Blog #4: Organizations Contributing to Hip Hop

Within the past 30 years, Hawai’i has involved hip hop into their society and has advanced in the four elements of hip hop: graffiti art, emceeing, dancing, and deejaying. Several hip hop organizations around Hawai’i are dedicated to the hip hop culture and the public are starting to recognize the culture and are understanding how hip hop intertwines with Hawai’i. Three organizations that are well known are Diverse Art Center, Lightsleepers, and 808 Urban. Each facility educates the people of Hawai’i what the elements of hip hop are, how hip hop can help individuals find their selves, and giving back to the community.

The Diverse Art Center is one of Hawai'is hip hop locations that have given children and young teenagers the opportunity to explore their creative sides and be exposed to the hip hop culture. At the center, there are workshops that are hip hop oriented, creative arts, and related to the Hawaiian culture. The workshops consist of hip hop choreography, urban art, bboying, Tahitian, art of drawing (aerosol), deejaying, and even dance classes (www.diverseartscenter.org). Each session gives students an idea on what hip hop is and how they can express their creative side. When drawing graffiti students explore the different techniques used to draw graffiti and find something that they enjoy doing; the same goes for deejaying. Nicole Kealoha says that the reason she took on Diverse Arts Center was to give back to the community and teach the youth about hip hop.

Just like Kealoha, Kavet Omo is another entrepreneur and hip hop expertise who is involved in the hip hop culture. In 1997, Kavet Omo founded the radio show, Lightsleepers. The late night radio show captivated the locals’ attention and even gained popularity globally. Kavet has worked with many artists such as Seph One, Living Legends, Qbert, Shortcut, and more. His job is promoting true hip-hop and giving back to the communities in Hawai’i.    

Music organizations get acknowledged by the public, but so do artistic organizations. 808 Urban is a non-profit organization that artists, organizers, and volunteers are committed to improving the quality of life for our communities through arts programming (www.808urban.org). This organization inspires young adults to create whatever masterpiece they desire. The graffiti founder, John “Prime” Hina, came to realize the value of how art is an expression for a lot of youth. 808 Urban stays true to the meaning of hip hop and gives back to the community. They have been able to create over 50 murals, offer free art workshops, and collaborate with other businesses. Connecting with the community has given them the chance to spread the knowledge of graffiti, hip hop, and giving back to those in need of help. 

Hip hop is a gateway for individuals to express their artistic sides whether it is deejaying, beatmaking, graffiti writing, or emceeing. Each company teaches the public, especially the youth, that hip hop can be positive as long as they put it to good use. A lot of young teenagers and adults have been joining these types of organizations, so that they could get away from their bad homes or just to entertain themselves. Sometimes it even helps individuals find themselves. All the elements of hip hop should be taught to the public because it shows people that hip hop is not all about obscene language and music videos. Hip hop is about being true to oneself, giving back, acknowledging society’s problems, and understanding the components of the hip hop culture. With Diverse Arts Center, Lightsleepers, and and Urban 808, the younger generations will be able to build onto the hip hop culture. 

J.K.W.

Blog 3: This is only the beginning Vetta S.

After the World War II, Hawaii had room to grow when it came to music for them it was like a thing of hope something to cling on to when all else failed. And they found it through the integration of different cultures. Hawaiians where given the tools to play around with different types of music because they were essentially given tips and tricks from other place around the world where they can integrate their own style with the style of others in their music. The freedom that they over what they wanted to portray in their music was unreal because they were able to take the initiative to add different instruments that they may have needed like the ukulele and many other instruments to make their music that they were making their own.

The Hawaiians not only incorporated their on instruments, but they also had their own way of dancing. The type of dance that the Hawaiians took on was the hula. The Hawaiians had built hula schools which helped in the rebirth of the Hawaiian language and the music that they lost sight of after the World War II. The hula was a way to combine the music and dance to essentially explain to tourist as well to the younger children what the land and Mother Nature means to the native Hawaiians. It also was an aide to get the younger children to learn a little bit about what the Hawaiian language meant to their parents and their culture.

I feel that the Hawaiians were trying their best to get involved with the growing music around them as well as trying to stay true to their roots and keeping the mother nature in mind that yea it would be cool to have all the nice music and clothing and things like that, but after a war a mixture of It all is nice. The Hawaiians eventually got into the whole hip hop scene more in the 1980s, but it Is those beginning stages that I believe makes the most impact on cultures, and I personally think that after a war it is nice that the Hawaiians not only found themselves, but they found a new light of music that they have tons of time to explore and make their own regardless if people liked it or not. At the same time they brought the community together because they did have the Hula schools and language and the music 

Growing up with Graffiti Vetta

When I Think about Graffiti I think about my Brother because even though he is not the best at graffiti he does live that kind of hip hop style. He finds that time where he is happy and this he feels at home which I think is pretty awesome. So the picture that we have here is when he 1^st started his graffiti and he tagged a building and when I seen this we were rather young and it struck me as awesome kind of; that someone that I knew could do such an awesome thing that I have never seen before. And this brought me to the empowering self.

