Pat Boy: Mayan Rap is Bringing the Culture Back

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All over the globe, Indigenous MCs and hip-hop artists are using the furious force of rhymes to express, represent and revitalize their original languages and cultures. And Mayan MCs, like 22-year-old Pat Boy, are no exception.

For Pat Boy and other artists building the burgeoning Mayan hip-hop scene in the Yucatán Peninsula, rap is a way to bring Indigenous language and culture to a wider audience and for Mayan artists to recover a deeper sense of their own indigeneity. "Through rapping in Maya," Pat Boy says,  "I better understand my culture".

The Indigenous music renaissance is making it not only acceptable, but cool for native artists to represent themselves and their culture — and the resurgent wave is spreading beyond Turtle Island. By Pat Boy's count, at least 40 rappers are following in his footsteps—and people of all ages are coming to his shows. As he stated in a recent interview, "Old people like it for the language. Young people like it for the genre."

Rap keeps bringing it back. "Interviews tell us that 'the Maya collapsed'", he says, "which is a lie because the Mayans are here, just evolved and doing new things".

To get a better sense of where he's coming from and why is music is resonating so deeply with his audience and fellow Natives, we did a quick google translate of a Spanish-language interview Pat Boy recently did with VICE Mexico (so excuse the crude algorithmic translation) where he talks about his introduction to hip-hop and how the community has responded to his music:

INTERVIEWER: Hi, Pat Boy, you come from a community where the Mayan language is spoken, what was your first introduction to hip-hop? Pat Boy:  Yes, the Mayan language is the first thing you learn as a child, I am native of my native José María Pino Suárez. My first approach to hip-hop was thanks to my brother, as he traveled to complete his studies in Felipe Carrillo Puerto, and every time he returned to my village he had CDs and videos of singers like Kinto Sol, Akwid, Control Machete, Vico C and rappers from abroad like 50 Cent, Lil Jon, Cam'ron, Lil Wayne, etc.. From there we started rapping and writing our own songs, then bought a computer from the old ladies in which you could only record 60 seconds and so we started making our own rolas rapping in Spanish.

And where does the name Pat Boy come from? From the Pat out of my last name, which in Mayan means to shape something or create something new.

What did people in your community think when you told them you wanted to be a rapper? Many people laughed at me and made ​​fun of what I was doing, said I had nothing to do, that I would not get anywhere, but at that time they had not heard what I sang. Now when I took my first album, titled In Ya'ax xin baal, my people began to identify with the phrases of a song called "U kuxtáal mayaoob" (Maya lives), which speaks of the current life of the campesinos.

Read the rest of the interview (original in Spanish)

With a legion of fans, and inspiring his fellow Natives to reclaim their culture, Pat Boy seems an appropriate ambassador for hip-hop as a revitalizing force:

my songs tell a little of everything, of me and what I see happening every day, how life changes in Mayan villages technology, pollution and acculturation. I talk about peasant life, how we have to get up early to go to work in the fields, go out and find other ways to live because the land no longer gives crops. I also sing about the holidays, customs of each people, always encouraging young people to do something positive. Tell them all we can achieve what ever we want and when we work and maintain humility, respect and peace. Anywhere you go you should not forget where you come from, your people and blood in your veins.

At 22, Pat Boy is already three albums deep, has multiple videos posted on his YouTube channel, and his SoundCloud is constantly being updated with new joints. We've highlighted the video for a feel-good crew track "DECIRTE TODO", which features El Maya & El Poeta & Victor Santo Barrio, and a recent Clipse-style minimalist rap track "PLASMANDO MIS RIMAS" that's available as a free download.

Hip-hop is the force, Indigenous experience is the spirit. And through both we keep revitalizing ourselves, one beat at a time.

DOWNLOAD: PAT BOY - "PLASMANDO MIS RIMAS"

WATCH: PAT BOY - "DECIRTE TODO"

WATCH PAT BOY INTERVIEW + FREESTYLE IN MAYAN:

VIDEO: Aztlan Underground - Sacred Arrow Sun

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The summer solstice is welcomed in the highest Indigenous regards by Aztlan Underground in this video for the instrumental track Sacred Arrow Sun.

We just passed the summer solstice recently, which has always been a special event for Indigenous cultures all over Turtle Island since time immemorial.

Legendary Indigenous music collective Aztlan Underground helps us to welcome the solstice and honor its gift of energy and sustenance with this instrumental composition and powerful artistic video production for their song Sacred Arrow Sun.

The video is described on their YouTube page as:

The tribal instrumentation of Sacred Arrow Sun serves to welcome the summer solstice in the Native way. Aztlan Underground marks the sacred event with rattles, huehuetl drum, pow wow drum, raspers, wooden and clay flutes.

This also gives a sneak peek into their upcoming album project Unearthed which is due to be released upon the next winter solstice in 2012.

Don't forget to check out our interview with Yaotl Mazahua from Aztlan Underground in: RPM Podcast #014: “Mesoamerica”

RPM Podcast #014: "Mesoamerica"

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In the 14th episode of the RPM Podcast, host Ostwelve speaks with two musical architects of the Mexican Indigenous revival - Yaotl of Aztlan Underground and Zero from El Vuh.

On the flags of Canada and U.S.A. there’s nothing that speaks of pre-colonial times - nothing to symbolize the long history of Indigenous peoples on these lands. But look at the flag of Mexico and see smack in the middle a golden eagle with a serpent in its claws. That is an Aztec symbol.

Scholars like to talk about the Aztec civilization as though it’s a thing of the past, but as the flag suggests Aztec culture is alive and kicking with a rhythmic revolution.

Yaotl shares how being Indigenous has shaped his experiences, identity and music, and how he seeks to "see tomorrow". Zero describes the magic that happened when creating music joined his cultural knowledge and where to El Vuh has taken their work.

Check out their music and conversations with Ostwelve and share this post!

DOWNLOAD RPM Podcast #014: "Mesoamerica"

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The RPM podcast is produced & engineered by the amazing Paolo Pietropaolo.

Photo illustration created by the talented Joi Arcand with an images from Oaxaca by Mike Jo.