Sustainable development

Picture: ReelCreative Media

I am in deep thoughts meditating about the Grassroots arts festival way forward, its position nationally, and on the provincial level. Honestly there is great need for platforms like grassroots and they indeed are great spaces for networking launching new talent and granting coporates are more direct link with their targeted  audience.

There are more good that can come out of discussing graf than bad however on should not be naive grassroots as it stands is not a sustainable platform it will exhaust more personnel than it will get people motivated. The first mistake we did was deciding to make it a free for all event, this meant that the event is not self reliant. it is a welfare child. every time you do grassroots you run at a loss PERIOD!, no questions asked. how do you transport artist? people complain about the visibility and lack of marketing how do you decide between printing posters and securing a sound system? how do we accommodate and provide meals for the artists? 

Of cause all these are none of your concerns. You want a show and it ends there. All the other jazz is on the shoulders of the organizers. i feel that's where actually you come in how do you contribute to make sure that what you love continues on? How far would a R40 early bird ticket help to get the organisation going even if the funders who have not been so reliable involved? Be part of the movement make sure we do not stop. the more free everything the more quality and content dwindles.

Let me touch on the workshops. We have The Grassroots music summit where i feel key information gets shared SAMRO flies a delegate every year religiously to come, meet artists, share, clarify where its necessary. The numbers at the workshop will determine also if we do  continue or not because there will come a point where all these service providers feel that they do not see the returns on their investment and not send the delegates anymore. i have been approached by various music supporting agents who would love to come and touch base with the PE people. How do I begin to meet their wish when workshop or a music discussion is the last thing in the minds of the role players?

Sometimes even more strongly these days i feel what stands before the Eastern cape is not merely the resources but a mindset. in the part of all those that needs to collaborate energies to make it work they just not gelling. Government, private, artists, media everyone. sustainable development will only begin with each individual taking responsibility from fans to every entity out there.


The Mastabilda

In Conversation with The First King Mr. Soul Clapper No.1

Yahkeem Ben Israel is an emcee, an event coordinator, a community leader and an entrepreneur. With three projects, The Spirit Level, The one who builds and the classic Concrete Thoughts album under his belt, Grass Roots Festival on its third year and being the reigning South African Hip-Hop Award King of the Eastern Cape, Yahkeem is a man on the move, destined for greatness.

SOUL CLAP SESSIONS founder Nkqo managed to pin down the king for an online interview about his third consecutive nomination for the King of the Eastern Cape (EC) category at the South African Hip-Hop Awards (SAHHA) and also to chat about general key points concerning the Eastern Cape hip-hop scene.

Nkqo: Shalom king. Let me take this opportunity to congratulate you on your third consecutive South African Hip-Hop Awards (SAHHA) nomination for the King of the Eastern Cape (EC) category.

Yahkeem Ben Israel: Enkosi kakhulu kumkani. I owe you a phone call. I will do it ksasa ngomso.

Nkqo: Okay dope! Looking forward to the call. Yahkeem, mandiyitshay’ isaqhuma! This is your third consecutive nomination for the King of Eastern Cape by the South Hip-Hop Awards (SAHHA), meaning you have been nominated in all the SAHHA since its inception. I was even hard pressed to find that in other provinces. What makes you that head?

Yahkeem: I love what I do Nkqo. I don’t do what I do for nominations, I did it long before there was SAHHA, but I must say it inspires me greatly to have people on a national scale acknowledging my efforts. To answer you I simply do me.

Nkqo: In your opinion, how has the SAHHA contributed or assisted in the development of the EC hip-hop scene over the last three years of its existence?

Yahkeem: In my own experience it opened doors that would have not opened if it was not for the endorsement of such a professional and effective entity. On the grand scheme of things though, SAHHA on their own would never move anything on our behalf. We as EC natives must do things to develop our province.

Nkqo: What's your take on the fact that not even Ifani is nominated on the main categories? I mean by main categories, the ones that are determined by the public vote. What does this mean about Eastern Cape heads to the SA Hip-hop scene? Should we start to worry?

Yahkeem: Yes. I believe we need to worry, but beyond worry we need to put in work. We need to be visible. We need to kill it. We need to stop fighting amongst one another and leave the mentality of throwing mud on anyone who shows himself to be moving. Eastern Cape is not an island we need to push beyond the province.

