Articles tagged with ‘Language and hip-hop’

• Peacefender

  Peacefender is a sound artist and hip-hop producer of Lebanese background who has been working in western Sydney for 20 years. He formed C.O.D. in the early 1990s, and did production work with veteran Westside group Def Wish Cast, among others. He was also a key figure in Death Defying Theatre’s 1995 Sydney Community hip-hop project Hip-hopera, and has run numerous hip-hop workshops with young people of non-English speaking backgrounds at the Liverpool Migrant Resource Centre, Bankstown Youth Centre and elsewhere. With Information and Cultural Exchange (ICE) in Parramatta he has co-ordinated exhibitions and workshops with Australian visual and sound artists of Arabic background. He has done sound installations, hip-hop workshops and visual arts projects in Sydney, Beirut, and Berlin. He has also released several CDs of his own work and compilations of hip-hop by young people of Arabic and other backgrounds, including Unit 5 Welcome You to the Camps, recorded in Arabic in Beirut with Palestinian refugees. In this interview, Peacefender talks to Tony Mitchell about running workshops, combining hip-hop with theatre, visual arts and sound design, and using hip-hop within Sydney’s Arabic speaking communities.

  Tags: Arabic hip-hop, youth work, juvenile justice, Hip-Hopera, multiculturalism, Western Sydney, workshops, community work, Interviews

• Sereck

  Paul Westgate, also known as Sereck from Def Wish Cast and as the graffiti writer Unique, has been involved in the hip-hop scene in Australia since 1983. He was a key figure in the western Sydney hip hop scene, and Def Wish cast produced what is acknowledged as the first Australian hip-hop album in 1993,Knights of the Round Table, which included the track ‘A.U.S.T. Down Under Comin’ Upper’, the video clip of which has become an anthem of early Australian hip-hop. Sereck also narrated the first Australian hip hop documentary, Basic Equipment, in 1996, and later formed a record label named after the program. After going their separate ways in the two crews Celsius and Kilawattz, Def Wish Cast reformed in 2001 and released their second album, The Legacy Continues, in 2006.

  In this interview Sereck reminisces about the early days of western Sydney hip-hop, the emergence of Def Wish Cast, their style and the people they represented. He also talks about his interconnection, via train travel and graffiti, with all the others local scenes in Sydney (Burwood, Campsie, Ryde, Redfern, etc).

  Tags: MCing, self expression, independent record labels, Hip-Hopera, Interview Transcript, Stealth magazine, production, graffiti, Western Sydney, cultural identity, vernacular, masculinity, Interviews

• Sonic Allsorts (Review)

  A review of the Cyclic Defrost compilation Sonic Allsorts published in Music Forum.

  Tags: globalisation, Tony Mitchell, Music Forum reviews, multilingualism, hip-hop and migrant experience, cultural identity, hip-hop and folk music, multiculturalism, Press & Media

• 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

• The DIY Habitus of Australian Hip-hop: Embodied Histories, Community and Scene

  If habitus is regarded as ‘deep seated generative principles of thought, perception, appreciation, and action’, this ‘fit’ seems eminently applicable to the ‘embodied history’ of hip-hop subcultures and the expression of their ‘objectified history’ in practices such as recording, performing, internet interaction, music journalism, and independent radio and television broadcasting.

  This paper, originally published in Media International Australia, looks at the Australian hip-hop culture in terms of its do-it-yourself ethos, which is, in part, a result of a lack of support from the commerical record labels. Tony Mitchell here discusses the artists, groups and independent labels that have championed this DIY ethos and have built a community of practice outside the mainstream industry.

  Tags: localising hip-hop, community radio, authenticity, independent record labels, Tony Mitchell, Aboriginal language hip-hop, DIY ethos, Pegz, Elefant Traks, Obese, Hilltop Hoods, Koolism, Reason, Indigenous hip-hop, Conference Papers

• The Sun Never Sets (Review)

  An review of The Herd’s third LP The Sun Never Sets by Tony Mitchell, published in Music Forum.

  Tags: Tony Mitchell, Music Forum reviews, multilingualism, protest songs, Elefant Traks, politics, Press & Media

• Wire MC

  A fascinating discussion with the articulate, pugnacious and vibrant Wire MC. In the interview, Wire uses the lens of hip-hop to zoom in on Indigenous cultural practices, history and colonisation, identity and community and avoiding being a reconciliation poster boy – all from a relentlessly contemporary viewpoint.

  Tags: Redfern, Aboriginal language hip-hop, community work, Indigenous hip-hop, Sydney, workshops, Interviews