Oakulture

Documenting the Oakland cultural renaissance


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Orisa Urban World Festival Promises Positive Vibrations and Spiritual Development

Luisah Teish

Luisah Teish

It’s the biggest religion you’ve never heard of. But unlike the Abrahamic religions, Orisa worship is an organic lifestyle and spiritual practice which revolves around ancestral elemental forces. Originally developed in West Africa, where it is also known as Yoruba and Ifa, Orisa came to the New World with the African human cargo transported on slave ships. There, it developed further into variants such as Lucemi, Condomble, Voudun and Santeria, and was often integrated into the imposed religion of Christianity, where Orisas were syncretized with Christian saints. Today, the Orisha tradition links places like Cuba, Trinidad, Haiti, and Brazil with Afro-Caribbean cultures in New Orleans, Miami and New York, as well as in its original home of Nigeria.

Orisa sacred music has long been a part of African, Latin, and Hispanic culture, and there are Orisa-affirming festivals all over the world. But until this weekend, there had never been an Orisa-themed festival in Oakland. That all changes with the Orisa Urban World Festival, a two-day event which kicks off Friday night at Oakstop with “Oro Lati Enu Awon Agba: When the Elders Speak,” a panel discussion of Ifa elders which also features musical performances by Zion Trinity, Charlotte Hill O’Neal & Awon Ohun Omnira, an African marketplace, and DJ Kobie Quashie.

On Saturday, the location shifts to the Uptown Nightclub, and features performances by Afro-Cuban singer and Lucumi priestess Bobi Cespedes, vocal harmony group Zion Trinity, urban world music artist WolkHawkJaguar, reggae-hip-hop fusion group Prosperity Movement, neo-soul vocalist Osunfemi Wanbi Njeri, former Flipsyde emcee Jinho “The Piper” Ferreira, and Afrocentric singer-songwriter  Sistah IMiNAH Orisabukola.

Orisa worship is a way of integrating the energy of the cosmos, the power of nature, the history of human civilization, and our individual and communal inheritance into a practice that engages our creativity and aligns us with our chosen destinies” — Luisah Teish

It’s a truly impressive lineup, and one which connects the spiritual and rhythmic practices of African-American and Afro-Caribbean culture with their elemental roots, through both contemporary and traditional forms.

WolfHawkJaguar

WolfHawkJaguar

Because something like this has never happened before in Oakland – a city known for its love of Afrocentric culture as well as its large black population – Oakulture thought it would be appropriate to ask the performers themselves to describe the significance of the event and explain what Orisa means to them.

According to Obafemi Origunwa, “Orisa lifestyle is sacred science, codified into day to day life. By aligning your life with the divine principles that govern the universe and the natural world, you learn to practice small acts that have a big impact on your life and the lives of those you’re destined to serve.”

Ifa priestess and storyteller Luisah Teish adds, “Orisa worship is a way of integrating the energy of the cosmos, the power of nature, the history of human civilization, and our individual and communal inheritance into a practice that engages our creativity and aligns us with our chosen destinies.”

While Orisa is an established practice, many people are still unfamiliar with ritual-mythic traditions. Origunwa says attendees should be aware that “òrìsà is the natural path. Everyone has ancestors. None of us sent ourselves into the world. We are all here to continue the missions handed down from our family lineages.”

Teish further elaborates: “First they must ask themselves whether their presence here is a response to a deep calling or a mere curiosity. If it is a mere curiosity, there is a lot of material online (a lot of it is pure trash) that they can access to entertain themselves. But if the attendees are impelled by ancestral calling to further investigate this path, I recommend that they connect with these or other elders/teachers who can perform divination, connect them with their ancestors, provide materials for study and guide them on a path of spiritual growth and destiny fulfillment.”

Mama C and members of Prosperity Movement

Mama C and members of Prosperity Movement

Unsurprisingly, there are many misconceptions about Orisa. Perhaps the biggest is that it is evil, or demonic. These misconceptions, Teish says, “were based on Eurocentric, Christian interpretations of our traditions as uncivilized, violent, and ineffective. Through the blessing of enlightenment, those notions are daily being disproven and dispelled.” However, she adds, “Some people fail to realize that Orisha are living entities-energies with real power and consciousness that is both receptive and responsive to human interaction.”