Nkqo: I feel you kumkani ‪#‎handless‬. Ha! As the reigning SAHHA King of the EC, what would you say is the province's biggest obstacle? We obviously have the talent. What seems to be the stumbling blocks here?

Yahkeem: We do not empower ourselves with simple and basic knowledge an artist should have. We look so much at what others are doing and not to the detriment of our own movement/progress. We have scores of performers and arm-chair analysts and few workers who will dedicate their energy and time in uplifting the province. Where are the bloggers? Where are radio presenters? Hip Hop journalist? Promoters? Managers? Videographers? You name them. The focus is on being a dope rapper and that is not enough.

Nkqo: That makes some much sense. I personally question EC bloggers all the time. Actually I think it should be a crime if one is studying journalism in the Eastern Cape and claims she/he loves hip-hop, but she/he is not blogging about it just for fun or building up her/his profile. Ok cool, enough about what I think. Why should the Eastern Cape be seen as something special in this competitive South African Hip-hop industry?

Yahkeem: Eastern Cape is raw and untapped. It is rich in almost all elements of Hip Hop. Our rap is characterized by heavy content which is the direct influence of political history most activists that commanded and influence the rest of South Africa with their thoughts. Given enough push EC could represent RSA internationally.

Nkqo: Are you sure you are talking general here or you are really uttering about yourself. Hahahaha. This year you are nominated withTsviehloheem ThePrince, your former group-mate of Khululekani [Let my people free]. Will we ever see the legendary Khululekani together again on stage or perhaps on a recorded joint, nje for some dope reason?

Yahkeem: Honestly I do not have a definite answer for that question. I try to avoid talking about Khululekani. I do not want to raise people’s hopes and not deliver. I love Khululekani with all my heart, that’s all I want the people to know. KK made me.

Nkqo: Come on Mastabilda! If you can lead a province, one assumes the right to think you can lead a hip-hop group. Your last thoughts on KK?

Yahkeem: We decided to quit KK. We did not have time for the crew. We kept messing up performances due to lack of practise. The day where we can fully dedicate time to KK then maybe we can bring it back. But also we do not want to rule out that just maybe KK's time came and went. Everything in its season.

Nkqo: Sweet! What is leadership in your opinion?

Yahkeem: Leadership is Influence.

Nkqo: Ok chill! No need for perfect sentences. Hahaha. No jokes though, I agree with that ish like my grab agrees with the mic at a dope session.. Who would you like to have a business lunch with?

Yahkeem: Osmic. If not, the premier of the Eastern Cape.

Nkqo: Haha. Go figure or gold finger! Which artists would you take along to that lunch?

Yahkeem: Adon Geel; Luckeez and WordsUntame

Nkqo: If you had to advise the MEC of Sport, Arts and Culture, what would you highlight?

Yahkeem: EC is talent rich and the continuous Provincial Brain drain is killing The Province. As part of their job creation drive they should never neglect the arts.

Nkqo: What is it that you love about the province, beside its talent in music?

Yahkeem: It is not over saturated. You still can connect with nature and the people. I love EC, it’s chilled.

Nkqo: I don't know if you've been to the Wild Coast, it's one of my favourite parts of the Eastern Cape. In fact, next time we host Soul Clap Sessions in Coffee Bay, I would be honoured if you would headline the line-up. What say you?

Yahkeem: I would be humbled and honoured to headline such an event. I have deep respect for Soul Claps; they have invigorated what was formerly known as the border region. It would be my first time also to the wild coast. So let’s do it.

Nkqo: It’s a deal king. Now, can you tell us something we do NOT know about the Grass Roots Festival?

Yahkeem: It is literally something from nothing. Graf might be the answer to most of the things EC Hip Hop been lacking on.

Nkqo: Can you tell us something we must know about the Grass Roots Festival?

Yahkeem: Grassroots Arts Festival bridges the gap and seeks to introduce the EC to the rest of South Africa. This year we will have the most improved Grass Roots Festival.

Nkqo: Why is the history of Urban Connection sessions important to the Eastern Cape hip-hop scene going forward?

Yahkeem: God! The Urban Connection! My man the significance of that history cannot be expressed properly in words. It introduced us to one another, it was a hub for creatives, it was an engine, a healing space, our escape, if there was ever a time when just being in a session was important it was that time. It was a spring board for movements across EC. Urban Connection renewed our hope made us believe in the Eastern Cape. Every dope emcee from EC has been there.
I don’t know if I answered you but you just took me back.

