This conversation with Rock the Mic winner, and Cape Town MC Klein Fortuin took place at the Trinity International Hip Hop Festival at Trinity College in Hartford, Connecticut in April 2018. Klein Fortuin won the Rock the Mic competition held by Heal the Hood, a Cape Town based hip hop community organization.
In the conversation Klein Fortuin talks about his career and hip hop in the Mitchells Plain township in Cape Town, South Africa, which is home to a legendary hip hop scene and the birthplace of South African hip hop. Klein Fortuin talks about what makes that township such an epicenter for hip hop culture in South Africa.
Klein Fortuin also talks about his win in Heal the Hood’s Rock the Mic competition and commercial and underground rap scenes in South Africa.
Klein Fortuin is on SoundCloud (https://soundcloud.com/klein-fortuin) and Facebook (https://www.facebook.com/kleinfortuin/)
This episode, South African hip hop scholar and sociolinguist Dr. Quentin Williams discusses his new book Remix Multilingualism: Hip Hop, Ethnography and Performing Marginalized Voice (Bloomsbury Press).
Dr. Williams is a Senior Lecturer in the Linguistics Department at the University of Western Cape. He has published papers and book chapters on the performance of multilingualism, popular cultural practices (specifically Hip Hop), agency and voice in urban multilingual spaces. In addition to the book we’ll be discussing today, he is also currently editing the book Kaapse Styles: Hip Hop Art & Activism in Cape Town, South Africa.
Dr. Williams has been writing on language and hip hop in South Africa for several years, and has extensive credibility within South Africa’s well established hip hop community. Dr. Williams’ research and work has also made valuable contributions to the field of linguistics.
In this interview we discuss the book, Dr. Williams research on South African hip hop, and ultimately his place as a Coloured man from the Cape Flats in one of the oldest and largest hip hop scenes in Africa.
6:24 – Being a hip hop sociolinguist & self reflection in the book.
7:50 – The arena of freestyle rap battles
11:35 – His work with the group Suburban Menace
16:05 – Hip hop research and scholarship, & the responsibility to the subjects of the research
22:43 – His experiences in the Cape Flats township of Bishop Lavis during hip hop’s days of hip hop, during the last years of the anti-apartheid struggle
29:10 – Relationships between Black & Coloured hip hop heads
38:05 – Different hip hop language varieties in South Africa
39:40 – Braggadocio, and its place and purpose in hip hop
45:00 – Masculinity & toughness in hip hop
49:24 – Dr. Williams concept of “Body Rap”, respectability politics, the pornification of hip hop culture, & rape culture within hip hop culture*
58:12 – Women navigating masculine hip hop spaces
1:07:44 – The diverse audiences that this book speaks to
*Dr. Williams defines Body Rap as “a sub-genre of local rap, where the overarching theme in the lyrics is the sexualization and often the denigration of women’s bodies, performed for the pleasure of men”.
Hip hop crew Black Noise from the Cape Flats in Cape Town, South African is recognized as one of the crews that began Cape Towns ‘conscious’ hip hop scene. The other, the well known Prophets of Da City. Black Noise started out as a group of survivors from the breakdance era in South Africa. The members were all influenced by hip hop music in some way or another and they would often hang out with each other on the weekends. They eventually began doing performances at schools, malls, and carnivals. Most performances consisted only of breakdancing, but if there was equipment available they would do some beatboxing, Mcing, or rapping. The crew continued to grow and evolve from there. They’ve had members leave and join the group as time has gone on, and today the only remaining original member is Emile Jansen.
Continue reading “Black Noise”