotta do is not forget our culture, Yallah my brother, your culture given from Allah, remember your history, it helps you work harder, Helps you respect more your mother and your father, Your parents or grandparents came from another land, You might be Australian now but it’s not your mother land.”
– Sleek the Eilte, ‘Child of the Cedar’
This essay focuses on 2nd generation migrant hip-hop artists including MC Trey, Maya Jupiter, Sleek the Elite and Hau from Koolism and their distinctive use of hip-hop as a tool of expressing their status of being in-between their ethnic heritage and Anglo-Australian culture.
Tags: Maya Jupiter, MC Trey, hip-hop and migrant experience, Sleek the Elite, self expression, Tony Mitchell, localising hip-hop, multilingualism, multiculturalism, South West Syndicate, Curse ov Dialect, Downsyde, Western Sydney, TZU, Koolism, breakdancing, Hau, Conference Papers
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Aboriginal Hip-hop: a modern day corroboree
This is my lyrical healing. I can’t go and get scarred any more and I can’t become a traditional man. I’m a modern day blackfella, this is still Dreamtime for me. Hip-hop is the new clapsticks, hip-hop is the new corroboree.
- Wire MC
This paper was given at the Hip-hop meets Academia conference in Chemnitz, Germany, in August 2006. It is a longer and more developed version of the essay published in Meanjin’s ‘Blak Times’ issue in 2006, and draws on all the Local Noise research and interviews with indigenous hip-hop artists.
Tags: Lez Beckett, South West Syndicate, education, Klub Koori, Aboriginal language hip-hop, Tony Mitchell, Local G, Brotha Black, Munkimuk, Morganics, language, Western Sydney, Wire MC, workshops, breakdancing, community work, Indigenous hip-hop, Local Knowledge, Conference Papers
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Australian Hip-hop as a Subculture
Originally published in the journal Youth Studies Australia
Tags: authenticity, MCing, independent record labels, four elements, Tony Mitchell, subcultural theory, community radio, graffiti, Sydney, DJing, breakdancing, Conference Papers
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Crytearia
Crytearia is a producer and sample-based, instrumental hip-hop and electronic music artist who lives in Hobart, Tasmania. He has made two albums, Create (2003), and LandScrape (due to be released in late 2007). LandScrape features rhymes from Tasmanian MCs Tempest, Crixus and Thorts. In this interview, conducted by Tony Mitchell at Crytearia’s house in Hobart, Crytearia talks about getting into hip-hop via breakdancing at high school, the Hobart scene, crate-digging and beatmaking, his time in Italy and Italian hip-hop, and his love of the French language and French hip-hop.
Tags: independent record labels, Hobart, multilingualism, breakdancing, sampling, instrumental hip-hop, Interviews
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Indigensing hip-hop: an Australian migrant youth culture
“…far from representing the loss of Australian national identity in the face of global capitalism, Australian hip-hop artists are engaged in the project of attempting to build a multicultural national identity in place of a racist monocultural model that is now gaining strength in Australian national politics.”
- Kurt Iveson
Published in Melissa Butcher and Mandy Thomas’ (eds) Ingenious: emerging youth cultures in urban Australia, this essay discusses, from a Sydney perspective, the history of hip-hop’s localisation in an Australian context. In particular, the essay looks at ways in which ethnic and migrant youth have used its naturally syncretic form to express a hybrid sense of self and place.
Tags: globalisation, localising hip-hop, Hip-Hopera, Tony Mitchell, MetaBass ‘N’ Breath, multilingualism, multiculturalism, Western Sydney, 2SER, breakdancing, Indigenous hip-hop, Conference Papers
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Lazy Grey
We caught up with Lazy Grey backstage at the Big Top in Luna Park, as part of the Park Jam hip-hop festival. Lazy was very welcoming and humble in his manner as he talked about his influences and growing up in the early days of the Brisbane scene, and the role of graffiti and breaking in this early gestation of hip-hop in Australia. His also spoke of tape culture and 80s influences from America. Whilst always humble, Lazy is also very much a straight talker, articulating excellently his views on the rise of Australian hip-hop, being a product of one’s environment and the different vernaculars in Australian cities. He touched on (of course) the accent debate, but also discussed the role of swearing in ordinary everyday language, hip-hop and masculinity, and the complexity and contradiction of patriotism and flag-waving in relationship to hip-hop. Having just released his first fully-fledged album, Banned in Queensland with Crookneck records, he talked about the making of the album.
