Recently I saw that someone had posted a preview of a documentary project on hip-hop in Buenos Aires, Argentina, on a friend’s Facebook wall. After researching the project a bit, we sent an email to one of the film’s three creators, Diane Ghogomu, who welcomed the idea of participating in the LIFESTYLE Artist Feature series. Originally from Pittsburgh, Pennsylvania, Diane has been living in Buenos Aires for some time, where she has worked along with Segundo Bercetche and Sebastian Muñoz to produce Buenos Aires Rap.
Diane discusses the Reflective and Responsive nature of hip-hop in the film, which follows the lives of various artists involved in this art form in the Argentine capital. Diane and her co-directors will be screening their project at the Buenos Aires Film Festival this year, and are currently fundraising in order to put finishing touches on the project and begin distribution. Check out the interview, trailer, and stills from the film below!
Sebastian Muñoz | Diane Ghogomu | Segundo Bercetche
Leading off with some basics, where are you from? And where are you at?
DG: I am from Pittsburgh, Pennsylvania! Steeltown, represent! Right now I am living in Buenos Aires, Argentina.
What does Reflection and Response mean to you?
DG: Reflection and Response is the process of acting authentically to each situation that is presented to you. I always think of the Lion King. Simba had to follow his guide Rafiki to the water to see himself. Simba had to look in the water and reflect on his situation, speak with the ancestors, see his own image in the shore before he knew how he had to continue. His response was more powerful because it wasn’t reactionary, but to a powerful impulse backed by his spirits! That’s how he knocked evil’s block off!
How does your project Buenos Aires Rap fit in with that definition?
DG:Buenos Aires Rap embodies Reflection and Response in various ways. First off, this project follows an incredible amount of artists whose music is a response to how they reflect on their own identities, their own existences, their own ways of life.
Lukas (Buenos Aires Rap)
Those artists who truly respect and understand the history of hip-hop and rap see themselves reflected in that history and the present hip-hop culture. Many of the Bolivian immigrants who live here in Buenos Aires spoke about being able to relate with African Americans living in ghettos during Reaganism. One of my favorite quotes comes from a character named Anton who says, “Through hip-hop I’ve been able to comprehend a lot. I’ve thought a lot. I’ve learned a lot. Here people who have been here for less than 200 years are going to tell you that you are an immigrant when your ancestors have been here since Before Christ? That’s not right. Nationality is only a lack of identity!”
Milito (Buenos Aires Rap)
That is a beautiful thing to me. These characters are able to reflect, transform, and respond through hip-hop and rap.
Secondly, the job of the documentarian is to do just that: reflect and respond. Anyone who tells you that documentaries are objective are lying to you. Our job is to reflect on a social phenomenon, and respond by placing a camera where and how we see fit. In this project we tried to reflect an image of Buenos Aires that is oft-ignored. Even people who live in Buenos Aires will have a hard time naming all of the urban landscapes that pass by on their screen. We hope that the impact of our project will be a process of reflection and response. Buenos Aires is often painted as a white and European society, without leaving space for her true colors. We hope people can reflect on the truths of the black, the brown,the ghetto-dwellers, the hardworking, the crazy, and those that are just looking to have a little fun, and realize that all of these narratives make Buenos Aires what she is. The response should be an integration of these personalities into the imagery of Argentina. Buenos Aires, reflect! THIS IS YOU!! As one of the characters Rasek raps, “We know you won’t understand it if we rap it, so we’ll breathe it into you.”
What else have you been working on recently? What are you looking to work on next?
I first met the dude Bosa in Madrid, Spain when I was looking for someone to pick up my MIDI keyboard and PA speakers before I moved back to the US. Upon meeting him, it was dope to know that this equipment would be going to someone active and dedicated to his craft. Bosa is a composer, videographer, and rapper from New Jersey that is currently based in Madrid. Already having put out numerous records, his upcoming debut albumFutures We Remember is currently in production with a release date at the end of the summer. Bosa starts off his interview with a LIFESTYLE feature first!! He breaks the ice with an original video featuring a verse on Reflection and Response along with further ideas stemming from the interview questions and shout outs to the many people he is working with in Spain. In the accompanying written piece, Bosa discusses his new record as an example of musical Response and also lets us know that it’s important to live the arts we practice, not just use them in our daily lives. Bosa is quickly becoming a fixture in the musically active landscape of Madrid and we look forward to witnessing his future work. Peep the dialogue below and be sure to check out the pics and clips Bosa has provided along with his groundbreaking intro video!
