Rapflexion |
Homepage: https://rapflexion.de/
Contact: [email protected]
The youth project "Rapflexion" was first launched in 2007. Together with project leader Carlos Utermöhlen and the Löwenhertz Studio in Braunschweig, the first projects were realised.
During personal individual and group coaching sessions in schools, youth centres, or at one of their locations in Braunschweig or Quito (Ecuador), rap techniques are developed together, suggestions are given, and people are guided through the process from the first idea to the final song lyrics. The offer includes project weeks, day workshops, and/or individual coaching sessions.
More Info
The team includes both male and female experts (and educators who work closely with a large network of specialists from various fields). They demonstrate different approaches to songwriting and lyrics writing, tailoring them to the needs and wishes of the participants.
Carlos not only works in schools but also in youth centres, drug rehabilitation facilities, and prisons. The focus is on national and international institutions with integrative, social, or rehabilitative goals. The aim is also to generate awareness and public recognition for those affected and their stories.
Rapflexion's work is always more than just rap coaching, where participants learn to write lyrical texts and incorporate them into a musical framework using techniques. They also promote group cohesion, help participants develop self-confidence, show them new forms of interaction, give them the opportunity to express themselves through rap, and provide them with pride and recognition.
Workshops
Dear Carlos, how many workshops have you conducted so far?
Oh (laughs), 1000 or so? Nearly 20 years is a long time... smaller workshops, day workshops, week-long workshops, very many. Certainly several hundred.
What was your main motivation for offering workshops?
I had this vision in my mind and was determined to pass on my knowledge. It was a kind of power I gave myself, to also give others and strengthen them. I realised that you can learn German through rap. In addition, the participants' self-esteem is boosted, and the relationship between teachers and students is strengthened.
Did you have to prove yourself first? How do you deal with prejudices against rap and hip-hop?
I remember that in the early years, it wasn't easy to bring rap into schools because I was viewed with suspicion: "Now the rapper is coming to write violent lyrics with the students...?" I quickly realised that artistic freedom and working in schools are two different things that need to be separated. In the school context, a line must be drawn: the rule is that no one is discriminated against or excluded. For many students, rap is initially associated with insults, but they forget that over the course of the week.
I often feel that the young people primarily want to imitate others and are not really in their own world. But there are also those who truly have a tough life and openly communicate that violence is a real issue for them, even within their family. This brings us more quickly to the main point of fostering their own personality.
Why is a rap workshop particularly suitable for schools?
First of all, you only need your voice for rap. This means you don't have to learn a musical instrument. You can start right away. There is, of course, an advantage if you can already write creatively: rap is a great outlet; you can pack a lot into a verse and convey a strong message.
What have you taken away from the last 20 years?
The first point would be that you can only make an impact if you really enjoy the work. I always try to convey joy in life. You need energy and positivity to create an environment where students are even willing to work with you.
The second: I have to work differently with each person. Some are bursting with self-confidence, while others are shy. I have to be careful, proceed with great sensitivity, and always pay attention to what the individual personalities need at that moment. I want to include everyone and see the class as a whole. A class that communicates strongly with each other and is excited about it always ends up with the stronger song.
Do you also reflect on rap culture in general during the workshop?
Yes, it's a good opportunity to think about why they even listen to this music or why rap is particularly interesting to young people. We listen to the music with the teachers during the workshop. I ask during the introduction round if the young people listen to German rap, and if so, what excites them about it. What is rap, and what forms does it take? We also discuss current topics. It's important that young people share their opinions, but also listen to others and accept different views.
Workshop Process
How does a workshop run?
It varies because there are so many different classes, age groups, and school types. Through my diverse experiences over the years, I now often work intuitively. I look at the group in front of me and try to figure out which method might help them. I have to remain flexible and constantly adjust to the students.
In rap, there is the "freestyle" where the lyrics are improvised. Would you say your coaching is also a kind of freestyle?
There's definitely a lot of improvisation involved. I notice this especially in language learning classes. I provide text ideas, and the students sing them back. I then quickly have to create more text ideas from their topics so that they don't lose interest. I choose texts that aren't too difficult but with strong melodies so that they are excited to learn the language.
What are the lyrics about?
In the lyrics, the young people process their daily themes, such as friendship, love, settling in Germany, future, or even worries. The young people decide for themselves what they want to write about, so all the texts are individual. What particularly sticks with me is that many students write positive lyrics about their mothers.
How does working with the students actually look like?
Everyone starts by simply writing down their topic. I begin the workshop in a very open way. We then have a wide range of topics, for example, love, friendship, or family. Then we look together to find any parallels between the topics, so that everyone can relate to the song's lyrics.
The verses are written individually, but you write the chorus together?
Exactly. But it also depends on the class. We do brainstorm ideas for the verses and the chorus together. Then we try out the new lyrics until everyone is satisfied with their verses and the chorus. Essentially, we all support each other and contribute new ideas for the song.
Isn’t it difficult to write a song that everyone can connect with?
Everyone starts by finding a topic for themselves. Communication is very important in the workshop. In the next step, we look at which students can work on lyrics together. For example, if they want to write about love or the future. I work with the students in small groups to explore the topics further in the next step. The results are then presented at the end of the workshop day. During this time, we reflect on the day and the students tell me where things can be improved.
And does everyone participate together?
There are also some who don’t feel like participating with the class and prefer to write on their own. They then perform the text alone, and my task is to still integrate them into the song.
What is more important: the writing process or performing the song?