Origunwa notes that “people tend to fear what they do not understand. Because òrìsà tradition is so deeply embedded into Yoruba culture, which few people [in America] have been exposed to, it is convenient to project one’s fears onto practices, images and ideas that seem so foreign at first glance.”

Charlotte O’Neal aka Mama C also weighs in here: “many people look at African traditional spiritual paths in a somehow negative light, even going so far as to relate it to some form of ‘witchcraft’…This is so very obviously because of the brainwashing that continues in so many communities around the continent from the majority religions and missionaries from back in the day to present.”

Bobi Cespedes

Bobi Cespedes

One of the things the Orisa Urban World Festival hopes to clarify is the symbiotic relationship between spiritual and cultural tradition. As Origunwa says, “What we call arts are actually sacred disciplines, from the indigenous perspective. Poetry, music, dance and visual arts are all essential elements of the practice. They blend seamlessly together during rituals, ceremonies and festivals, as expressions of the òrìsà themselves. The arts reveal spiritual values, according to the will of the òrìsà.”

Teish adds that ancient traditions such as storytelling are indeed relevant in these modern times, while the purpose of the cultural arts “is to awaken and nurture the inherited genius each of us received from the Universe through the surviving intelligence of the ancestors. When we express that genius through the arts we affect people and things at an emotional-cellular level that goes beyond mere intellect and helps the person to experience a direct transmission of energy and wisdom to manifest transformation.”

Oakland is a lei line for spiritual development… Also, Oakland needs Orisha’s healing energy to address the challenges of poverty, violence, and pollution” — Luisah Teish

Bringing Orisa to Oakland is both intentional and significant, Teish says. “Oakland is a lei line for spiritual development. In the past we have looked to Cuba, Brazil, Haiti and places outside the U.S. (save New Orleans which is really a culturally Caribbean city inside the U.S.). We now have enough initiated priests in U.S. cities like New York, Miami, Los Angeles, Chicago, etc. to begin to manifest an African-American expression of our inherited genius. Also, Oakland needs Orisha’s healing energy to address the challenges of poverty, violence, and pollution.”

Having previously attended global events such as the Orisa World Congress in Nigeria, WolfHawkJaguar relates that the decision to bring an Orisa festival to Oakland was actually made by the Orisas themselves. “This is ancestor work. It’s what they called for and we give thanks they trusted us to carry out their wishes.” He goes on to note that the goal of the event is “to spread love, peace, prosperity and positive progressive universal vibes through our creations, giving thanks to our ancestors, our head, and our Orisa.”

For more information, or to buy tickets, click here.

 

 

 

 

 

 

 

 

 

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Matatu 2015 Packs A Year’s Worth of Culture Into a Week

Still from "Asni"

Still from “Asni”

Ever wonder what youth in Richmond, CA and youth in Johannesburg, South Africa have in common, as well as what separates them? Or what Ethiopian Afro-futurist sci-fi looks like? How about a Senegalese political uprising which received scant media coverage in the US? What about an underground NY hip-hop radio show which became a cultural institution?

These questions and more will be answered by the 2015 Matatu Festival of Stories, the third installment in founder and director Michael Orange’s mission to bring easily-overlooked independent films and documentaries, many of them addressing Afrocentric themes or relating to black culture. This time out, the Matatu—an East African Swahili slang word meaning passenger taxi or minibus, similar to the jeepneys of the Philippines—makes its rounds through the Diaspora, touching the West and East Coast of America, the Netherlands and its former colony Suriname, as well as East, West, and Southern Africa. The ride is rife with adventure and rich in cultural capital, and this year, the festival’s cinematic selections are enhanced by live performances, meet-ups, special guest performers, and a Matatu-inspired art show.

