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Jonzi D
Jonzi...Still Breaking all Conventions
Words: Semper Azeez-Harris
It was, with pleasure I had the chance to talk to the legendary, Jonzi-D, founder of one of the UK’s most important hip hop events, Breakin Convention. Since 2004 Jonzi has been the engine behind this event and six years later, the passion and drive are just as intoxicating.
An associate artist based at Sadler’s Wells he has clearly become part of the Sadler’s furniture so to speak. As soon as we enter it’s; “hello” to this person, “what you been up to?” to that person “I will get in touch with you later” to another. Even when we get a small drink from the cafeteria a rather nice lady ask him if he wants his usual.
With our extra creamy hot chocolates we talk Breakin’ Convention.
The first question surrounds the sad passing of Guru yesterday [April 20, 2010]. What memories do you have of him when touring with Gangstarr in your early career?
I distinctly remember meeting Guru in Amsterdam that was the first leg of a tour called Hard to Earn in 1994 and Mc Mellow and DJ Pogo were spinning and I was the hype man. This was the first major tour I had been on and it was also the first time that I had been up and close to a person I saw as a legend.
He was just so humble and so cool. As the tour developed and my confidence levels grew and I will never forget we were in Madrid and in a real humble way he says “Jonzi man I am producing beats and I would feel honoured if you would bless one of my beats.”
That must have taken your confidence to another level?
Well I could not believe what I was hearing and maybe my lack of belief did not allow me to chase it up but what it did do is it gave me a foundation of confidence. I can directly say that Guru saying he wanted to make beats with me was instrumental in what I have been doing.
And then from one sad passing to another in the shape of Greg Campbellock Jr who died in January 2010, how much of an impact did he have on you as a performer?
Well my relationship with Greg is more about my relationship with lockers around the world. Honestly speaking I did not know that much about him as a person but then in a way I did, by witnessing locking. When I started doing Breakin Convention, I learnt a lot more about the history and the dance form. I just remember meeting this locking legend who was again mad cool and mad humble.
You have some of the pioneers of locking turning up for the tribute to Campbellock how important to you was it to get the likes of Sugapop to come and pay respects?
When I heard he died, Suga Pop happened to be in town and there was a real cloud but this was only for a few days. After that it was “how are we going to celebrate his life?” because he was such a jovial character. Locking is perhaps the most fun filled of the street dances that are out there and so I hope that his fun character and contribution to this form will live on in his legacy.
It must have been a no-brainer when asking exponents like Suga Pop and Lockadelic to come down and perform this year.
Yes it was. Led by Suga Pop we have Tony Go Go one of the original lockers coming through and we have a lot of good artists down with this and so spiritually it will be just right.
Is there room for that innovative spirit that people like Campbell had?
I think that in this world there is such a mainstream approach to the arts and creativity I think that the idea of innovation is secondary to the idea of selling units.
What were your initial ideas regarding Breakin Convention and was there a gap in the hip-hop scene per se that you wanted to fill?
I think prior to Breakin Convention much of the platforms for this form of work were battle orientated; who’s the best who can battle this person at breaking? I think that that form can narrow creativity because the criteria for these judges are set where as art can be everything and each piece commands its own criteria regarding whether it is good or not. I think Breakin Convention allows for the variety of ways to make hip-hop theatre which we have proven.
What is it about hip-hop that seems to work with theatre?
I studied contemporary dance, meaning I studied approaches to making theatrical dance and I have always believed that hip hop has been screaming out for that. I explored hip hop theatre in my early works Lyrical Theatre and at the time there were not many people doing this type of work and for me it was an opportunity missed. Now the secret is out and people are aware of the potential of street dance styles in theatre due to its visual impact. My only real worry is that it is starting to get too commercial.
How difficult was it to sell the idea to mainstream theatre and indeed have you been surprised?
It was not a problem at all. I had already implanted the seeds in the artistic director’s head that he needed to do this in 2001 and that was when he was working at the Royal Festival Hall. When he came here to work he said to me; “Jonzi let’s do this”. Perhaps my own naivety or possible prejudice but I expected that people in those fraternities may have looked at hip hop in a rather disdainful way regarding its perceived connection with deviancy.
The difficulties probably lay in a few things; not only the idea of a deviant culture coming into this temple of high art but also hip hoppers thinking if this is a credible venue to be performing such an event. It smacks of issues to do with class, race coming into the decision making but once you have a visionary director like Alistair [Alistair Spalding] and me, we show it can work.