Bosa | Photo by Khaelin Damm
My first album, “Futures We Remember”, is a musical response to the reflection I hope to see of myself when I look in the mirror. The meaning of that is up for interpretation. For me it refers to all the dreams I have about music and the life that accompanies it.
– Bosa
Leading off with some basics, where are you from? And where are you at?
B: I was born and raised in Lumberton, New Jersey. It’s your everyday suburban town, not far from Philadelphia. I also spent four wild years at Syracuse University “studying” broadcast journalism.
Since I finished school a few years back I’ve been living in Madrid, Spain. It’s my little heaven on Earth and I can’t imagine leaving anytime soon. It’s a city full of life, culture, and groovy people. Also an absurd amount of jamón.
What does Reflection and Response mean to you?
B: At this point in my life “Reflection and Response” means finally taking a complete leap of faith as an artist. A good friend of mine told me one simple thing that has always stuck with me.
“My brotha, you can’t make music or do art you have to live it” – The Other
It’s not a crazy concept to understand but it’s one hell of a task to actually do. Music is everything for me. I think about it the same way one would crush on the cute girl in grade school. I daydream about concerts and making the perfect song a thousand times a day.
Reflecting on this I know I’d never forgive myself for not asking out music before the big dance. So my response is to do everything in my power to get her to notice me.
Bosa | Photo by LABL FOTO
How does your work fit in with that definition?
B: My first album, “Futures We Remember”, is a musical response to the reflection I hope to see of myself when I look in the mirror. The meaning of that is up for interpretation. For me it refers to all the dreams I have about music and the life that accompanies it. My friends always tell me I have a hyper-active imagination. For better or worse I always try to conjure up ways to turn my ridiculous ideas into reality.
What else have you been working on recently? What are you looking to work on next?
B: Outside of the album I’ve been secretly working on dance moves (the same way Zoolander worked on Magnum) and a big release party at the end of the summer. Madrid is one of the funkiest cities I’ve ever been to and it has revived my obsession with disco and Motown culture. If you invite me to your party expect Earth, Wind, & Fire and a Soul Train line to take over your dance floor rather quickly.
The Groovestep era is here Generation-Y. Prepare yourselves.
I first met Mina Fitzpatrick in Buenos Aires, Argentina. We stayed in touch over the years and it was dope to connect over a LIFESTYLE Artist Feature about her filmmaking work. Mina has been living in Seoul, South Korea for the past two and a half years working on Two Together, a documentary film following the lives of 3 single mothers in South Korea, where single mothers often face significant social discrimination and pressure to give up their children for adoption. This is Mina’s first film and she notes the importance of taking the time to learn as much as possible about the craft while she works on the product itself. For this artist, Reflection and Response involves slowing down and giving the required time to reflect instead of responding immediately. Mina and her co-documentarian Tom Krawczyk are currently starting the editing process, so peep the Two Togetherwebsite for updates on a release date!
To me, reflection and response reject the idea of immediacy, and instead demand time and patience from your work. So often we are caught up on the idea of responding to something, that we forget to reflect on it first.
Leading off with some basics, where are you from? And where are you at?
MF: I’m originally from Seattle, Washington. I was born in Vermont and moved to South Korea when I was five years old. I spent most of my young adult life growing up in Seattle, and went to college in Houston, Texas. Now, I’ve found my way back to Korea, and have been living here for the past two and a half years. I love living in Seoul, with its fast-paced lifestyle, delicious food, and lively people. Definitely a place I’m proud to call home.
What does Reflection and Response mean to you?
MF: To me, reflection and response reject the idea of immediacy, and instead demand time and patience from your work. So often we are caught up on the idea of responding to something, that we forget to reflect on it first.
The decision to raise a child as a single mother is never an easy one. In Korea, where unwed motherhood is highly stigmatized, the decision is especially difficult. For many years, the Korean government played no small role in influencing this decision. Instead of offering financial and social support to unwed mothers, the government opted for a system that seemingly swept the problem under the rug: overseas adoption. Today, Korea has the largest adult population of adoptees in the world, and the vast majority of Korean adoptees are the children of unwed mothers.