The Opening Night selection, “Necktie Youth,” examines a fast-emerging post-apartheid South Africa, as seen through the eyes of wealthy, suburban, Jo’Burg youth who struggle to find themselves within a newly-open society which still grapples with issues of race and class. “Necktie Youth” is a coming-of-age story which sometimes plays like the African version of “Kids” – there are graphic descriptions of sex and of drug and alcohol consumption. Viewing contemporary Johannesburg through the lens of privileged yet haunted young adults, the film has a semi-documentary feel—nearly all of it is shot in black and white. It is in some ways a perfect bookend to “Dear Mandela,” a 2013 Matatu selection, which examined the bittersweet legacy of Nelson Mandela through the eyes of the poor and politically-unfortunate.

Still from "Necktie Youth"

Still from “Necktie Youth”

But this is a South Africa we haven’t seen before. In “Necktie Youth,” there are no overt politics at play, and interracialism has become a natural course of events, yet the grip of the past hasn’t completely loosened. Promiscuous white women from Pretoria fetishize their black lovers while drawing boundaries between their lustful trysts and their conservative Afrikaaner parents. It’s interesting to see African youth adopt black American slang to their own, and observe their mannerisms, which speaks to the universality of youth culture as well as its regional variations.

“Romeo is Bleeding” also focuses on youth, in this case the young black people of Richmond, CA, who struggle with their own issues—a multi-generational turf war from which there seems to be no escape, the inevitable reality of violence which has become recidivist, and their abandonment by an older generation who fell prey to incarceration and/or substance abuse. The documentary ‘s narrative arc tells the story of Donte Clark, a product of Richmond’s streets whose family members are feared soldiers in the conflict between North and Central Richmond. Clark turns to spoken word poetry as a way of expressing emotions threatened with permanent numbing by losing friends to jail or bullets. He becomes a teacher and mentor to young adults, even though he’s not much older himself in calendar years. When a white friend starts a theater company, they decide to adapt Shakespeare’s “Romeo & Juliet” into a Richmond-centered tale, with the town’s two warring factions substituting for the Capulets and the Montagues.

The movie reveals the oft-held belief that the black community is unconcerned with stopping intra-hood violence to be a glaring misconception. Clark’s commitment to being a positive, shining example in the face of adversity is tested by the cyclic nature of violence itself; still he pushes forward, on a mission to prove that “love in Richmond is possible.”

Speaking of love, it’s the central theme of “Crumbs,” a wonderfully-realized story set in a post-apocalyptic future which employs elements of magical realism, like Octavia Butler and Guillermo Del Toro’s progeny. A scavenging dwarf, his love interest, Santa Claus, a shifty pawn shop owner, plastic children’s toys and Michael Jackson album covers highly valued as mystical artifacts, second-generation Nazis, and a mysterious UFO populate this madcap tale, shot in Ethiopia. The film has much to say, even if some of it is cryptic. Like most heroes, the dwarf takes a journey. But instead of achieving the stated goal of his quest, in the end, he finds something far more precious was in his possession all along. A surreal comedy, “Crumbs” is ultimately an affirmation of human compassion and emotion which posits that the future is only as bleak as we allow it to be.

Meanwhile in Senegal, reverberations from the Egyptian uprising which saw the overthrow of President Hosni Mubarak echo throughout “Incorruptible,” a documentary tracing the 2012 election which toppled the government of Abdoulaye Wade. The conditions are similar; Wade’s administration, once revered by the Senegalese people, has become a hotbed of corruption and nepotism, falling out of touch with the demands of the long-suffering underclass for better living conditions. After Wade changes the constitution to run for a third term, a protest movement begins to gather steam. Efforts by the government to quell the insurgency using tear gas and even live bullets backfire as the Senegalese take to the streets to demand regime change. Even as mosques are targeted and tanks brought in, the opposition insists it is not seeking violent confrontation with the government, but a democratic election process. After a field of candidates, including singer Youssou N’Dour, whittles down to a run-off between Wade and challenger Malky Sall, state-backed militias engage in political violence as the government tries to tighten its grip on power – “the truth is under attack,” N’Dour says. A Wade speech where he insists the dissent is unimportant is effectively contrasted by footage of protesters throwing rocks at a billboard of the President. Y’en a Marre, a youth activism group which uses rap music as a consciousness-raising tool, helps propel Sall to victory, but warns him that their loyalty is to Senegal, not to any one politician.