This year sees a large UK presence was that something that just happened or was there more of an intention to insure a sizeable UK presence?
I think that what is important is to give a voice to the voiceless that’s really important. And the whole idea of doing hip hop in theatre is show that there is a lot of good stuff happening in the UK. I think that the idea of being able to perform at Sadler’s Wells has been gobbled by the UK fraternity. UK talent over the seven years has really just taken full advantage of this great opportunity.
What are the three factors that you look for in acts that perform at the event?
Innovation, technical skill and professionalism and all of those three need to be part of the pitch. Obviously there are varying degrees but every company has to possess those skills.
What makes dance and theatre work and why are they such important and powerful mediums?
Dance is an unspoken language that can be shared with the whole world. The language of movement is something that can break language barriers and communicate anywhere. Theatre (for me ) is the outlet for truth and humility because you are naked on that stage unlike in videos where they can dress you up and do whatever and even in live music shows where people spit. In theatre you have to delve deep.
What are the future plans for Breakin Convention and where do you see it in the next three years?
International touring, we are going to be presenting Breakin Convention to Canada Toronto this year and I want that to develop. I want Breakin Convention to have an international franchise approach so we have a Breakin Convention in different countries and we tour with the concept because it is a concept that I think really works.
How are hip hop events in other countries different to Breakin Convention?
I have seen hip hop theatre events in other countries and what they have are remnants of hip hop culture but it still feels rather elitist. Breakin Convention houses everything that is concerned with hip hop culture from graffiti to DJ’s without feeling elitist or indeed out of place and that is why Sadler’s Wells is breaking convention.
Lastly, what is going on for you outside of Breakin Convention what projects have you got lined up?
The next big thing for Jonzi D productions will be the play Markus the Sadist starring Bashy. That is going to be big and we have had a great response to it and so I am really excited about this production. I hope people go and see this play because it is innovative.
Related links
Breakin’ Convention runs from 1-3 May, 2010 at Sadler’s Wells
Afridiziak Theatre News interview with Jonzi D
Markus the Sadist is at the Bloomsbury Theatre from 17-20 May, 2010
Afridiziak Theatre News interview with Bashy
Jonzi...Still Breaking all Conventions
Words: Semper Azeez-Harris
It was, with pleasure I had the chance to talk to the legendary, Jonzi-D, founder of one of the UK’s most important hip hop events, Breakin Convention. Since 2004 Jonzi has been the engine behind this event and six years later, the passion and drive are just as intoxicating.
An associate artist based at Sadler’s Wells he has clearly become part of the Sadler’s furniture so to speak. As soon as we enter it’s; “hello” to this person, “what you been up to?” to that person “I will get in touch with you later” to another. Even when we get a small drink from the cafeteria a rather nice lady ask him if he wants his usual.
With our extra creamy hot chocolates we talk Breakin’ Convention.
The first question surrounds the sad passing of Guru yesterday [April 20, 2010]. What memories do you have of him when touring with Gangstarr in your early career?
I distinctly remember meeting Guru in Amsterdam that was the first leg of a tour called Hard to Earn in 1994 and Mc Mellow and DJ Pogo were spinning and I was the hype man. This was the first major tour I had been on and it was also the first time that I had been up and close to a person I saw as a legend.
He was just so humble and so cool. As the tour developed and my confidence levels grew and I will never forget we were in Madrid and in a real humble way he says “Jonzi man I am producing beats and I would feel honoured if you would bless one of my beats.”
That must have taken your confidence to another level?
Well I could not believe what I was hearing and maybe my lack of belief did not allow me to chase it up but what it did do is it gave me a foundation of confidence. I can directly say that Guru saying he wanted to make beats with me was instrumental in what I have been doing.
And then from one sad passing to another in the shape of Greg Campbellock Jr who died in January 2010, how much of an impact did he have on you as a performer?
Well my relationship with Greg is more about my relationship with lockers around the world. Honestly speaking I did not know that much about him as a person but then in a way I did, by witnessing locking. When I started doing Breakin Convention, I learnt a lot more about the history and the dance form. I just remember meeting this locking legend who was again mad cool and mad humble.
You have some of the pioneers of locking turning up for the tribute to Campbellock how important to you was it to get the likes of Sugapop to come and pay respects?