Nkqo: Yeah darkie yam! hahaha! Good memories indeed. Now we are in leadership positions and still shaping the Eastern Cape hip-hop scene. Can you name 5 rappers to lookout for in the EC?

Yahkeem: Automatic, Peace Avenue, Bliss, Static Flo and I met two cats at the Soul Claps on that abstract flow.
A special shout out to Blaqseed, Mr Douw, Nomsiki and Poetic Rebellion.

Nkqo: Word! Since we are now shouting out, I might as well tag my homeboys, Rhyme Related. What's up OIL, D Raw & Viking, Lush, I can go on forever. Which artist are you gonna be collaborating with next? Why that exact artist and why that specific producer?

Yahkeem: We are at the studio currently working on Builders Digest an album we are releasing next year. As for now we have worked with Cush Solomon, Adon Geel, Subz, War Snare, and other awesome producers. We have Naked Eye, Bonafide(LDF), Ranto, Nqontsonqa, Asanda Bam, Smerf, Bella, Love child and we are still working. I worked with these individuals because they are gifted and they respect their craft.

Nkqo: In your opinion of course, can you drop me 5 dope hip-hop producers in the EC.

Yahkeem: Top Shayela | Beatology | Adon Geel | Cush Solomon | Mr Measure | Myth

Nkqo: Which EC hip-hop deejay brings the house down for you?

Yahkeem: Kenichi is crazy with it. Adon Geel and Ms Jay are too smooth, Simone was a beautiful surprise, Subz and Beatology are brave. Everything is about the mood and concept. RIP Dj Miles

Nkqo: Ok cool, back to the awards. When we met in both the last SAHHA, exactly the same two thoughts kept coming to my mind. One, "****, this king keeps getting taller and taller, and two, this brother doesn't only look dope, but he represents the Hebrew Israelites Nation with proud and honour. Who designs your dope outfits?

Yahkeem: LOL that’s what you thought? LOL this cracks me. My wife is my stylist.

Nkqo: What do you say to critics who state that Grass Roots Festival is another Port Elizabeth event with Yahkeem's friends from J - Sec?

Yahkeem: I do not have to say anything to them. Nkqo abantu bakuhlala bethetha. If anyone thinks what I am doing is not fully representing then let them initiate something that will represent the way they hope Graf should represent.

Nkqo: Solid! Any last words to the heads?

Yahkeem: Keep it moving. Do you! Don’t complain. No one owes you anything. A dope script won’t sustain you.

Nkqo: "A dope script won't sustain you", I hear you. Oh well, that brings us to the end. Thank you so very much Yahkeem. Send my respect to your wife and kids for allowing me to borrow your attention. By the way, I think your oldest daughter has beautiful bright eyes. ‪#‎future‬ ‪#‎nations‬ ‪#‎health‬‪#‎wealth‬. I give thanks kumkani. Dope claps.

Yahkeem: Thank you for the opportunity that you have given The Mastabilda to connect with the Soul Clappers. My wish is that we all learn from one another and elevate our push beyond Eastern Cape. We need those who are not necessarily artists but believers of what we do to go to school come back and occupy key positions in relevant structures and organisation and help us push from inside. We sometimes pitch ideas to people who are totally ignorant of the texture of our art. We need an inside man. Shalom Shalom.

The 3rd annual Grass Roots Festival is on the 5th – 7th December in Motherwell NU2 stadium. Hip-hop lovers from all over the country, especially in the Eastern Cape are invited to be part of this hip-hop festival. Line-up to the Grass Roots Festival will be announced soon.

Follow Yahkeem Ben Israel on these links:
soundcloud.com/yahkeem
mp3twit.com/j6x
http://youtu.be/8mmogcFBBNs
http://youtu.be/8XMms8D4JYU

A Concrete Thought review by Ncedisa Mpemnyama

Yahkeem Ben Israel and Mama Iris Mqotsi.

An award winning luminary in the Eastern Cape hip-hop scene, Yahkeem Ben Israel is a highly respected lyricist who has been among a few who have withstood the rigors of time in an art form that breeds despondency. He is a proponent of what he and his colleagues call “Truth Music”, a sub-genre which seeks to return hip-hop to its prophetic tradition; a tradition which has been waning since its incorporation into capitalism.

