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Khayelitsha MC Test Ntsini Talks Cape Town Spaza Rap

Khayelitsha MC Test Ntsini talks spaza rap, his debut album 'Standard One,' Cape Town's hip-hop scene and more with Okayafrica.

Test Ntsini is a promising Khayelitsha-based emcee rapping in spaza, a Cape Town hip hop sub-genre done mostly in the Xhosa language. Back in August (Women's Day to be exact), Test released the visuals to his new song, "Women," a thoughtful track featuring SATMA (South African Traditional Music Awards) nominee Jah Kongo. Looking at the tracklist of his debut album, Standard One, with entries like “Entertainer's Duty," “Self Hate," “Ihlwili" [blood clot], and “Ndiyoyika" [I'm scared], one might expect to hear an ordinary guy from the hood baring his soul on wax. And spitting textbook Xhosa over mostly boom bap-induced production, Test does exactly that. I recently caught up with the brother who spoke about his debut effort, spaza rap, Cape Town hip hop and more...


Sabelo for Okayafrica: Who is Test?

Test: Test, real name Masakhe Ntsini, is the last born of the late Fanele Edward Ntsini and Thandeka Nobandla Ntsini. Test is also a spaza rap music artist.

OKA: Where are you from?

Test: I'm from a village known as Bilatye in the Eastern Cape. Lady Frere is my home town. But I stay in Khayelitsha, Cape Town.

OKA: When did you start rapping?

Test: Back in 2006. I was doing kwaito music before then, since 2004 inspired by Zola. I switched to rap music after I got to hear Driemanskap. I was 15 years old at that time. Mentored by great spaza rap artists; Zanzolo, Street Life, MaXhoseni, Nkululeko Hleza, Mashonisa and Phoenix [of Backyard Crew] and the late Abongile Kroza. Since then, I never look back, and that helped my rapping skills to grow and attracted many people to follow and support my music. In the middle of the year 2006, me and my friends formed a crew known as Un-decided Crew.

OKA: Tell us about Undecided Crew.

Test: Un-decided Crew is a Khayelitsha, Site B rap music crew that consist of Malwande "Yai" Batembu, Aphiwe "Qhama" Menziwa, Bulelani "Styles" Bambiso, Silulami "Ingcuka" Mpateni as well as myself. We are all brothers who were given birth by our loving single mother – Music. In 2010, we released our album Is'celo [a request] independently. It received nothing but love from the underground rap scene in SA. Along the way while pushing our album, we couldn't maintain our vision constantly. And that led us to go our separate ways. We now hardly work as a crew but we do collaborate on our solo projects.

OKA: How would you describe your music?

Test: I do rap music. Mostly in my mother tongue [Xhosa], mixed with ghetto languages. My music is calm, ear-friendly, inspiring and spirit-uplifting according to the feedback from my supporters.

OKA: Take us through Standard One.

Test: Standard One is my first CD as a solo artist. I compiled 15 of my songs to introduce myself as a solo artist as many people knew me from my crew. On this project, the mission was to build a foundation for my career. I worked with with vocalists Nos'celo, Muziek Sensation and Embo; emcees Manqoba, iMpendulo, Qhama, and Lyf Sentence; and beatmakers Qhawe, Matic, Soul, Daisy, and Pzho. It was recorded at SM Records and mixed and mastered by Daisy.

OKA: And why that name for the project?

Test: It's the beginning. We're continuing with the journey.

OKA: How has the response been?

Test: It's humbling kakhulu (a lot). There's no better feeling for an artist than the feeling we get when hearing that people enjoy the music you make, relate to it, don't regret buying the CD, and can't wait for the next project. It's quite humbling. Marketing side, the process is a bit slow but we getting somewhere closer to where I want it to be. All in all, even though the marketing pace is lacking a little, there's great hope that soon the situation will change for the better. I'm learning, I'm growing, and enjoying it.

OKA: How important is it to you that your lyrics encompass struggles faced by the average black person in the hood?

Test: First of all, my lyrics are driven by a specific theme that got my attention at a specific time in my heart. The concepts are always different. I always like to do something different 'cause I like growth and I believe I will never find growth in my comfort zone. So I like to stretch my creativity. To answer your question, it's very important because you'll find it inspiring and giving hope to someone who's experiencing the same struggle.

OKA: Who would you say is your target market?

Test: I do music for all people but specifically the youth. Through my music, I'm shaping the leaders of tomorrow.

OKA: What are your thoughts on the Cape Town hip hop scene?

Test: The growth is motivating a lot. It gives hope. Even though the oneness amongst artists is not as tight as it was before, it's inspiring to see how artists take their craft seriously these days. You can tell professionalism is what we're closely heading to. And I personally believe that's the only way for the people to take us seriously because if you don't take yourself seriously, how do you expect others to do so? I'm in a process of teaching myself gratitude, so I won't dwell on the negative.