This documentary follows the stories of three different women. While their stories are different, each demonstrates the need to give women back the right to decide. It advocates for a society in which mothers can choose to raise their own children.
How does your work with the documentary “Two Together” fit in with that definition?
MF: As a novice filmmaker, this project has been a huge growing experience. I feel excited to have found a profession in which I feel just as excited about the “artistic process” as I do about the finished product. You know that old saying, “Anything worthwhile is worth the wait”? Taking time has not only allowed me to reflect on the characters, and their stories, but also on myself, and my role as a filmmaker. As I reflect, I am able to create a response that is deeper, and more meaningful to me, and hopefully to my audience.
What else have you been working on recently? What are you looking to work on next?
MF: At the moment, most of my energy is focused on this project, as we are just beginning the long editing process. When I’m not working on the documentary, I usually spend time doing things that will help me become a better filmmaker, whether it be reading, writing, taking photographs, watching other documentaries or practicing Korean. When I move back to the States, I hope to work on some more local projects, maintaining a focus on social-political issues, and giving a voice to those who are rarely heard.
Andréa Harris is a visual artist based in Seattle, Washington, who has also spent time in Washington State, Boston, Florida, and France – each of which has naturally impacted her artistic practice in different ways. Andrea describes Reflection and Response as an interaction between the artist and their work — with each entity active in the dialogue. Her work is a result of this ongoing conversation and she uses various mediums such as painting, photography, collage, digital video, and sculpture. Along with her words, Andréa presents specific pieces from her incredible collage and sculpture projects EXPERIENCING THE CENTURY and OUR EYES THAT ARE EVER MORE MY OWN. Peep the dialogue below and stay tuned for more exciting projects from her workshop!
Making work turns into a conversation between reflection and response — sometimes the artist is the one responding in the work, but other times the work talks back and makes its own demands to be heard.
– Andréa Harris
Leading off with some basics, where are you from? And where are you at?
AH: I am from the Pacific Northwest, and grew up in several towns near Tacoma, WA.
There is something to be said of place and creative work. Everywhere I’ve lived has had a specific head-space to it. It’s been easy to make work in some places, but nearly impossible in others. Having lived in Seattle, Boston, Sarasota (Florida), and three summers in South-West France, I have experienced a variety. However, I have yet to find the place I work best with.
Right now I’m in Seattle, WA. It’s the city I consider home. I have a feeling there are some explorations ahead of me though.
Andréa Harris – Experiencing The Century 12
What does Reflection and Response mean to you?
AH: As an artist and general introvert, the majority of my time is spent in reflection. Reflection isn’t a place of comfort. It is a place of unstable ground and a catalyst for change. Reflection is the foundation of Response, but the creation of work contains both. Making work turns into a conversation between reflection and response — sometimes the artist is the one responding in the work, but other times the work talks back and makes its own demands to be heard.
Andréa Harris – Experiencing The Century 10
How does your work fit in with that definition?
AH: The overarching concept I find myself fixated on is the idea that reality is malleable, fluid, and constantly created. I explore the flexibility of reality through: the relational boundaries between the body, consciousness, psychological states, ideologies, and perceptions of the self, the other, and the transcendental. My work operates in a space of questioning experiences and concepts. It is the product of reflection and response, the push and pull between the two. I enjoy working across disciplines, letting the concepts I’m working through dictate or have influence on whether I use painting, photography, collage, digital video, sculpture, etc.
Andréa Harris – Experiencing The Century 01
What else have you been working on recently? What are you looking to work on next?
I first met David Boman during college in Seattle jamming out with him rocking the drum set. His Feature with the LIFESTYLE has been a long time coming and David goes in- setting up a unique journey through the physics of Reflection and Response and the “allure,” of Response as a self-exploratory medium that elicits emotions from within us. From discussing the biological phenomenon of our reactions as people to music, Dave goes on to explain how his music is currently focused on the image- he currently has several soundtrack projects finished and coming up. Be on the lookout for more on these ideas and an in-depth discussion of pieces Overture (Save the Wails), Lowflyer, and his score to Handmade in our discussion below!
Much like intermingling sound waves, personal reflection is constructive and destructive…The catch is that you don’t always walk away feeling good, the allure is that you always walk away feeling. Period.
