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01 August 2006
Rap Music Artist Discusses Hip Hop, International Diplomacy
USINFO Webchat transcript August 1
Toni Blackman, a rap lyricist, vocalist, actress and writer, granted the title of U.S. Hip Hop Ambassador by the U.S. Department of State, discussed the evolution and impact of rap music as a tool for diplomacy in a USINFO webchat.
Following is the transcript:
(begin transcript)
U.S. DEPARTMENT OF STATE
Bureau of International Information Programs
USINFO Webchat Transcript
Hip-Hop and International Diplomacy
Guest: Toni Blackman
Date: August 1, 2006
Time: 10:00 a.m. EDT (1400 GMT)
USINFO WEBCHAT MODERATOR: Sorry for the delay. Our speaker is having some technical difficulties. We will begin shortly.
QUESTION [Saxena]: How different is Hip Hop from jazz apart from carrying social message? Cannot jazz also be a tool for diplomacy by taking it out from its all-American character?
ANSWER [Toni Blackman]: Hip-hop (rap) is different from jazz in that its focus is on the message, on the words, on what is being said. Since it's birth it has been about giving voice to the voiceless. Even though much of what permeates American mainstream doesn't speak to hip hop history, once we go beyond the pop hip hop it is still very much about authenticity.
It can definitely be used as a tool for diplomacy. I often tell teachers in my workshops that you can take me to any country in the world and if you can show me where the hip hop heads are then I know I have a place to sleep and something to eat.
Q [Zubedah]: Hello Toni, in Africa, Uganda to be exact, several artists have tried to use hip hop as a means to highlight the plight of people affected by war, disease and poverty. However, there is almost no attention given to this cause by the responsible people mainly because they have not fully grasped the concept of hip hop, choosing to consider it only as a means of entertainment. How do you feel about this, and what advice can you give Ugandan hip-hop artists?
A: The key to using hip-hop to spread social messages is rooted in using hip-hop as a tool for artistic excellence. Too often the "artists of conscience" neglect to pay attention to the importance of artistic development. We diss the "commercial" rap without studying and asking the important questions--like "why is this so successful" or "what can I learn from this artist and what can I incorporate into what I do?" it is important to study 'what works' and then incorporate that into your own personal mission. It is also important to tap into your personal reserve of creativity and authenticity. Develop your skills as a writer, as a performer, as a vocalist, as a musician and become so comfortable in your own skin that it doesn't matter what your subject matter is -- you can always rock the crowd...
WEBCHAT MODERATOR: We are experiencing technical difficulties. We will resume soon. While waiting please read [the following related article.]
Q [Josip]: Many exports of American culture are considered negative influences around the world and the result is a fear of "Americanization" which leads to burning of McDonalds restaurants and other protests.
But hip hop and rap seem to be immune from this, even adopted by just about every culture ... why?
A: Hip hop and rap tend to be immune from it because it's roots are pure, it's roots come from the heart ... the youth who created 'hip-hop' didn't even call it 'hip hop' they were simply expressing themselves creatively. It's also important to keep in mind the power of art and the power of artists. Artists are the true messengers of the soul....
Hip Hop and rap tend to be immune because of its roots. Its roots are pure, it was created by youth who created this cultural phenomenon while in the midst of merely trying to express themselves. Arts programs and public school funding were being cut, many of the youth came from working class families and struggle and partly because of its birth hip-hop still maintains a sort of 'relatedness' to all. I think it's also because hip-hop as a culture of music and art speaks to the soul.
WEBCHAT MODERATOR: Dear Guests, We apologize for the delay in answers in today's webchat. Ms. Blackman will answer all questions submitted. The transcript will be available later today. Thank you for all of your participation!
Q [Josip]: Can you explain hip-hop versus rap? Are the two the same thing?
A: Hip-hop versus rap? Mmmmm. That is a good question. Well, if you were to ask someone like the legendary KRS One he might say that Hip Hop represents the culture while rap is one of the elements of the culture. A hip-hop purist who is dedicated to promoting the culture would say that Hip Hop represents the culture and rap represents the 'commercial, overly-exploited' version of that culture. In the hip-hop community, artists who rap and are really into the craft of rap lyricism usually refer to themselves as emcees or MC's. An MC is a master of ceremonies, one who has mastered the art of rhyming, one who is a mic controller and knows how to rock the crowd or 'move the crowd'. A true MC is professional and carries him or herself with dignity and respect for the art form.