OKA: What are the biggest challenges you face as an independent artist from the hood?

Test: Getting booked for performances and getting told it's only for exposure. Also, radio DJs and music compilers only give attention to your work when you bribe them.

OKA: How did your collaboration with Jah Kongo come about?

Test: I was invited to perform at the Amazing Women event that was organised by Theatre4Change for the 2014 National Women's Day. I wanted to be relevant to the theme so I decided to write a piece especially for that event. I'm a rapper, but I like other kinds of music a lot, I wanted the chorus to be vocal a little so I approached The African Warrior: Jah Kongo. I've always known him since I started doing music. He's one of the artists I've been looking up to. He respects my music and I respect his. We've been both wanting to do a song together, so I approached the elder and we took the idea into action along with the legendary boxing star known as Mzonke Fana “The Rose of Khayelitsha." Now the idea was not to just do a song, but to pass an encouraging, empowering and acknowledging message to all the women in the world. The humble Mzonke saw the bigger picture and he also joined us to send a message to the female human.

Follow Test on Facebook and Twitter.

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This interview has been edited and condensed for clarity.

The Grammys were a big moment. Why did you decide to dedicate your award to Burna Boy and acknowledge the new generation of up-and-coming African artists?

I'm always in contact with my continent. I go back on a regular basis, and that's where my source of inspiration is from. Throughout the years going back and forth, I've been seeing the entrepreneurship of the young generation coming up. When I started music—there was none of that. You just went to the studio, and you found people to help you do your music. Now you can be a self-producer. I have nephews and nieces, and I'll just say "Ok, what's new? Let me listen to the new stuff." And I just realized that the rest of the world has no clue about what's happening in Africa.

Four years ago, when I received my Grammy for the album Sings, I said "Brace yourself, because Africa is coming. You have to open your heart, your mind and ears to listen to what is going on and what is coming from the new generation of my contient"— I said that four years ago, and the time has come because [with artists like] Burna Boy, Wizkid, Davido, Yemi Alade and many more from Nigeria, and Sho Madjozi from South Africa—you have so much happening culturally in Africa. I have the feeling that sometimes people just completely turn their head away from Africa and I just wonder how one could possibly turn their head away from where they come from, because Africa is the cradle of humanity. Culture comes from there—there's no music on this planet that doesn't have Africa in it.

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Is this why you've chosen to work with a lot of younger artists from the continent like Yemi Alade most recently?

I'm so proud of this new generation of musicians that are using the technology to tell a positive story about Africa. It's no longer about our suffering. Everybody suffers. So, why should people be focusing only on our suffering and not seeing just the human beings that we are, and how joyful we are? Then suddenly, you realize that joy becomes political because if your society, your people are perceived as joyful, then a leader cannot complain anymore that something is wrong. Beyond all that, [I do it] to pay tribute to the entrepreneurship of the young generation. They aren't waiting on help from anybody. If you are famous in your country and on your continent, there's nothing that can stop you. You have billions of people that will love you, so why should the rest of the world look aside when you're passing by? They should pay attention.

That's why I use my platform to bring the attention of the media to this new generation coming. They don't want to be caught by surprise because I've been telling them to pay attention. If something happens, and they don't pay attention, at least I've done my work.

I do think it's really amazing how new artists have been able to gain traction and put their music out despite their not being a lot of support by African leaders for creative industries. Do you think that African governments, and the folks with money should invest more entertainment?

I think they should because we create jobs. People make money, and it's not only the artists. There's also the people helping them make videos, or cut tracks—music creates jobs.

I think we have to educate our leaders and our business people in Africa. Who can carry their brand better than us? Who are the best ambassadors of our cultures, our countries and our continent? It's us artists across different forms of art, from painters, to storytellers, to people in theatre and movies. Every form of art is about telling the story of ordinary people and the people that have come before us. How do you know about your own history, if not for the elderly people that tell you the story of who you are?

In order for us to tell our story, we need to have a voice. We need to say it through different mediums. Music is one of them. We shouldn't let anyone else tell our stories anymore. That time in history has passed. We have new narratives, we have proof of how entrepreneurial we are. Africans can make money in Africa and anywhere else. The world is open to us—the world is ours. No one can stop us.

So many African artists look to you as an inspiration and a model for longevity in the music industry. I'm wondering which artists served that role for you when you were first coming up.

There are many, many of them. I would say it started with traditional musicians because I was a very curious child. I come from that background of traditional musicians telling me stories through songs. [Growing up] my brothers were playing music, my father brought the instruments for them, and freed a room in a crowded house for them to rehearse. I heard every genre of music in the '60, '70s and '80s through them, but my role models start with traditional musicians, both male and female. [But at a certain point] I noticed that every album that would be brought home had just men on the covers. I was like, "Okay, so women don't sing? They can't do albums too?" Then you had Western women start coming in and I was like, "Okay, at least some women are making it through [in the industry]."

