The term hip-hop properly encompasses far more than the cartoon cliches of gangsta rap, and Hampshire College's Hip-hop Collective is a good example of why a broadened definition has taken hold. The group, a Hampshire student organization, believes hip-hop culture includes "performance artists (DJs, MCs, b-girls/b-boys, poets), visual artists (graffitti artists/muralists), multimedia artists, cultural workers/community activists."
This week, the group offers, for the second year, a showcase of female hip-hop performers, including MCs, bgirls, DJs and poets. The event, La Femme Expression, is a rare chance to see some high-caliber hip-hop talent for only two bucks. Performers include Rokafella, Letia LaRock, DJ Nomadik and DJ Sabine. Rokafella and her husband Kwikstep are co-founders of Full Circle Productions, and Rokafella is a widely-known b-girl who has worked with the likes of Will Smith, Mariah Carey, LL Cool J and Tito Puente. She also fronts a band called Revolutions Per Minute. Letia LaRock is a Boston-based MC and vocalist who's appeared on UPN's Showtime at the Apollo. Nomadik is also a big name in Boston, where she's hosted radio shows and done residencies at clubs all over the Greater Boston area. DJ Sabine regularly hosts events in Brooklyn, where she mixes a powerful brand of dance music based on "African diasporic" sounds (including music from her own Haitian roots).
We spoke to one of the co-founders of Hip-Hop Collective, I-SHEA, about La Femme Expression. I-SHEA is artist in residence for the Latino Breakfast Club's Teatro Vida in Springfield. She has also worked with Project 2050 and teaches music at a Springfield elementary school.
Valley Advocate: What would you say is the “root essence of the hip-hop culture,” which the Hip-hop Collective mentions in its statement of purpose?
I-SHEA: We believe it is about community organizing and bringing people together that share the same movement of preserving a culture that deserves to be respected. Hip-hop was born in the South Bronx where poverty stricken neighborhoods struggled with limited resources, which consisted of a lack of jobs, poor health care, poor school systems, homelessness, and much more. … Hip-hop came from the streets! It came from block parties with DJs on the ones and twos, MC battles, break battles, parties, kids playing, and boogie-down bodegas blasting salsa and hip-hop tunes in the late ’70s. Hip-hop is all about choice. Its about rebelling against the oppressor, which meant finding forms like these to express daily living situations.
You also refer to “white media”—how do you define that term?
A mass media controlled by people who decide what image of hip-hop they want to portray to the public eye. For example, the degradation of women in music videos or in the actual music, masculinity roles representing all males regardless of race as self-absorbed, ignorant tough guys rocking blood diamonds that our very own people die for today. These images have stereotyped the listeners and viewers of this beautiful art form as no better than the ones who represent hip-hop, and [who] have fallen into its corporate conundrum. Black Entertainment Television is owned by Viacom. The Source magazine has never had a black CEO. B.E.T. is basically an MTV.
Hip-hop is at a different state of mind. We all know that Nas in May 2006 stirred up the scene with his album title, Hip Hop Is Dead. Hip-hop communities woke up and realized it was time to organize again. In response to the need to advocate the revitalization of creativity and education, Hip-hop Collective was born in September, 2006.
The Pioneer Valley is in fact full of underground hip-hop educators/activists/artists/cultural workers from the airwaves and press to parties, artist groups and organizations. The 5th Pro show and TRGGR Radio show on WMUA, Indastreetz Magazine in Springfield, Conspiracy Theory Entertainment, DJ Wreckineyez, Masspyke, Buke BadNewz, CTN (Comparable to None), Tooly and Mokeout of Hardtime Records, New World Theater’s Project 2050, Ceremonial Masters, Gator Entertainment, Culture Shock, Communities Against Hate, Hip-hop Collective [I-SHEA, DJ Henry C and Kamil Peters], The Performance Project, Gumbo Live!, and the list goes on.