– David Boman
Leading off with some basics, where are you from? And where are you at?
DB: I am from Seattle and I am at Seattle. I was born and raised here, went to school here and work in the city. Next year I expect to be elsewhere for some time, very possibly Southern California…
What does Reflection and Response mean to you?
DB: In physics, reflection is the propensity for sound or light to bounce off of a surface rather than to be absorbed by that surface. In audio production, we try to avoid this because sound waves that are reflected off of a wall, for example, can interfere with the sound waves coming from the original acoustic source destroying the quality of a recording. A technical (and pretentious) answer like that isn’t really relevant to the question, but it’s an interesting place to start; after all, when we put on headphones and hit play on our stereo, the surface of our eardrums rumble and vibrate, a signal to our brain is sent and processed. Consciously, something happens – it is absorbed and internalized, those of us who vibe with ‘The Metaphysical’ feel the melodies, harmonies, words and throbbing beats sink into our souls. Is that enough? Absolutely! Music is incredible, partly, if not mostly for exactly that reason. You don’t need to know a thing about it to feel its gravity, to be brought to tears or fits of erratic physical movement (shout out to the EDM guys) solely from the controlled vibration of some four-dollar ear buds.
Reflection is the optional step. It’s the part of the process that leads to response, which is the functional step. Much like intermingling sound waves, personal reflection is constructive and destructive – thinking deeply about what is being unearthed that is eliciting profound sensation; self-pity, inspiration, awakening, serenity. The catch is that you don’t always walk away feeling good, the allure is that you always walk away feeling. Period. It’s a product of all art, not just music – scratch that – it’s the product of being alive. Sometimes absorption and reflection happen simultaneously, but I don’t think the response part comes unless reflection has occurred. Response is reflection incarnate. It is the creation that spawns from pure or mixed up thoughts and emotions. It is the act of distilling those feelings through your medium; it is also the distillation itself.
How do ‘Overture (Save the Wails)’ and the score to ‘Handmade’ fit in with that definition?
DB: Beauty in everything. Overture (Save the Wails) is an ode to that sentiment; don’t make an item or experience trash until you’ve taken something from it. The idea was to take dissonant sounds, square synths, and harsh and heavy drums and set them to a pretty, bittersweet melody. It took a long time but ended up yielding one of my favorite tracks to date.
Another track, called Lowflyer, uses some familiar sounds to help set the atmosphere and encourage reflection.
I have been intrigued by film scoring since high school. The context given by a film clip provides reflective material that begs to be painted, or left silent, but in either case consciously sculpted. ‘Handmade’ is a two-minute short film with no dialogue, written and directed by Chris Winterbauer. No faces are seen, no words are spoken. Actions speak louder than words, especially when guided by music.
We’re honored to present this week’s feature on East Harlem-based educator, documentary artist, and performing artistTanya Jackson. Collaboration is hard work sometimes, but nonetheless forces everyone invested in the process to grow—Tanya discusses her experiences working with other artists on some inspiring film projects and how she herself grows and develops through each project. Watch as she builds an exhibition of how we as people can be reflections of one another as we respond to the brush strokes that paint the canvas of our lives.
Leading off with some basics, where are you from? And where are you at?
TJ: I’m a native New Yorker. I was born in Long Island and during the early years of my childhood, I bounced around various sections of the city. At about age 12, I moved to Hudson, New York where I finished high school. From there I earned a Bachelor of Arts in Communication from the University of New York at Albany – SUNY.
I lived in Philly for about 11 years and recently moved back to New York where I currently reside in East Harlem. But I spend a good amount of my free time in the artistic bed of Brooklyn.
What does Reflection and Response mean to you?
TJ: Reflection is a process used for recalling experiences in order to analyze and evaluate our thoughts, feelings and actions, as well as the social context that informs how we address those experiences. Reflection is how we make sense of our lives and the world around us. Response is replying, answering or reacting to something – and the reaction can take many forms.
Artistically, I respond through my role as an educator, media maker and performing artist.
How does your work fit in with that definition?
TJ: I recently worked with Visual and Performing Artist Frances Bradley shooting and editing the promotional video for the Womanhood or Woman’s-Hurt? project. The project is a depiction of her experience as a victim and survivor of sexual assault.