Yahkeem has recently released an LP called Concrete Thought. A twenty track blitzkrieg that uses hip-hop as a lens to assess what this country is and is not. From track one titled in-throw, which ends with a visceral speech from what sounds like Khalid Muhammad, the temperament is an in your face, no holds barred reckoning with black life. In the song, Yahkeem says “zihlabana nje ziyalamba/ wonke lombhodamo uzalwa luphango”. Here he utilizes a Xhosa idiom which speaks of cows in a kraal that fight among themselves because of hunger. This hunger is what Concrete Thought is about. A meditation on why there is so much internal conflicts amongst blacks and equally why they (blacks) reside away from respectability as a race?

The album also functions to raise awareness on the life and times of one Livingstone Mqotsi, an educator, lawyer and author; a veteran of the Unity Movement and a committed anti-apartheid community leader who died dissatisfied with how the lives of the people he loved remained relatively untransformed after the advent of democracy. Apart from the mediocre song dedicated to his memory, you are left thinking, shouldn’t the LP have probed more on this remarkable revolutionary? I feel more needed to be done in the album in order to popularize his ideas. The song is more biographical than ideas-centered, unlike what the leader of Unity Movement, I.B Tabata once demanded of those engaged in the struggle against apartheid. The Unity Movement which Tabata and Mqotsi were a part of thoroughly respected ideas and I had hoped to get this coming out clearly with the song in question.

There is an interesting language conundrum which seems to make itself into a problem for the artist in question. The old colonial versus indigenous language tension, which often burdens the artist. With a song like indaba kwamkhozi for example, which is the strongest joint in the LP, Yahkeem sounds at ease with regards to delivery. On the song he sounds like an old erudite man dispensing oral stories around a fire whereas on some English songs like same cause he sounds unsure and lacks the conviction of indaba. This is a problem that will continue to afflict South African hip-hop for a long time until it is clearly and completely decolonized.

https://www.youtube.com/watch?v=8mmogcFBBNs

Black artists representing the cultural wing of the Black Power Movement, i.e. the Black Arts Movement were already wrestling with this problem of decolonization of the arts in the late 1960's. Larry Neal, one of its prominent members, had this to say about this issue in his well-known essay, (Black Arts Movement by Larry Neal), "It is the opinion of many black writers, I among them, that the western aesthetic has run its course: it is impossible to construct anything meaningful in its decaying structure. The cultural values inherent in western history must be radicalized or destroyed, and we will probably find that even radicalization is impossible."

What this means is that we have to decide at some point, do we stop hankering for inclusion in the dominant white value system or do we seek to reject them and construct a new value system as Biko intimated long ago?

This debate is the most important aspect of Concrete Thought. Apart from the stunning musicianship which drips from every well-conceived song, what differentiates it from most LPs coming from the margins of the music industry is its strong revolutionary themes. Most ‘conscious’ art these days resides at the ‘protest’ level. The grotesque thing about ‘protest’ art is that it seeks recognition and inclusion in the dominant structure. It is not for the total transformation of the system in order to allow equal access for all according to merit.

From the onset Yahkeem eschews protesting. He seems to be listening to the poet Etheridge Knight’s acerbic criticism of protest art which functions like a sharp assegai stabbing the body of western aesthetic. Knight puts the problem thusly, "now any black man who masters the technique of his particular art form, who adheres to the white aesthetic, and who directs his work toward a white audience is, in one sense, protesting. And implicit in the act of protest is the belief that a change will be forthcoming once the masters are aware of the protestor's ‘grievance’ (the very word connotes begging, supplications to the gods). Only when that belief has faded and protesting end, will black art begin".

The LP has its moments of weakness, like the rigid nationalist world view with its homophobic rants of rejecting ‘sodomy’, and the naivety inherent in songs like come out of here, where the artist wants to drag misguided brothers and sisters out of the hell-hole that is racist capitalism, as if it’s that simple. This is naive in that there is no free zone or space within capitalism, what you have only are the systems’ inner contradictions which when destroyed can offer a new world.

What one gets to confront after the 20th song of a rather longish LP is the realization that here is an artist who is done with protesting and is on the road towards the creation of black art, the only art with an aesthetic that can still offer the whole redemption. Yahkeem’s Concrete Thought is a must have, Shalom Yahkeem!