I think his love for graffiti reminds me of the empowering self-piece, not because he is has female characteristic, but at the same time making a name for his self like women did because they were the underdog in the hip hop culture, and they were like you know what I don’t care I am going to do what I have to do. Being fly girls, to girls that where well rounded for the whole community. So after his 1^st time tagging, he eventually made it to the point where he would make start making pieces for his friends, but he would always keep his original tag with his name one it knowing that he made something and was happy with it. I thought this piece was kind of cool because it brought his female friends to come out and do their thing too.

Here is a piece that one of his friends sent him the style is similar in a sense, but it shows that they want and from his lady friends that this was something that they wanted to get involved in as well! This shows that he opened the gate to his female friends that they too can do and be whatever they want to do. A friend of his who goes by “BOMBED IT” did a few pieces that he was able to get a chance to watch her in her glory and she is really good in the graffiti world. With that being said it also goes back to the female empowerment, and how they can do what men can do. What I think is also cool about “BOMBED IT” is that she is not your typical black male that you see tagging but she is a mixed female so that also brings in multiethnicity because it is not only black males these days. There are different variety of tagger in this day and age and I think that’s extremely awesome. “BOMBED IT” as you can see is a very artistic young lady and one day I hope I can be just as artistic, but maybe not on a wall!

                                                                                                                                                                  -L.S.

Blog 4 - Comparative Analysis: Heightening the Hip-Hop of Hawaii (S.B.)

Diverse ART's visionary, Niki Kealoha, & I.

As a 2011 graduate, the Department of Education decided to give us a parting gift by implementing a new senior project requirement beginning with our class. Many dreaded the idea, as many whose plan it was for a lax year was ruined by the stresses of a paper, field work, and ultimately a presentation in front of a panel consisting of teachers and community members. However, we were allowed the freedom to choose our topic. Having been interested in the visual element of street art for quite some time, I chose hip-hop and didn't turn back. When it came time to find a mentor and a place for field work, I stumbled across Diverse ART Center's website and contacted Nicole Kealoha, the Center's founder and director. Little did I know that a project I had, at first, so despised would be more than just that. It became a passion and a lifestyle I fell in love with, and continue to do so to this day.  Diverse ART, 808 Urban, and the Lightsleepers are just a few of the organizations that have been major contributors to Hawaii’s hip-hop scene.

We set standards for the kids at the studio, requiring grade checks for those on scholarship.  With a young writer having trouble in English, it was Niki's idea to utilize the legal wall at the Center; I read him vocabulary words and he would write the definition, synonym, and antonym on the wall, working on his handstyle while studying for his test.

At first glance, Diverse ART Center may appear as just another dance studio offering the usual dance classes such as street choreography.  Just as the name implies, not only were there dance classes offered, there were also writing, DJing, and emceeing at one’s fingertips.  As I have learned over my time at the studio, there was absolutely more to hip-hop than I could imagine.  It was greater than simply the dancing and the music.  It is an art form, bringing knowledge and a community together.  Although it is often an overlooked element, knowledge is of utmost importance to educate the younger generation for the future of hip-hop, as especially stressed by the Center.  Following how hip-hop was used as an alternate means of an outlet for aggression, Diverse ART provides a unique place unlike traditional dance studios to freely express oneself without limitations.  Sure, skill comes with practice, but knowledge of the self and one's character is developed as well.  Not only are classes offered at Diverse, but they have outreach programs and school tours in order to promote a positive message.  Just as important as knowledge is the concept of ʻohana stressed in our community.  Everyone is welcome, regardless of your element, ethnicity, age, or any other factor – in spite of the general state of hip-hop today and division of the elements.  Ultimately, the Center revolves around the concepts of peace, love, and unity.

Prime holding a workshop for Pow! Wow! Hawaii 2012.

808 Urban, a non-profit organization founded by John “Prime” Hina, also has programs targeted at the youth of Hawaii through hip-hop.  The element of writing and street art-type of murals is particularly utilized to encourage creativity through an often misunderstood art form, with the hopes of inspiring them to not only better themselves but the world around them.  Education of the local culture and politics is prominent through various pieces to promote important messages visible for the public, such as social reform.  Where art programs in schools decrease, the community steps up.  Although many teens unfortunately head down the wrong path, 808 Urban hopes to intervene and steer them into the right direction.  With murals island-wide, various free workshops offered, and joint efforts with other community organizations, 808 Urban has been successful in fulfilling their vision throughout the years.

