DISCOVERING THE REALM OF TASHA’S WORLD

At MOSAIKO we prioritise shining the spotlight on artists with a passion. Artists with a story. Last week, we did just that and learned more about one of Rotterdam’s finest, Tasha’s World. A multidisciplinary creator and Neo-Soul musician, who’s toured the world and worked with artists we all know and love. But besides music, she also made it her goal to contribute to culture and community, through founding, advising, and directing various cultural organisations. Concerning herself with social issues, colonial history, cultural heritage, and guiding the next generation of creatives and artists alike.

Led by purpose, she co-founded House of Knowledge, a foundation where Tasha assists young and upcoming talents in developing themselves and their artistry. Now, with all the accumulated wisdom, knowledge and stories of these past years, she took it upon herself to step into the sunlight again. In the form of an upcoming album and new single release “Ready To Fall”, Tasha’s World is back. So, take a seat, put on some of Tasha’s World’s gems and join the conversation.

Interview by Matteo van der Sluijs - Photography by Andrea Amponsah

Hey Natascha, before we deep dive into your psyche, how are you feeling today?

I'm feeling- I’d say almost accomplished, not yet because we're never done. But, I feel peaceful. Had a reasonably good night's sleep, which always helps me wake up early. Yeah, I feel good. I've had an amazing sandwich just now [laughs joyfully].

Now to get acquainted with Natascha Slagtand, most people around you,- myself included, know you as a very wise, caring, and creative person. How would you describe yourself?

Oh, man. I actually would describe myself as somebody who doesn't know anything. That's the only thing I know, that I don't know anything. I’m somebody who's led by purpose. That's my compass. I channel people, things, beings. That's the only thing I know. 

Being raised in a Surinamese household, which aspects of the culture sculpted you into the person you are today?

I learned to be a rebel because of my dad. I learned that I’m not a fan of organised religion. I wasn’t raised with the language, the spirituality and other aspects of the Surinamese culture. I found it on the streets. Where you can find anything. I found a tribe, which consists of Moroccan, Surinamese, Cabo Verdian and other cultures. That’s where I got HipHop culture introduced to me as well, which I'm very grateful for. 

Besides the cultural heritage, you were also brought up with a lot of Soul & Jazz influences, while you preferred Pop if I’m correct. How do you look back on those influences? 

When I was young I had no sense. I loved the girl group Nonsense. Everybody needs a bit of Pop nonsense and I still can appreciate it. Eventually, I came to appreciate my dad playing Jazz, Soul & Funk. Earth, Wind & Fire has always been my first love, so I had some sense at that point. Discovering their magic was the most amazing thing I ever encountered and still is. 

Tapping into your early artist career, in 2002 you released your first, self-titled, studio record: ‘Tasha’s World’, under the Japanese label Avex. How did that come to be?

Long story short, John Gutteswijk and I made 12 songs, got a band together and led by purpose, we started touring. Avex saw us and immediately wanted our singles. They weren’t done at all, but they insisted. The singles charted right away and formed into a full album. So I toured again, got into contact with Erykah Badu’s and Redman’s management, who introduced me to a lot of people and places. That’s where it all started.

After releasing your album in Japan, the British label Dome wanted to re-release it in Europe. How did you feel in that scenario?

The thing is, I never wanted to be a star or anything. For me, this was communicating. To me it didn't matter what success I had. It was just me on stage talking to the crowd, the crowd talking back to me and us exchanging energy. 

And yet you became a success. In 2005 you released your second album, "World Domination”. Was it meant as a sequel?

It was definitely a sequel. At the time I wanted a little bit more control. But listening back to myself, I know I wasn’t in control. It was difficult for me because I thought it was important to tell the story. But my manager thought it was more important how the story was told. Both perspectives could’ve worked but didn’t go well together. Eventually, we split up. It was a lesson that I needed to learn. To stay in control of your own artistry is really important.

Throughout it all, what type of support did you receive?

I get the most support from non-artists. Just people that I love and that I can have real conversations with. But to name two incredible artists, Angie Stone and Jill Scott encouraged me in ways that meant a lot to me.

Over time you stepped outside of music. You took up various roles; chairman, art director, advisor and host. Did it just feel like the right time to move on to other things?

Yeah, it did because it was still music. I was still healing myself through healing and helping others. Until then I felt like a 2D individual. I had so many other interests besides music. I couldn't even express my activist side. But in actuality I was very vocal, very loud, very much against the systems. I couldn't give that part a place. So that needed to change as well.

You pursued those various roles through multiple contributions to the cultural scene. One of them was co-founding House of Knowledge. What makes a relatively new organisation rooted in pure core values work in today’s world?

We welcome everybody who is serious about their music and is good at what they do. The artists are driven by purpose, in which we all align. The first time I performed in South Africa was in ‘04. I promised then that I would come back with my tribe. In ‘14 it was the same story. The third time’s the charm, because last year I brought the ‘Residents’ over. That’s what we call our members. It was a perfect full circle. House of Knowledge works because of the artists around us. It works because the connection is real. House of Knowledge is one big family.

While you’re helping artists develop, you get them ready for the pressure artists might feel as well. Leading up to your new album, have you felt any type of pressure? And if so, how do you deal with it?

It's wild. I don't deal with it at all [laughs joyously]. While helping others is like being a psychologist. You listen to them and then you give them back what they already know. I just work based on a feeling- which can be horrible, but it works.

Returning to the realm of “Tasha’s World”, what led you to create an album again?

Writing this first new single was a gift to me. Because I have too many stored feelings in my internal drawers. They began to overflow. Which means you have to release some to make space and that's what I had to do. I had to make new music. Working with these young musicians around me, you work through your pain and your sadness. It’s also another way to finally share all the experiences I’ve accumulated. The beautiful and ugly ones. 

Like the new single, I’m Ready to Fall. Letting go of all past worries. To give it all away and open myself up to new things. Learning to receive. To love myself as I love everyone around me. Ready to learn even more in life. The single has some dark tones but is beautifully lit by the magnificent flute player Ronald Snijders. 

Talking about the single, the music video to it is beautiful. An embrace of freedom through majestic symbolism. What stood out to me was a reference to Minnie Riperton, if I’m not mistaken. Through your art director’s eyes, what made you choose certain inspirations? 

During the entire process, I actually was channelling Minnie through it all. While writing the song, I dreamt of looking out over the gardens of Versailles. Being able to breathe again. Later, I sent the track to Jonathan Hoost and Caine Ruiz, aka Shaolin, who after two weeks came back to me with a treatment on paper of basically my dream. I was like “Oh, we're doing this.”

Working with incredible talents around you, what do you learn from the moments spent with them?

I just recognise myself in each and every one of them. They’re all parts, often broken parts, of myself that I can see in them. We're all at the core, the same. I glue parts of myself back together just by simply being in the same space as them. I assist them wherever they need to go and vice versa. I'm blessed to be there for them and they know it.

Talking about blessings, what can we expect from the new album? 

Expect a lot of headaches from me. No seriously, it will be real, a real connection. Authenticity and community are the most important things. Performances and new collabs are coming your way as well. Catch the sister rapping. You never know...

We look forward to it all. Thank you for giving us a piece of your mind.