Then Miriam Makeba came and Aretha Franklin came. The day Aretha Franklin came, the singer of my brother's band—who had such a fucking ego, you couldn't even put it anywhere—said "there's no song I can't sing." [But] Aretha came and he couldn't sing. I'm like, "What? A woman is whooping your butt. I like that."

So, there have been strong men and women as musicians that have informed the music that I make today. The only way I could absorb it and make my own music, and become a role model to others today is because I am proud of my culture. I know where I come from, I'm not trying to copy anybody because everybody copied what we have. There wouldn't be any music in America without the input of enslaved people that came from Africa. The blues came from slaves. It doesn't matter how hard the slave owner wanted to dehumanize us—they even took the drum away from us. But we had many ways of celebrating culture. We had many ways of celebrating our humanity—singing was one of them. We sing our pain to lift it up. We sing our joy to share it with people. That's what African music is. The essence of what music is comes from that place. We've seen it all, we've been through hell, yet here we are prevailing still.

"I have to be able to sing my songs till I die."

You've always championed African culture and identity, whether it's through singing in Yoruba, or representing Benin through various endeavors. Did you at any point, ever face pressure from the industry to tone down your "Africanness" to appeal to certain audiences?

They have a saying in my country, that "the advisor is not the payer." [It's about] what you do with the advice people give you. I'm always listening, I'm always ready to sit and hear constructive criticism. But if you want to critique for the sake of criticizing me—I've heard some journalists say that I'm not African enough in France because my music sounds too Western. I said, "What is the music of the West then? Tell me." Take Africa out of it and there's no music for y'all.

For me, I respect everybody, particularly the differences because there lies the genius. We all don't think the same.

People said, "Why don't you show your titties?" I'm like, "Well, I don't feel like showing my titties because my titties ain't singing. My voice is not in my breasts." You've got to be somebody, and I am African. I come from a rich culture. Why should I change to look like what? What do you want me to look like? I've never ever allowed anyone to say to me, "You can't do this." I have fought some producers that try to change my music. I say, "If that's the case, you take the microphone, you sing, it's not mine, I'm out of here." You have to stand for something. If you are afraid of not making it, then you become a fool to somebody.

People will say what they want to say. If I want to dress differently, I do sometimes. When I received the NAACP award, I wore a suit. A well-tailored suit, and I kill it too in a suit. It's not what you wear, it's who you are.

I always say, if anyone wants to work with me, I'm open. The bridge I'm trying to build, everybody's welcome on it in the respect of each other's differences. My strength might be your weakness, and then I supply. My weakness might be your strength. It goes both ways. I don't have the answer to everything, but one thing I know is that if we stop bitching at each other and blaming people for all the things that aren't good in our life will be better off because when we start doing that, what do we do? We create fear, and fear is dangerous.

I wanted to ask you about the controversy surrounding the Best World Music category at the Grammys. Many believe that it doesn't truly encompass the diversity of music coming from the continent. What are your thoughts on the matter?

Don't underestimate the recording academy. They have been thinking about it way before this. It's a conversation that we're going to be engaging in. Africa is not a country, it's a continent. The Latin Grammy exists. We should have the African Grammys too, because it's a continent, because it's vast, it's huge. So, it's a conversation we started having because the academy is also realizing this, and they are, at least, having that conversation. Right now, if you look at the "French Grammys" coming up, there's not one person of African descent [represented]. Not one. They just completely ban what is called "world music" out of it and we're in the 21st century. So, I think criticizing is one thing, finding solutions is another.

Let's work with the recording academy and find out how we can help to come up with something that works for everybody. That's all I'm about. I'm always about solutions. The thing is that we also need to recognize that we cannot be discriminating when it comes to culture. If we don't speak to each other, and we're always blaming and pointing fingers, there's no conversation possible anymore. We should have an open discussion about this and be creative about it. That's all I say.

Speaking on shifting genres, you recently worked with Pablo Nouvelle on his new project Eliso, I saw it described as your "maiden venture into electronic music." What was that experience like for you?

I started with electronic music. If you ask David Byrne, he would tell you that my first album, Logozo was completely electric, but African electric. So for me, working on this album brings me back to the beginning and, I'm not done doing that. I'm going to do it more.

So, we can expect a lot more of this electronic sound that you've already been working on?

I'm not saying anything.

We can't have a hint?

No, nothing, because I always follow my inspiration. If my inspiration changes a little bit, I have to change [my direction].

You just go with whatever feels right?

I have to be able to sing my songs till I die. All my songs, if I can't sing them, with just my voice and a guitar, it means it's not good. When writing a song, less is more because if you add too much stuff, then you kill the song. You're overstating it. Do the minimal. If it feels good to you, and you can sing it in your sleep, wake up dancing to it, and you can feel it in every beat in your body, it's right.

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