When Frances and I first started discussing ideas, I found myself reluctant to take it on because I was dealing with a lot personally – including the loss of my father and my younger sister within a few months of each other. I was mentally and emotionally exhausted and all those things made me feel defeated. But creativity has the power to revitalize.
As a documentary artist, it is always challenging to document someone’s personal life. It requires you to be present as a human being but detached as an artist so you can operate from an objective standpoint that allows you to convey their message in the best way. Even though Frances only needed basic videography services, it ended up being a pretty tough project.
The experience depicted in Womanhood or Woman’s-Hurt? is not isolated. One in six women are victims of sexual violence, and through visual art, Frances managed to capture themes that reflect the psychological and emotional trauma every victim deals with after being sexually violated. You can’t spend countless hours shooting and editing that type of footage and ignore that.
Retrospectively, learning about Frances’ experience and working to capture the message she was trying to convey challenged me to reflect and cope with my personal history of being sexualized at an early age. I was on a creative journey that no other project had ever taken me on. Womanhood or Woman’s-Hurt? is truly the Art of Healing and working on the project helped my own healing process. My contribution to Womanhood or Woman’s-Hurt is paralleled with Frances’ work – and is the response to that reflection.
What else have you been working on recently? What are you looking to work on next?
TJ: Ironically, the majority of projects I’ve worked on for the past year focused on relationship and sexual violence.
I’m co-director of an after school program where I also teach high school students documentary filmmaking around social issues. This past spring, my students chose to explore dating violence for their term project after one of their peers shared her experience of being in a violent relationship with her child’s father. After showing my students the Womanhood or Woman’s-Hurt? promotional video, the same student who shared her violent relationship experience, shared how inspired she was by Frances’ courage to give voice to her trauma, and work to heal. Frances’ story, in part, helped this student find the courage to profile her own story in the students’ film, Journey to Survival, which confirms the necessity of the Womanhood or Woman’s-Hurt? project.
Last year, I co-starred in the short film, Bottom, written by up and coming director Chinonye Chukwu. Bottom addresses sexual trauma’s effect on intimate relationships. That film is currently in distribution and recently premiered at the Los Angeles OutFest Festival.
Promo photo from “Bottom,” a story of love between girlfriends taking an unexpected turn.
In the beginning of July I (humbly) served as a production assistant for an episode of Lisa Ling’s Our America series, which airs on Oprah Winfrey’s OWN network. I say humbly because I haven’t been a production assistant in a couple of moons and I certainly didn’t see myself chiefly responsible for getting coffee and loading camera equipment at this age. But the experience and networking opportunities were well worth it!
I am currently working to finish the documentary for Womanhood or Woman’s-Hurt?. And I will also be working with Ms. Chukwu on her next short narrative, A Long Walk, a story that takes place in Philadelphia during the 1980s, and explores the effects of staying silent after witnessing injustice.
Who or what inspires you?
TJ: I find inspiration in lots of places. Throughout the course of my life, the Black experience in the world, the struggle—how people fight against various forms of oppression in this world has always moved and churned my spirit. As a youth I danced, wrote poems and made speeches about the Black experience. Ms. Debbie Allen was a huge inspiration to me in my youth because of her ability to channel different forms of artistic talent as a means of expression.
Learning inspires me! I earned a Bachelor of Arts and Master of Arts in media studies, with a specialization in media literacy education (MLE). As a student I was always excited about investigating all kinds of interests, especially when it came to studying how people consume media. The best practices of MLE rest in the awareness that inquiry and co-creating knowledge in an educational setting cultivates learning that requires constant reflection and encourages intentional, conscious response.
The energy of NYC inspires me. I am inspired by my students and the communities where I work. I find the perspective, courage and vulnerability of other artists inspiring. Beautiful imagery in still and moving images cause me to soar. Direct engagement with all sorts of art is inspiring to me. I especially like being pleasantly surprised by art and nature when I’m walking about in the world. I tend to get lost in my head a lot when walking and when art or nature unexpectedly jumps out at me, I’m immediately reminded that beauty can be just as real as it can be imagined. Of course, a well made documentary film or video can inspire creative ideas. Lastly, and most importantly, I find inspiration in myself when I am centered and in tune with my own creativity—true inspiration comes from the inside out.