Are female DJs and performers under-represented in hip-hop?
Well, yes and no. There is a misconception that females can’t play the drums as men can, that “it is better to get into popping and locking” than breaking, that females can’t demonstrate the rawest of all forms in breaking on the floor as men can. There is this wide notion that only men can have “real” love for hip-hop, just like only men can have “real” rapping skills. You generally see one female MC on a hip-hop collaboration mix tape, and the rest of the hip-hop artists tend to be male. In a way, this is not because of under-representation, but more because there are fewer women in hip-hop than men, period.
I must say that women do get more attention than men in hip-hop due to the fact that there is a limited few representing, and when I [say] representing, I don’t mean those women who fulfill the roles of video vixens. MC Lyte and Queen Latifah were holding it down before Salt N Pepa took over the spotlight and changed the scene with all that sex talk. I believe this was the beginning of the changes in women in hip-hop.
It has been a battle of sexes since it’s been a predominantly male game, and women involved don’t get as much hype (due to the competitiveness) as men do. So a female hip-hop artist has to lead by example; to be as authentic and creative as possible and be able to draw crowds’ attention. … However, the number of females in the hip-hop realm worldwide today, in my opinion, has risen, from event organizing, to spittin’ fiery lyrics, and DJs cutting/scratching on tracks, to b-girls busting moves, posing smooth stances and creating fly visuals that all represent the reflections of everyday struggles and determination to move forward, becoming independent artists creating our own social networks worldwide, and running our own businesses/organizations.
How did you choose the performers for La Femme Expression?
Hip-hop Collective makes a collective decision as to which artists to feature for our events, especially the spring semester parties at Hampshire College (La Femme Expression and Bridgin Da Gap). We chose these women because they are an intergenerational group of women hip-hop artists (those from the pioneering age of hip-hop to present), preserving the culture and providing a positive role model, especially for our young women out here.
DJ Sabine and the
African Diaspora
DJ Sabine is one of the featured performers for La Femme Expression, and spins an intriguing brand of music borrowing from electronica, hip-hop and music of the African diaspora.
Valley Advocate: How did your production company, Oyasound, come about?
DJ Sabine: As a young girl I was always intrigued by art, particularly music and poetry.As I became a DJ/producer, I wanted to give homage to the power of word and sound. It is rarely encouraged for females to be DJs or producers. I wanted my music to reflect the power of female expression and my cultural heritage. In my cultural and spiritual research I found information on the Yoruba Nigerian goddess Oya. She represents transformation, ancestors and warrior women. So I decided to call my craft/music Oyasound.
What should people expect to experience at one of your events?
Pure, deep, uplifting, soulful vibes.
How did you start DJing?
I was a house dancer first. Being a DJ was a natural progression. I like doing both just the same… both are strong forms of self-expression for me. I started to collect music that wasn’t mainstream I liked to dance to and [which] moved my spirit. I then wanted to share that positive energy and vibe with others through DJing.
Do you have a dayjob in addition to DJing?
During the day, I am a substitute teacher, run a Rites of Passage after-school program for girls, and am a holistic health practitioner.
Your mixing employs all kinds of unusual things—where do you look for the pieces you use?
In my mixing I infuse electronic/house/dance music with traditional music… it can range from traditional Haitian, Cuban, African, indigenous chants/rhythms to spoken word to dub to soul classic a cappellas.
Do you think it’s different to approach DJing as a woman?
Music is a human expression and connection. Both men and women bring a specific energy and beauty to DJing. I believe that as a female DJ I bring out the innate, intuitive nature of sound. I honor my ancestral rhythms and seek to be the keeper of that sound. I am not afraid to fully embrace my musical heritage and exhibit it to the world. I am part of a cultural movement in House/dance music where ancestral rhythms are infused with futuristic sounds.•
La Femme Expression takes place at 9:30 p.m. on Saturday, March 8 at the Red Barn, Hampshire College.