You will find the review by Unathi Slasha on the same album interesting:

http://www.yahkeembenisrael.blogspot.com/2013/03/concrete-thought-review-penned-by.html

Concrete Grind Review by Thandikhaya Mzozoyana

 

On 7 of July, 469 Bar Lounge was the place to be for PE hip hop heads. The Grassroots Arts Festival presenting the Concrete Grind show for the third time this year. The last two show brought us Projektah from east rand and Naked Eye from the Vaal. With this one i guess Yahkeem and his team figured they should go big or go home. The BeatOven and Yourlokalhead inclusion on the line-up promised to be a memorable show.
With Adon Geel stuck in Grahamstown, Yahav was left to make lyrical marathon for the Sons of Law set. He delivered and did not disapoint but Geel was missed. When is the album dropping? The BeatOven mixed a head banger set after Yahav's food for thought lyrics. The combination of the Two Headed Monster and X-LYRICIST was lethal. X-LYRICIST is a lyrical genius and cats must watch out 'cause "it's the rise of the LYRICIST". Storm got on stage and pleased the crowd and what is a Storm set without the 'THUNDER STORM PLATFORM'. During the i...nterval Dj Sebs of KQ fm dropped a soulful mix on the decks. Highlight of the day was when Kubl5senses gave his students, Nyikima and Pythagorhymes, the mic. Nyikima and Pythagorhymes ripped the mic to shreds and suprised the shit out of me and everybody else. Kubla felt the heat of being outdone by his own proteges, so he took the last leg and killed. The Grand Finale remix put a lid on an epic perfomance. Can Yourlokalhead and The BeatOven top that? That was the question.

The BeatOven is not any ordinary deejay, he's a live perfoming deejay. Yourlokalhead's command and manipulation of the crowd was amazing. Yahkeem was under pressure but delivered as always.
"The success of a show is not the quantity of the audience but the quality of the sound" those are the words of the Mastabilda. The sound was crisp, the mics were perfect. The bouncer minus the three piece suite was Ohayv a.k.a the love writer himself. The only disapointment was when we was told, 'IPHELILE'. ‪#‎PEACE

Malcolm X Autobiography as told to Alex Haley

Alex Haley is the most amazing African writer to have ever lived. There would have never been a better qualified individual to capture and reflect accurately the life and time of the giant Malik El Shabazz.

The book oozes with inspirations, intense emotions and motivation for black people in particular. It is so graphic you won’t help yourself but feel you knew Malcolm X personally.

 

The Lesson I extracted from it was that History Controls Destiny. How?

 

Malcolm growing up has no special life or extraordinary upbringing. He was a typical black child faced with adverse conditions brought forth by the illusion of white supremacy. The assassination of his father worsened matters driving his mother into insanity. One thing that had a negative impact on the Little’s, as a family they had to be separated due to his mother being institutionalised.

 

From that point on the road was strictly downhill, deteriorating by the second. Malcolm was moved to one of their elderly sisters in the city; just imagine a rural boy fascinated by city trinkets. Blinded by the city lights he got heavily involved in drugs, prostitution, and crime in general. He was the man in the streets, man of many names that sought to describe his street smartness.

The turn-around, his awakening was strangely brought by his incarceration. With the inspiration he got from his blood brothers who were now fervent followers of the man that was introduced to him as a lamb and a messenger of Allah, Elijah Muhammad.  He begun to study and read himself into sanity. He explored The History of Black People, Extensive European history and mythology, plight of black people, black traces in the scriptures, ancient black civilizations, etc. 

 

The Connection of Black people to grandeur, greatness and splendour changed his perception of himself, his environment, the world and his role as a black man. He rose from the ashes, the lowest pits, the depths of wickedness and sin to be amongst the most influential Black figure in the History of life.  He did that with no formal education, he became one of the first so called ex-con’s to rehabilitate them through study and hold public lectures in the finest institutions of higher learning. His life and transformation redefined Educatedness and questioned the need for formal education as it stands currently.

 

Malcolm X epitomizes evolution. He was born Malcolm Little, transitioned and conquered the world as Malcolm X, and was Malik El Shabazz at his exit. Each of these figures has their own individuality and tone of Voice.

Grassroots arts Festival 2012

 

Grassroots arts festival is something from nothing. you can get in contact with them by emailing grassrootsartsfestival@gmail.com

Indaba Kwamkhozi Video Remake 12 May 2013

Wehad an amazing time today shooting a music video for the viral Indaba kwamkhozi song featuring Phira and Adon Geel on the beat. Peace to Reel Creative Media and The Hebrew Kollective.

For More information you may contact us at grassrootsartsfestival@gmail.com

Pictures courtesy Makhi Concepts