Is there anything else you would like the Collective to know?
TJ: Art is a universal language and the life-size art of Womanhood or Woman’s-Hurt? tells a story that the majority of women in our lives are experiencing. People are becoming more visually oriented and conversations about sexual violence, it’s impact on victims and the healing process, needs to reflect that trend.
Only four out of 12 pieces of Womanhood or Woman’s-Hurt? are finished and we’re raising $25,000 to complete the project and we need all the support we can get. Every dollar counts so please contribute to this project.
I’m just beginning momentum for my company, Life Happens Media Works. The Reflection and Response theme of LIFESTYLE resonates with the direction I plan to develop future work; taking part in this interview has been very helpful in developing these concepts. Thank you for your time and interest in my story.
I also want the Collective to know that our gifts matter! Our existence matters, even when we don’t feel like it does. We must continue to reflect and respond through our work and just Being the unique expressions of Love that we are; we are messengers!
Shout out to…?
TJ: All my homies! The driving force and PR department of the Womanhood or Woman’s Hurt Project, Frances Bradley and LaToya English; Frances Bradley again for her courage, power and artistry, she definitely inspires me in multiple ways. Thanks to the Educational Video Center where I currently teach documentary filmmaking. EVC has been such a great place to merge my skill sets in education and media making. As I enhance my artistic skills, I can’t ask for a better day-job set up. Thanks to filmmaker, Chinonye Chukwu for being my artistic angel. She has lovingly included me on really amazing projects in ways that challenge and honor my gifts. She has provided a significant amount of loving support and encouraged me to continue being a true artist! Shout outs to all artists! Shout outs to my family and friends who ground me, save me and love me through thick and thin, Shout out to the city and people of Philadelphia for helping me mature and cultivate my work ethic. Thanks to New York City for its energy, urban beauty, diversity of people, and its art and experiences. Thanks to the Universe for everything!
Check out more of Tanya’s work below:
Breathing Easy: Environmental Hazards in Public Housing (Trailer)
Tanya currently serves as co-director of Educational Video Center’s Youth Documentary Workshop. Breathing Easy: Environmental Hazards in Public Housing, is one of the student-made films in her workshop. Breathing Easy was produced by high school students who participated in EVC’s fall 2012 Youth Documentary Workshop. Students focus their attention and cameras on the harmful impact that lead poisoning, mold, and pests and pesticides in low-income housing has on the health and wellbeing of their communities. They investigate how these pollutants affect their fellow student’s Harlem apartment, and show how the information and advocacy provided by WE ACT for Environmental Justice and other health experts give hope to a family in need.
Alaskaland (Trailer)
One of Tanya’s artistic roles is as a script supervisor for film productions. In 2011, She served as the script supervisor for the feature length film, Alaskaland, shot on location in Fairbanks, Alaska. “Alaskaland tells the story of Chukwuma, an Alaska-raised Nigerian struggling to balance his cultural heritage with the pressures of the larger world around him. After a family tragedy forces a two-year estrangement from his younger sister Chidinma, the siblings reconnect in their hometown. Although their time apart has created new frictions, they find their reconciliation bringing them closer to each other and to their roots in this gorgeous, knowing debut film.
It’s been a long time comin, but today marks the release of our Shake This MazeTools of the TradeVIDEO!! With this project we have taken our Patchwork audio-visual collaboration approach and applied it to itself.
The video content was filmed throughout the process of handcrafting the album cases for Shake This Maze. This documents the stages of cutting, stenciling, writing, folding, gluing, and packaging that went into bringing the 100 physical copies of STM to life.
Meanwhile, about a month ago, P brought out a couple of creative remixes that he based off of various tracks from the album. One of these remixes appears in the soundtrack of the video, along with a few other cuts from the album.
From the Leon studio to the Brooklyn workbench, from music to art, the Tools of the Trade Video sees the Patchwork process double down on itself and spin out through film.
The Snapshots from the Collective series works to create a space for Reflection and Response through photography. ANYone who wants to contribute ANY photos to this project can email us submissions at the.lifestyle.rr@gmail.com. One photo will be posted each week, and photos will only be used for the purposes of this series. Thank you and we look forward to building and expanding the Collective!!! -P & V
the LIFESTYLE 