Kavet spinning at a Johnny Cupcakes event.

Lightsleepers is a part of Hawaii’s hip-hop’s history, starting off as a KTUH radio show and propelling the local scene’s growth ever since, particularly with DJs and emcees.  With Kavet “the Catalyst” Omo as the Lightsleeper’s founder and host, the show gained immense popularity as numerous local artists would have their tracks played and even drop a freestyle verse live on the air.  Well-known artists would stop by as well, with the local artists eventually finding their own claims to fame, such as producing for many mainstream artists today.  Lightsleepers have created multiple mixtapes and CDs, even receiving international attention as the tapes have traveled.  Events such as Beatroot (producer battles) and Inertia (bboy battles) continue to run strong.  Like the others, community is a vital component, just as it was when everyone of varying backgrounds had been cramped in the KTUH studio to listen to the music and simply hang out, brought together by the love of hip-hop.  No animosity had been displayed during jams, when everyone would even shake hands when it was over - the aloha spirit has been constant.

It has been almost four years since I first stepped foot in the Center and about three years since senior project had ended, when Niki had given me the option to stay.  Although unique in their own regards, it is because of hip-hop organizations and community leaders such as these that many have found their calling, including myself.  Together, they have developed the hip-hop scene for the better, using it as a tool to educate the youth and ultimately impact their lives in a positive manner - without discrimination and aloha instead.

Easily one of my favorite places to be. Back mural done by writer East3.

Comparative Analysis: Lightsleepers and Diverse Art Center (D.A.C.) by Denni M

  

The two guest speakers, Kavet Omo and Nicole Kealoha, came to our class to share the ways in which Hip Hop has and continues to influence their lives as well as how they have contributed to the teaching of Hip Hop to the next generation. Kavet Omo also known as Kavet the Catalyst, is the famed host of Lightsleepers a radio show produced by UH Productions at the University of Hawaii at Manoa. Like many Hip Hop artists and performers Kavet took on a personal moniker “Kavet the Catalyst” choosing ‘catalyst’ for its status as an ingredient that gets reaction processes moving. Kavet shared with the class the moment that Hip Hop seemed a viable avenue for him as a means of self – expression. Kavet credits the group 3^rd Bass, which consisted of two white and one black member, with demonstrating Hip Hop as a multicultural and multiethnic lifestyle. His stint as the radio host of Lightsleepers, garnered much popularity with the local community both near and far. Against official production/studio policy, which speaks to the criminal or rebellious aspect of Hip Hop culture, Kavet utilized his access to help promote and ‘bring up’ his performing peers. He did this by featuring various emcees who rapped on the spot or ‘off the dome’, showcasing the unique and individual talents thus enhancing this particular element of Hip Hop. After leaving UH Productions, Kavet was able to utilize his connections and released several cassette tapes showcasing the talents of performers both from Hawaii and elsewhere. He expressed the far reaching popularity of his tapes in the numerous times they were ‘dubbed’ or copied over 100 times. He currently uses his Lightsleepers brand as a means of supporting his endeavors which include hosting producer battles (where beat makers battle their styles against each other), as well as exposing different audiences who are fans of his label to other aspects of Hip Hop culture. 
           Image copied from Diverse ART website. http://www.diverseartcenter.org/ 
          The second guest speaker Nicole Kealoha, created and currently operates the Diverse Art Center, which serves to educate and teach youths in the various elements of Hip Hop culture, including music, art, dance, and adding a new element which has been credited to Afrika Bambaata, knowledge. Nicole shared with the class that getting her program off the ground, took time, patience and a strong resolve (or in other words a stiff upper lip). Nicole found difficulty both as a woman and as relative unknown when gathering support and resources for a program which she built from the ground up, but the nevertheless she prevailed and gained the respect of those that originally dismissed her ideas. Some of the critiques for her endeavors were that she was moving away from the roots of Hip Hop as underground and untethered, as not being bound to societal structures such as education; which was Nicole was attempting to create; a school. Nicole places value in Hip Hop as a means of releasing pent up anger and aggression. Nicole, no doubt influenced by her education in ministry and her own experience with the culture values of Hawaiian culture, also through the means of Hip Hop and D.A.C. seeks to convey the spiritual messages of positivity, unity and self – awareness and seeks to ultimately impart upon her students the tools for which they may mature, communicate and self – identify). She operates from the mentality of Hip Hop as, from the beginning, a deliverer of feelings of love, unity and peace, values not largely associated with mainstream Hip Hop today. Nicole through her program also hopes to re – instill the importance of respect, for the elders, for the pioneers that came before believing that starting from Hip Hop, the message will reach further into the mindset of youths in their daily lives and relationships. Nicole finds that Hawaii offers a unique environment for Hip Hop, because similar to Hip Hop, Hawaii is a multicultural and multiethnic experience, promoting an aura of acceptance for people’s differences and an encouragement of individuality which then feed backs into the greater sense community and connectedness.