Q [Marissa]: Toni you have been to so many different countries sharing your gift and art. What are the differences between how people in Africa versus people in Asia receive you and your music?
A: There were not a lot of differences, but one of the differences I found during my tour in Southeast Asia is that there were pockets of people who hadn't had much exposure to hip-hop, but I found that to be true in certain parts of Africa as well. However, in Africa I found that there were audiences who were doing their 'own' versions of hip-hop. It was really cool to see. When we were in Aceh in Indonesia, there was a traditional musician who rapped and it was really beautiful to hear his voice with a regular hip-hop beat and the traditional music of Indonesia.
Q [Marisa Benson]: Campaigns like Vh1's Save The Music help preserve music in American educational institutions, do any similar programs work with hip hop in American educational institutions?
A: I don't know of many programs that work with American educational institutions in the same way as the VH1 campaign. There are grassroots efforts all over the country. Hip Hop activists who use, dance, rap, graf -- as a tool for social change. There are DJ Academies popping up in the major cities, but often those are run more like schools where participants have to pay a school fee. My project, Freestyle Union, is not funded right now, but I still do bi-weekly workshops and ciphers. I have done partnerships with educational institutions in the past and may be doing one this upcoming school year with 14 year olds.
Q [Marisa Benson]: When hip hop music, or any music of that matter is on social issues pertaining to conflicts, or natural disasters, do you find that there is quite a pause between the time of the conflict and the time of the event. Do you see possibility that music on social issues could be done with greater urgency?
A: Yes, the challenge is that the artists who would create the best 'social issue' music do not have access to the resources (i.e. studios, engineers and producers) to be able to respond immediately. It would take a 'values shift' in America in order for music on social issues to be able to be done with greater urgency. I believe in the possibility, it's just that the idealists who also believe in that possibility have to be given access to the resources. Wouldn't it be a beautiful world, if a song could be created to speak to natural disasters and the pain brought about by crises.
Q [nimbi2k2]: Hi Toni, I hope you are well. I wanted to know if (in your opinion) much of international hip-hop tends to be more reflective of the producing population (youth for example) and their problems/situations in that country, as compared to a lot of the American music which doesn't always reflect its consuming population (I’ve found this to be the case in some of my studies), and any ideas on why this might be the case. Also, I wondered if you might expound upon how, given your experiences, the uniting power of a shared musical expression amongst youths might be used more effectively in diplomacy efforts.
A: Hi there, I am well. I so agree with you. Once you go beyond the borders of America there tends to be more music pertaining to the social issues of the day. Artists in other countries tend to have more balance in what they are creating--at least in the 'popular' music. The important thing to keep in mind is that one cannot access what is going on in American music simply by watching the music videos. There is so much more going on beneath the surface. However, I am in agreement with you and I often ask myself the same question. It is a really complex question that deserves a great deal of time.
Something that came up the other night on Chuck D's radio show was the power of radio. In America radio heavily influences what the artists are creating because in order to 'blow up' many artists need radio. There is little diversity in what is being played on the radio and in order to compete many young artists find themselves altering their look, their lyrical content, their music and their style to fit into the box of what has been defined as "hot". I admit I am not answering this question properly because so many issues swim into my mind when thinking about this. We would have to talk about the educational system and the challenges of the public schools, the influence of mainstream television and a whole bunch of other things.
So you ask how music might be used in promoting diplomacy amongst youth? If we were in a panel or in the same room -- I would throw that question back at you and ask what your thoughts are on it. Nikki Theri, one of the hip-hop artists from Freestyle Union, attended the Youth World Social Forum in Brazil where she was able to meet "hip hop heads" from around the world. It sounded like such a powerful opportunity for young people to meet, connect and build relationships. I mean, in my own personal experience, hip-hop has made my family a 'global' family. I now have lifetime friendships with artists from South Africa and Senegal and from Taiwan and Austria. We have bonds beyond culture, beyond religion and beyond race. It is because of the music. I am not generating any specific program ideas at this time, but I know for sure that there are many ways musical expression can be used more effectively to promote diplomacy.
A transcript of today's webchat will be available on this site shortly, on our Webchat Station within a day.
(end transcript)
(Distributed by the Bureau of International Information Programs, U.S. Department of State. Web site: http://usinfo.state.gov)
