Martha Da'ro on LGBTQ+ in hip-hop: “We need real role models”

February 18, 2020

min read

Queer and gay people are asserting their rightful place in all sectors of society more than ever. This growing presence and visibility is also evident in the urban music scene.

International pioneers like Mykki Blanco and Frank Ocean have paved the way for greater acceptance of the LGBTQ+ community in a genre that hasn't always been welcoming. In this series, we explore the situation in Belgium through personal portraits of gay and queer individuals who—each in their own way—navigate the Belgian hip-hop scene. Today: Martha Da'ro.

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By Peter D'Hooghe and Yannick Deleebeeck, photos by Damon DeBacke. This project was made possible in part by Flemish Journalism Fund

© Damon De Backer

With a name synonymous with success, Martha Da'ro has become a key figure in the music scene in recent years. She made her way to the top of the Belgian music scene with the Mechelen-based hip-hop collective Soul'Art, even securing a record deal with Top Notch.

She then made her big-screen debut in *Black*, the film by rising Hollywood talents Adil El Arbi and Bilall Fallah, after which it was time to put Soul'Art on hold and focus entirely on her own solo music project. Her debut EP will be titled *Cheap Wine & Paris*.

After journeys that have taken her from Bergen to Ghent and Brussels, Martha seems poised to make an international impact. Meanwhile, she also launched "Visual Poetry" with her partner Yaqine Hamzaoui, producing, among other projects, the music video for "Sugarman."

She can be found both on screen and on stage; Martha could easily be described as a cultural omnivore. Someone who doesn't want to limit herself to a single facet, but instead draws inspiration and fulfillment from a broader artistic expression: “As a person, I am Martha; Da'ro is my stage name. I act, make music, write, direct, and listen. Because I’m involved in so many things, I quickly need something new and I don’t want to limit myself. Sometimes I express myself better visually than through music, when I can’t find the words. But when I create something myself, it’s just unfiltered Martha.” That pure form is her strongest, destined to shake things up.

Experimenting with Anger

Meanwhile, Martha starred in *About Water*—thecritically acclaimed fiction series by Tom Lenaerts and Paul Baeten Gronda—on One, and took her time crafting her new EP. According to her, artists who draw inspiration from a wide range of sources are the most interesting. It’s hard to argue with that: Tom Barman, David Byrne, and Childish Gambino share that view. “Hip-hop is a really interesting genre because you can literally mix it with anything. That’s what I’m trying to do with my new music. I’ve been exploring kuduro—energetic, danceable music from Angola, always driven by a desire to innovate. You feel the same in hip-hop because there are always new, trendy sounds.”

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© Damon De Backer

“I let myself be influenced by everything that comes my way. I’m not afraid that people won’t recognize my music, because as a person—and as an artist—you evolve. But you always stay true to your inner child, your innate character.” Born in Bergen, raised in Mechelen, later moving to Ghent, and now in Brussels, Martha’s nomadic life has constantly shaped her artistic direction: “Mechelen was my absolute starting point; it felt like I gave my all there. In Ghent, I pushed myself further. And today in Brussels, I’m building the next phase.”

“So far, my music has mostly reflected my peaceful, vulnerable side. I’m curious to channel anger in my newest work. That’s new for me, so it involves some experimentation. I recently shared my new work with the other Soul’Art members, and they were shocked. My style has changed a lot compared to what I did with them. I’m really happy I can express my anger and frustration through my art. In a nine-to-five job, you don’t always have the space to channel your frustration. In that sense, my music creates a kind of free state, a fantasy world people can join and relate to.”

Unconscious Bias

The use of channeling in hip-hop has long been a staple of the genre. Since the 1970s, hip-hop has served as a voice for frustration and injustice. Eminem did the same twenty years ago with *The Marshall Mathers LP*, notably on tracks like “Criminal,” which featured controversial, homophobic lyrics.

My words are like a dagger with a jagged edge/That'll stab you in the head, whether you're a fag or a les'/Or a homosexual, hermaph, or a transvestite/Pants or a dress, hate fags? /The answer is yes/Homophobic? Nah, you're just heterophobic.

“I just don’t listen to artists who hate for the sake of hating. The lyrics in hip-hop didn’t stop me from entering a mostly male-dominated world. Historically, it’s been more a matter of unconscious discrimination, since few female rappers could stand up to the machismo. With Soul’Art, I was barely acknowledged—more like treated like a groupie. So on stage, I had to work twice as hard to prove myself. Those experiences motivated me to fight for my place.”

“My girlfriend, Yaqine Hamzaoui, is a photographer and often comes to my shows. In that private setting, I feel much more at ease than on the street. In hip-hop, I can be myself, and this artistic bubble feels like a free zone. If I want to kiss here, I just do it. On the street, people might react strangely or feel uncomfortable. At first, that caused a lot of confusion, and I avoided such situations. I’ve never really felt discriminated against because of my sexuality, but I won’t deny that it exists. I know people who have been verbally attacked because of their sexual orientation.”

The Importance of Real Models

In the mid-1990s, “gay hop” emerged, centered around a shared sexual orientation. By the 2010s, artists such as Frank Ocean, Brockhampton, and Mykki Blanco had brought visibility to the community.

“On the one hand, there are artists like Tyler, The Creator who keep their sexuality ambiguous. On the other hand, there’s a need for conscious role models. Frank Ocean may not see himself as a role model, but he finds self-acceptance in his work, sending a message: take the whole package or nothing at all.”

“Being a role model comes with risks. It often implies perfection. Little Simz said she prefers being a 'realmodel' rather than a role model, and I completely understand that. You can be explicit, but still leave room to make mistakes. The idea of being perfect is a death sentence for role models. It sends the wrong message to the outside world and to those who look up to you. In that sense, trying to be a trailblazer can do more harm than good.”

Remarkably, discussions about LGBTQ+ representation in Belgian urban music are rare. Martha believes the debate hasn't started because people haven't yet been encouraged to speak out. Music, she says, can be a medium for self-expression and driving change—but LGBTQ+ identity can sometimes overshadow the music.

“Once things have returned to normal, music will take precedence over sexuality. Let’s be honest: if you make good music, you’re a good artist, no matter what.”

Follow Martha on Instagram at @martha .daro country @visualpoetryofficial. Her EP “Cheap Wine & Paris” will be released later this year.

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