I think both are important. However, the moment when the students overcome their fear of performing is the more significant part for me. I remember a student from a language learning class who told me, “It helped me to speak German better and to get to know the language in a playful way, so that speaking it brings me joy.”
Language Learning Classes
Is your approach different in the language learning classes?
These classes mostly consist of refugees from Syria, Afghanistan, and currently many from Ukraine. In these workshops, I have to speak slowly so they can understand me better. Sometimes I have an interpreter with me, which also has its advantages. In these classes, students are often very grateful to learn the German language in a playful way. When their eyes sparkle as they hear themselves sing, it’s an incredibly beautiful moment. I also often work bilingually, Ukrainian-German, Russian-German, Arabic-German, to include both languages. The students can decide for themselves. After all, they should feel comfortable with it.
These are often traumatised children, and processing their experiences is surely not easy. How do you handle it when these topics come up?
In the lyrics, themes like war and flight are, of course, also addressed. I make sure not to reopen old wounds. I try, for example, to highlight positive memories of their home countries. It’s important to look forward, and that’s what I convey to the students.
Once, in a Ukrainian class, we talked about how Mariupol was before the war and what beautiful memories they have of their country. It’s very important to me that they also see the beauty. The students in this class were very lively and full of joy. They were eager to create this song. Their song ended up being bilingual – Ukrainian and German. They described the beautiful aspects of Ukraine, their environment, and how they grew up. They also talked about the seasons, nature, rivers, and mountains, everything they miss about their country, and the relationships with people who are no longer there.
Do you work with the teachers as well?
Yes, sometimes I get briefed beforehand if there are special considerations.
The final part often takes place in the recording studio: How does that work with the language learning classes?
The goal of my workshop is for it to become a song that everyone stands behind. They should go home with a good feeling. I focus on short, strong verses. The special thing about the studio recording is that for some, I sing the lyrics beforehand as a guide.
Having your own studio recording after just one week, which you can show others, is a great achievement.
Yes, they’re really proud because they never thought they could achieve something like that in such a short time. When you work with a language learning class where the students have only been in Germany for a few months and don’t speak a word of German, the song is particularly special. I believe that much more should be invested in such projects.
South America
What was your work in South America like? Where exactly did you work?
The conditions there are completely different. In Colombia, I worked with drug addicts. In Ecuador, I was with street children, and in El Salvador, with gang members trying to leave the gang. The experiences there were extremely exciting and inspiring and left a lasting impression on me.
What exactly did you experience there?
Before I arrived in El Salvador, I was asked why I wanted to visit the country and expose myself to this danger. At that time, the tension of working in such areas was very high. In recent years during my work in Central and South America, I have lost some students to violence.
I remember my first workshop in Bogotá, Colombia. There were 30 men aged 16 to 40 sitting in front of me. They all had the most intense life stories, some had hurt people, perhaps even killed. It was very tough. I had to really fight to be taken seriously and to gain respect.
You can’t show weakness there?
Being authentic is much more important. They can tell when someone is playing a role and not being themselves. I can’t let my nervousness show. In the right moments, I can also show weakness.
South America – A Life in the Most Difficult Circumstances
In 2017, Carlos Utermöhlen travelled with documentary filmmaker Maximilian Feldmann to Ecuador, Colombia, and El Salvador to document his work as a rap coach there. The work with the young people under the special living conditions on site was an impressive and intense experience for them. The fates of the people, their stories, experiences, and losses are told in the resulting documentary film “Entremundos”.
Back in Germany: Schools with Challenges / Bullying
Did you then focus on so-called “problem schools” in Germany as well?
My workshops mostly take place in comprehensive schools, secondary schools, and vocational schools. Sometimes I’m also contacted by teachers. I’ve had a few requests due to such issues. I’ve developed a concept on bullying that also helps me in my work at such schools.
How do you specifically address the issue of bullying in such cases?
Bullying is a big issue in schools. It’s difficult because those affected are often shy and quiet. It’s important that they feel heard. In my workshop, I help them work on their self-esteem, to motivate and encourage them.
Was bullying also a topic in the lyrics?
Yes, I remember, for example, three students from a workshop who were severely bullied. They brought the topic to the stage and received positive feedback from their classmates. This really empowered them and showed them that they are not alone in dealing with bullying.
What other topics are particularly important to the students?
There are some topics that come up very often, such as racism, sexism, war, and fears about the future. Many young people have worries and fears. I believe it's important to support and strengthen them through this. It's important not to leave them alone with these issues and to take them seriously.
What were the biggest challenges for you in German schools?
I once had a workshop with a very difficult class. The students were unfocused and restless. In addition to the exclusionary and discriminatory language, they had a negative self-image, which was projected onto the class. It’s important not to let conflict situations continue. I make sure to involve those who stand out less positively. In such situations, I remain professional and calm. Turning such situations around is an art.
What exactly do you mean by “negative self-image”? How does that manifest?
A student once said: "I've been stuck for five years because my teacher said that I wouldn't amount to anything anyway. My parents are on benefits, so there's no point in even trying..." I mean that a single sentence or experience with a teacher or an adult can often lead to young people no longer believing in themselves.
Are there any other places besides schools where you would take your rap workshops?
I would love to work in German prisons. I have already worked in prisons in South America, but it's hard to compare that with Germany, and it will be a completely different experience here. I think my work would be meaningful in prisons, and I would be very grateful to work there. But I'm also open to other opportunities and look forward to any professional challenges!
Dear Carlos, best of luck for your future and thank you for your time!
Editorial: Sophie Decker
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