The resources used in this essay are derived from notes taken during the guest speeches of Kavet Omo and Nicoel Kealoha two active members of the Hip Hop community in Haw

Socio-historical contextualization of the emergence of Hip-Hop Culture in Hawaii

Hawaii being an annexed island of the United States and almost five thousand miles away from the Bronx (Birthplace of Hip-Hop) would lead you to think that the Hip-Hop culture would not spread to a place of this distance and isolation. However Hawaii was not immune to the globalization of Hip-Hop and its emergence began in the early 80’s. Based on our lecture from Buzz-1 (Jayson Tavares) Hip-Hop for Hawaii began with Hollywood feature films such as Wild Style, Breakin’ 1&2 & Beat Street. In Osumare’s book “Props to the local boys” it is also stated that the influence of Hip-Hop began with the same exact films, confirming Buzz-1’s statement. These films were viral in those days and the emergence of the “B-Boy” in Hawaii became evident thanks to these films. Buzz-1 stated that while growing up in the Big Island and as he moved to Oahu, he and his friends were so excited to watch these movies over and over again, and the same went for hip-hop music that played on the radio at the time. They would record tapes of artists like “Run DMC” and they would listen to the tapes constantly while practicing the moves the learned from watching the Breakdancing films. The Hip-Hop phenomena became so popular within the islands that in 1984  “ a television pilot called ‘breakin Hawaii’ premiered 8 episodes of television breakdance contests, with youth of both sexes from all over Oahu competing for the cameras.” (Props To The Local Boys P.115)

Movie from the 80's that influenced Hip-Hop in Hawaii

1983 Film Portraying Different elements the Hip-Hop

     The influence of Hip-Hop and Hawaii is similar to that of April Henderson’s “Dancing between the islands” paper and the story of Kosmo and his experience with Hip-Hop and taking what he saw in California and teaching people in New Zealand. The influence came from a sparked interest in the art form of popping/locking, purely anecdotal which turned into imitation and from there local style was incorporated into Juxtaposing of Hip-Hop and the island style dancing. For Hawaii is was watching the films such as Beat Street, for Kosmo is was watching the dancers of Carson California. The same goes for the Graffiti artist Aea4m (Jordan Pezel) their influence came from the visual aspect of Hip-Hop, and once they were able to grasp the concept, they added their own island twist to the mix. Buzz-1 mentioned constantly during his interview of how they (islanders) recognized how Hip-Hop was abroad, and they tried their best to not mimic what others were doing, but rather be original and add the “island”, “Local”, or “Hawaiian” theme to the emerging culture. The same was true for Aea4m and coming up with different artforms for his tagging pieces.  As he stated, He and other local artists recognized the different forms of tagging (West Coast vs East Coast) such as mechanical letters or color schemes and they set out to produce something different from what was already out there and create their own “island” twist to their products.

B-Boy Performing at "Breakin' Hawaii"

        

Screen Capture of "Breakin' Hawaii" being featured on KGMB9

 “Back in the day, people in Hawaii felt they had to act a certain way to be hip-hop…By wearing the Africa Red, Green, and yellow medallions not even knowin’ what it stood for. But now they wear kukui nuts and show pride in their heritage”-Kutmaster Spaz. Just as Buzz-1 stated and which is backed up in the article “props to the local boys” Hip Hop in Hawaii began from these films, and that influence grew into what the islanders perceived as “hip-hop” (wearing African Medallions) to the artform growing into a more “local” flavor of Hip-Hop whether it be by the B-Boys, Taggers, MC’s & DJ’s, & Rappers. The journey for hawaii's initial emergence started with the influence of the Hip-Hop activities in the Bronx that made it to the big screen, from there it spread and introduced to Hawaii what is now Hip-Hop, and since its inception in the islands in the early 80's the locals added a little twist to the elements to make it original to themselves. 

 Rafe B. 

Hip-Hop Sampla By:KauiHipHopper (Example of local rap)