When I heard he died, Suga Pop happened to be in town and there was a real cloud but this was only for a few days. After that it was “how are we going to celebrate his life?” because he was such a jovial character. Locking is perhaps the most fun filled of the street dances that are out there and so I hope that his fun character and contribution to this form will live on in his legacy.
It must have been a no-brainer when asking exponents like Suga Pop and Lockadelic to come down and perform this year.
Yes it was. Led by Suga Pop we have Tony Go Go one of the original lockers coming through and we have a lot of good artists down with this and so spiritually it will be just right.
Is there room for that innovative spirit that people like Campbell had?
I think that in this world there is such a mainstream approach to the arts and creativity I think that the idea of innovation is secondary to the idea of selling units.
What were your initial ideas regarding Breakin Convention and was there a gap in the hip-hop scene per se that you wanted to fill?
I think prior to Breakin Convention much of the platforms for this form of work were battle orientated; who’s the best who can battle this person at breaking? I think that that form can narrow creativity because the criteria for these judges are set where as art can be everything and each piece commands its own criteria regarding whether it is good or not. I think Breakin Convention allows for the variety of ways to make hip-hop theatre which we have proven.
What is it about hip-hop that seems to work with theatre?
I studied contemporary dance, meaning I studied approaches to making theatrical dance and I have always believed that hip hop has been screaming out for that. I explored hip hop theatre in my early works Lyrical Theatre and at the time there were not many people doing this type of work and for me it was an opportunity missed. Now the secret is out and people are aware of the potential of street dance styles in theatre due to its visual impact. My only real worry is that it is starting to get too commercial.
How difficult was it to sell the idea to mainstream theatre and indeed have you been surprised?
It was not a problem at all. I had already implanted the seeds in the artistic director’s head that he needed to do this in 2001 and that was when he was working at the Royal Festival Hall. When he came here to work he said to me; “Jonzi let’s do this”. Perhaps my own naivety or possible prejudice but I expected that people in those fraternities may have looked at hip hop in a rather disdainful way regarding its perceived connection with deviancy.
The difficulties probably lay in a few things; not only the idea of a deviant culture coming into this temple of high art but also hip hoppers thinking if this is a credible venue to be performing such an event. It smacks of issues to do with class, race coming into the decision making but once you have a visionary director like Alistair [Alistair Spalding] and me, we show it can work.
This year sees a large UK presence was that something that just happened or was there more of an intention to insure a sizeable UK presence?
I think that what is important is to give a voice to the voiceless that’s really important. And the whole idea of doing hip hop in theatre is show that there is a lot of good stuff happening in the UK. I think that the idea of being able to perform at Sadler’s Wells has been gobbled by the UK fraternity. UK talent over the seven years has really just taken full advantage of this great opportunity.
What are the three factors that you look for in acts that perform at the event?
Innovation, technical skill and professionalism and all of those three need to be part of the pitch. Obviously there are varying degrees but every company has to possess those skills.
What makes dance and theatre work and why are they such important and powerful mediums?
Dance is an unspoken language that can be shared with the whole world. The language of movement is something that can break language barriers and communicate anywhere. Theatre (for me ) is the outlet for truth and humility because you are naked on that stage unlike in videos where they can dress you up and do whatever and even in live music shows where people spit. In theatre you have to delve deep.
What are the future plans for Breakin Convention and where do you see it in the next three years?
International touring, we are going to be presenting Breakin Convention to Canada Toronto this year and I want that to develop. I want Breakin Convention to have an international franchise approach so we have a Breakin Convention in different countries and we tour with the concept because it is a concept that I think really works.
How are hip hop events in other countries different to Breakin Convention?
I have seen hip hop theatre events in other countries and what they have are remnants of hip hop culture but it still feels rather elitist. Breakin Convention houses everything that is concerned with hip hop culture from graffiti to DJ’s without feeling elitist or indeed out of place and that is why Sadler’s Wells is breaking convention.
Lastly, what is going on for you outside of Breakin Convention what projects have you got lined up?
The next big thing for Jonzi D productions will be the play Markus the Sadist starring Bashy. That is going to be big and we have had a great response to it and so I am really excited about this production. I hope people go and see this play because it is innovative.
Related links
Breakin’ Convention runs from 1-3 May, 2010 at Sadler’s Wells
Afridiziak Theatre News interview with Jonzi D
Markus the Sadist is at the Bloomsbury Theatre from 17-20 May, 2010
Afridiziak Theatre News interview with Bashy