Still from "Marga Weinans"

Still from “Marga Weinans”

“Incorruptible” offers an eye-opening view into an African Muslim population which is more interested in dialogue than terrorism – a revelation to an American mindset inundated with Islamophobic propaganda. It effectively captures a historical moment in time which may be seen as a turning point for African democracy. A sense of urgency is conveyed through handheld footage of protesters being tear-gassed; there are many poignant looks at of the faces of the Senegalese people, while a beautiful score by Akon (who also executive-produced the film) and Mark Batson captures the emotion, idealism and dignity of a revolutionary movement all but unknown to the West.

Other highlights of the festival include “Stretch and Bobbito,” a documentary about the long-running hip-hop radio show notable for breaking major hip-hop artists like Nas, Notorious B.I.G., Jay-Z, Eminem, and Wu-Tang Clan; “Fashion House: Marga Weimans,” a black designer who makes waves in both the Netherlands and Suriname; “Asni: Courage, Passion and Glamor in Ethiopia,” a documentary about Asnaketch Worku, a trailblazing female vocalist who became an East African pop culture icon; and “Red Leaves,” an Ethiopian/Israeli film which addresses immigration and cultural assimilation and retention, as seen through the eyes of a 74-year old falasha, Meseganio Tadela.

As if a whole program of inspired films wasn’t enough, the Matatu concept also manifests through an equally-rich schedule of festival-related events to engage your brain, your mouth, and your body. These include a dinner at Miss Ollie’s featuring a book reading by Saul Williams, artist talks with Mahader Tesfai and Donte Clark,  and jazz records spun by chef Bryant Terry; a happy hour hosted by Souls of Society, followed by performances by Williams and avant-garde outfit Black Spirituals; an evening of experimental music with Shafiq Husayn and Mark de Clive-Lowe; an excursion into “four-part communication” with Afro-jazz group Democratics; kora music by Zéna ft. Amaranth String Quartet;  a live set by emerging Eritrean-American artist Eden Hagos; and a dance performance by Alonzo King Lines Ballet.

Shafiq Husayn

Shafiq Husayn

Not only is this the most action-packed Matatu to date, but the level of programming is beyond ambitious, and borders on the insane: a full week’s worth of visceral, intellectual and visual stimuli which may test your stamina. It’s almost as if Orange and festival producer Maria Judice tried to make up for the relative lack of access to Afro-futuristic culture the other 51 weeks of the year, by overstuffing the Matatu to an extreme capacity. Fasten your seat belts, Oakland, and enjoy the ride.

The Matatu Festival runs September 22-26 at various locations, including Miss Ollie’s, Flight Deck, and Starline Social Club.

A complete list of Matatu 2015 films is here

A complete guide to Matatu events is here

For more information about Matatu, visit here


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15 Reasons to Go to Hiero Day This Year

Hiero Day 2014

Hiero Day 2014

The 2015 Hiero Day lineup looks formidable indeed, especially for fans of West Coast underground hip-hop. With almost 50 live acts and DJs performing, the event—which drew more than 20,000 fans last year—appears to have broken through the stratosphere to major event-status, and is certainly the biggest independent hip-hop festival in the Northern California region. That’s a major plus for folks tired of attending mega-hyped music festivals with a dearth of rap or hip-hop artists, and for underground aficionados who have been underserved by mainstream/commercial-oriented rap tours. Best of all, tickets are less than $20—$19.93, to be exact—which portends a high boom-bap for the buck ratio. Oakulture is pretty hyped about the number of underrated/slept-on fan favorites—several of whom are doing reunion shows—scheduled for this year’s event, which cover a full spectrum of stylistic diversity within the underground hip-hop subgenre. We’re also not mad at the emphasis on Bay Area and Los Angeles groups, nor the inclusion of a few representatives from the Midwest and East Coast for balance.

