What has the process been like building the Beat Making Lab? What have been some of your challenges and successes?
Challenges have included cultural sensitivities around sampling, logistics of organizing large groups of students for 2-week sessions, language barriers and political conflicts in some of the countries we've worked. The experience has been humbling. In the past 6 months I've worked with students in five countries I've never been to before. I'm learning Swahili, Wolof, Spanish and French; and making beats with radically different demographics, from groups of all-women rappers, and traditional Fijian musicians. The process has been challenging, inspiring, fun and exhausting.
What similarities and differences do you notice from teaching students at Chapel Hill to students in the DRC or other areas you’ve traveled to? Are there cultural differences to learning these new skills?
Every group brings its own nuance to the table. In Congo, we were surrounded by rappers. It seemed like everyone could spit in several different languages and dialects. Our song Cho Cho Cho features emceeing and singing in English, Swahili, French and a fusion of the three. Panama, on the other hand, was very different. Many of our students were percussion players, and part of a live carnival band called Barrio Fino. They brought a different atheistic, skill-set and approach to beat making. In Senegal we were working with an all women's ensemble of rappers, singers and producers called GOTAL. Unlike previous groups, they all knew each-other years before the actual workshop - so communication and collaboration was a walk in the park. Chapel Hill groups vary from semester to semester as well - demographically, skill-wise and culturally. You never know who you're working with until the first day of class.