Tags: masculinity, vernacular, Ken Oath, Bias B, Brothers Stoney, patriotism, breakdancing, graffiti, Lazy Grey, Brisbane, Crookneck Records, Interviews
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MC Que
We met up with MC Que on Brunswick Street in Fitzroy for dinner and an interview whilst we were in Melbourne in 2005. Que told us about the way she first heard hip-hop through the tapes her sister’s brought back from trips to the city, and then plugging into the underground Australian scene through radio and going to gigs. She spoke about the genesis of the film All the Ladies, and her 15-member crew Ladies Love Hip-hop, as well as a much more broad-ranging discussion about being a woman in a male-dominated hip-hop culture, dealing with discrimination and supporting women in hip-hop. Que also spoke about the strong link between her ethnicity, marginalisation and her connection to hip-hop as an alternative to the Anglo-centric mainstream pop scene.
Tags: cultural identity, breakdancing, MC Que, Ladies Love Hip-hop, DJing, workshops, women in hip-hop, Melbourne, All The Ladies, graffiti, Interviews
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Morganics
We caught up with Morganics for a quick interview at the Sydney Opera House before a performance of Morganics and Wire’s two-man hip-hop theatre show Stereotype. Morgan talked to us about the evolution of the show, the relationship of both black and white to lineage and a real sense of connection to the songlines and bloodlines of place. Morgan also discussed the crossover between hip-hop and theatre and the richness of what both forms have to offer each other. The theatrical roots of MetaBass N Breath were also discussed. Morgan also talked about the constant travel and rigours of life on the workshop trail; the great value of workshops and the issues of setting up facilities that will be of lasting effect in the communities, like recording studios.
Tags: beatboxing, theatre, MetaBass ‘N’ Breath, community work, Indigenous hip-hop, Sydney, workshops, breakdancing, Interviews
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Munkimuk
This interview with Munkimuk, often refered to as the grandfather of Aborignal hip-hop, took place backstage at Sydney Uni’s Manning Bar, before the inaugural Klub Koori gig in 2005. This gig was a watershed, bringing together almost all the most prominent Indigenous hip-hop artists for the first time. Munkimuk talked exuberantly about his 20 years in hip-hop, from the early days in Bankstown and Redfern with South West Syndicate to the release of his debut solo album, called Ten Years Too Late. Munki talked at length about his many adventures into the desert to use hip-hop as a tool of self-expression, especially in Aboriginal languages. Munki also spoke about his time working for the education department and his unconventional but wildly successful methods of enthusing kids to learn.
Tags: Redfern, education, South West Syndicate, Aboriginal language hip-hop, Munkimuk, community work, Western Sydney, workshops, breakdancing, Indigenous hip-hop, Interviews
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Survival Tactics (Review)
Survival Tactics, a hip-hop theatre show created collaboratively by Morganics, Nick Power, Wire MC, Sista Native, Maya Jupiter and BBoy Jay (Wikid Force), was performed in Melbourne (ArtsHouse 18-21 July), Brisbane (Powerhouse 25-28 July) and Sydney (Opera House Studio 8-11 August). This review by Tony Mitchell was published in Music Forum.
Tags: four elements, Hip-Hopera, Tony Mitchell, Music Forum reviews, MCing, multiculturalism, graffiti, breakdancing, theatre, Press & Media
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Te Kupu
Te Kupu is a founding member and MC of the Maori hip-hop crew Upper Hutt Posse, who have been on the scene in Aotearoa since 1988. Upper Hutt Posse have recorded hip-hop tracks in Maori language, and are a strong political voice for Maori cultural, linguistic and historical autonomy in New Zealand. They have toured Australia a number of times, performing with Indigenous crews in solidarity. Their most recent trip was in October 2007, when they played a gig at UTS with Aboriginal hip-hop artists in support of Australian Indigenous communities affected by the Australian Federal Government’s controversial intervention. We talked to Te Kupu before the gig, and he spoke about his rapumentary project, Know Your Links, in which he is filming hip-hop in twenty different countries, Maori language hip-hop, politics in Aotearoa and his wariness at the New Zealand ‘Kiwi’ identity.
Tags: New Zealand, Aotearoa, Maori language, Maori hip-hop, postcolonialism, Maori culture, Interview Transcript, gangsta rap, politics, language, breakdancing, battling, MCing, multilingualism, Interviews
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