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With so many groups on the bill, it’s unlikely you’ll see every single act, unless you can be in two places at one time, so we’ve prepared a special guide for the artists we think will make Hiero Day extra-fresh.

  1. Psalm One

With eight albums and a handful of mixtapes released over the past 12 years, Chicago’s Psalm One is one of the most-prolific indie-label female emcees in the industry today. Affiliated with Minnesota’s Rhymesayers crew, she’s also worked with Hiero’s A-Plus. Her recent video, “Free Hug Life” shows her to be an original, creative spirit with an engaging staccato delivery, and topics which offer an intelligent alternative to rachetry.

  1. Phat Kat & Guilty Simpson

This veteran Detroit emcee duo have long collaborated with California’s hip-hop scene – Kat was once signed to SF’s Look Records, while Simpson has released several albums on Stones Throw. Both are authentic Dilla disciples, having cut their teeth working with the legendary producer, and both boast gritty flows which swerve between backpack and hardcore hip-hop flavors.

  1. Foreign Legion

First emerging into the Bay Area’s underground hip-hop scene in the late 90s, the terrific trio of emcees Marc Stretch and Prozack Turner and producer DJ Design built a reputation for notable live shows while releasing several full-length albums (and one short film); Their return to active duty promises to be one of the feel-good stories of this year’s Hiero Day. FL maintain a classic underground hip-hop aesthetic, complete with sampled loops and scratching, but flip the script by balancing braggadocio with honesty and humor.

  1. Cali Agents

Another West Coast group some might remember from back in the day, the duo of Rasco and Planet Asia released three well-received full-length albums between 2000-2006. Each has had solo success: Rasco is remembered for the Bay Area classic “The Unassisted,” while Asia has collaborated with everyone from Grandmaster Muggs to Bun B to Evidence to Ghostface Killah.  As Cali Agents, their remarkable chemistry elevates their individual lyrical deliveries to a higher level.

11. Otayo Dubb & Equipto

Don’t look now, but this SF-to-the-O hook-up is swiftly creeping on an indie hip-hop come up. The pairing of the Bored Stiff lyrical wonder with the versatile Co-Deez emcee/producer is one of the bright surprises of the current Bay Area scene. Their current single “Baby Steps” addresses maturity and growing up, with an arrangement which subtly recalls classic West Coast soul and R&B. The album of the same name features similarly-sublime production and features from the likes of L’Roneous, Pep Love, and Mars Today.

  1. Aceyalone

An original member of Freestyle Fellowship and a prolific solo artist in his own right, Los Angeles hip-hop veteran Aceyalone should need no introduction. The fact that he does lends credence to the oft-cited complaint that lyrical (read: non-gangsta) emcees from the West tend to get slept-on – except by hip-hop nerds who appreciate Acey’s jazz-tinged, highly vocabulistic delivery. Here’s a chance for him to expand beyond his core audience of diehards and reach the ears of a younger generation.

  1. Native Guns

Possibly the closest thing Pinoy hip-hop has come to a supergroup is Native Guns, a trio comprised of emcees Bambu and Kiwi and DJ Phatrick who became celebrated multicultural ambassadors during their heyday in the 2000s. Mixing dexterous lyrics and slapping tracks with a fair amount of political and social commentary, they also dropped science on the Filipino-American struggle, and what it means to be an indigenous immigrant. Though both Bambu and Kiwi have remained active as solo artists, their timing of their breakup always seemed unfortunate, coming so soon after the release of their 2006 album Barrel Men – rightfully hailed as a West Coast classic, one which shows the Bay Area was about so much more than hyphy even during the “hyphy era.”

  1. The Team

Speaking of the hyphy era, Oakland trio The Team were one of the most buzzworthiest groups of that period, helping to define the region’s then-emergent sound as uptempo, party-friendly, and club-ready, with hooks for days. We haven’t heard from them since 2013’s “Slow Down,” so it should be interesting to see them drop classics like “It’s Getting Hot” and “Bottles Up” and hopefully some new material. Added bonus: Clyde Carson, Kaz Kyzah, and Mayne Mannish are some of the best rapper names ever.

  1. Tha Alkaholiks

West Coast OGs since the early 90s, Tha Liks’ 1993 debut album, 21 & Over, is a high-octane hip-hop classic which set a high bar for both lyrics and production. Four subsequent albums followed, the last being 2006’s Firewater, all of which mix hardcore hip-hop with party-oriented themes. One-time disciples of King Tee, they’ve always been a force to be reckoned with in a live context, and there’s no reason to expect anything different from their Hiero Day appearance.

  1. The Luniz

Best known for the all-time cannabis anthem/ Bay Area rallying call, “I Got Five On It,” Yukmouth and Numskull are inner-city griots who’ve lived a wilder life than most of us, and put much of it down on record. It’s somewhat gratifying to see them on a bill so saturated with underground and alternative hip-hop – a confirmation of their lyrical finesse, as well as a shout-out to the streets of East Oakland, where Hiero is from.

  1. Compton’s Most Wanted

This classic Compton gangsta rap group, possibly second only to NWA in terms of influence and reputation, never enjoyed the mainstream success of their Ruthless peers. But their street-level stories had a louder ring of authenticity to them, and it’s safe to call them some of the originators of “reality rap.” Though they didn’t have an overt political agenda, the sociopolitics and socioeconomic content of songs like “One Time Gaffled Em Up” was omnipresent, and often sublime.

  1. Zion-I

Zion-I have held the Bay Area down for 15 years, being one of the most-consistent underground groups in the region, establishing a national and international fanbase, and collaborating with everyone from Deuce Eclipse to Talib Kweli to Too Short. Their long list of classics ranges from “Inner Light” to “The Bay” to “Warrior Dance” to “Don’t Lose Your Head.” Though they’ve experimented with their sound, incorporating everything from EDM to folk, they’ve always maintained strong hip-hop roots. Their latest release, The Rapture: Live From Oaklandia, follows the departure of producer Amp Live, and finds emcee Zumbi Zoom taking things in a more musical direction by featuring a live band led by the incomparable Kev Choice.

  1. Crown City Rockers

In the mid 90s to early 2000s, hip-hop band Crown City Rockers were often called the Bay Area’s version of the Roots – mainly for their uncanny ability to swing jazzy, funky musical elements played on real instruments with the cultural b-boy witticisms of frontman Raashaan Ahmad. They boast a solid, if criminally-underrated, catalog of recordings too, from 2001’s One (recorded as Mission) to 2004’s Earthtones to 2009’s The Day After Forever. Their live shows are legendary, if infrequent these days: the last time they performed as a unit in Oakland, at an Old Oakland Farmer’s Market gig, Levende had not yet become District, so prepare to be blown away.

  1. The Coup

It was only a matter of time before Boots Riley’s subversive funk/rock/rap band the Coup played Hiero Day, and this is the year. That’s an underground hip-hop lover’s fantasy come true. While we are, once again, in-between new Coup albums, Riley has been highly visible of late with a new book of his lyrics and high-profile media appearances discussing activist issues. Though the Coup’s sound—and personnel—has evolved since 1993’s Kill My Landlord, they are one of the few continuously-active groups from hip-hop’s  90s Golden Age on any coast, and thus did not need to be coaxed out of retirement to do this gig. If you’ve never seen The Coup, expect to be revolutionized and entertained.

  1. Hieroglyphics

A member of Hiero recently tweeted that their independent label, Hiero Imperium, has now outlasted the major record label which signed and then dropped them back in the 90s. That’s poetic justice for Oakland’s lyrical laureates, an octagon of obtuse emceeing  and sick beat-making skills, who have given more back to the community from which they came than any other hip-hop artist or group in Bay Area history, while continuing to make more history with each new release and annual iteration of the event bearing their name. Not only do they have more catalog than J. Peterman and Victoria’s Secret combined, but their signature tune, “93 Til Infinity,” never gets old.