{"id":75127,"date":"2026-03-13T12:44:57","date_gmt":"2026-03-13T10:44:57","guid":{"rendered":"https:\/\/visualjournalism.de\/?post_type=magazin&p=75127"},"modified":"2026-09-27T20:37:49","modified_gmt":"2026-09-27T18:37:49","slug":"habibi-funk","status":"publish","type":"magazin","link":"https:\/\/visualjournalism.de\/en\/magazine\/collecting\/habibi-funk\/","title":{"rendered":"Habibi Funk: on exploitation and musical heritage"},"content":{"rendered":"\r\n
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\n\tCollecting<\/a><\/div>\r\n

\r\n Habibi Funk: on exploitation and musical heritage <\/h2>\r\n\r\n
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What does cultural responsibility mean in the music business? A Berlin label is giving forgotten Arabic music a stage \u2013 and asking who that heritage belongs to.
\nBy Bahriye Tatli<\/a><\/strong><\/p>\n <\/div>\r\n \r\n

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\r\n \r\n \r\n \"Bahriye\r\n <\/a>\r\n <\/figure>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n\r\n \r\n
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\u2018We license everything<\/strong> properly<\/strong> and split the income fifty-fifty.\u2019 That’s how Jannis St\u00fcrtz describes the principle behind his label Habibi Funk<\/a>. From Berlin, he collects and releases music from South-West Asia and North Africa that had almost been lost \u2013 soul, funk and jazz.

The songs released by Habibi Funk come from small scenes, forgotten archives and old cassettes. They are sounds that long stood in the shadow of Western pop culture. Habibi Funk wants to change that. The label brings to light musicians whose recordings have hardly been heard until now. It’s about visibility, fairness and handling cultural heritage in the right way.

Because in music especially, styles flow into one another. There’s a fine line between cultural appreciation and appropriation. So where does appreciation end \u2013 and where does appropriation begin? Photographer Bahriye Tatli visited Jannis St\u00fcrtz in Berlin and talked to him about responsibility, respect and the sound of a different history.<\/p>\n\n\n\n \n\n

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What does \u2018cultural appropriation\u2019 mean?
\n<\/h5>\n <\/span>\n <\/div>\n\n
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Cultural appropriation<\/strong> is the adoption of elements of one culture by another (usually dominant) culture, often under unequal power relations and with links to colonialism and exploitation. It can reproduce racism, strip things of their context, commercialise them and obscure their origins. \u2018Cultural appreciation\u2019, by contrast, describes engaging with other cultures in a respectful way.<\/p>\n <\/div>\n <\/div>\n\n\n\n \n\n

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For us, looking after relationships<\/strong> isn’t an extra \u2013 it’s essential, and for that you need people on the ground.<\/p>\n <\/blockquote>\n\n

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What motivates you to reissue music from the SWANA region (South-West Asia and North Africa)?<\/strong><\/p>\n\n\n\n

It was actually pretty simple. Back then, on Jakarta Records, we’d made a record with a Ghanaian rapper who played in Morocco about eight or nine years ago. I was there as tour manager. After the gig I stayed on in Casablanca for two or three days. There I happened to come across a record by Fadoul and was completely blown away. At the time there was next to nothing about him online. If you’re just into music and you find a record like that with no information about it, you don’t think about releasing it. But because I was already part of a label and knew how distribution and production work, it seemed possible. That’s how it all started.<\/p>\n\n\n\n

Who is the team behind Habibi Funk?<\/strong><\/p>\n\n\n\n

Besides the team in Berlin, for the past year and a half we’ve had a colleague in Libya. Having local contacts matters to us. Our projects don’t work through online communication alone \u2013 especially not with older musicians who don’t use WhatsApp or email. Meeting in person is central for us, because that’s where trust is built. For us, looking after relationships isn’t an extra \u2013 it’s essential, and for that you need people on the ground.<\/p>\n\n\n<\/div>\n<\/div>\n\n \n\n

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No pyramids,<\/strong> no belly dancers, no exoticising kitsch.<\/p>\n <\/blockquote>\n\n

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Do you have a responsibility to provide context, especially as a white person commercialising this music?<\/strong><\/p>\n\n\n\n

I do think there’s a responsibility there. When we post something political, it’s because the issue really matters to us \u2013 especially on subjects like Palestine. Of course, taking a stance like ours in Germany also means saying goodbye to certain funding pots. But that comes with the territory. For us it’s only logical to speak out on issues that affect the regions whose culture we release. I don’t think you can profit from that culture on the one hand and stay silent on certain political questions on the other. For me, that just doesn’t add up.<\/p>\n\n\n\n

People are often surprised that Habibi Funk was founded by a white person. Is it important to point that out, or does it not matter?<\/strong><\/p>\n\n\n\n

There are two sides to it. Sure, information about me is easy to find online, but in the context of Habibi Funk it isn’t the key point. We’re a label, and it’s primarily about the music, not about me. Of course the Habibi Funk name brings visibility, and that helps the artists, because a record that once existed on just 60 cassettes suddenly sells 1,000 LPs. But what matters is that the label doesn’t become bigger than the music itself. That’s why I keep a fairly low profile on Instagram. It shouldn’t be about me. Personal stories can help spark interest, of course. But I see our role as amplifiers.<\/p>\n\n\n\n

What criteria do you use to choose music for Habibi Funk?<\/strong><\/p>\n\n\n\n

Musically, we’re interested in artists who combine outside influences \u2013 often African American sounds such as soul, funk, jazz and disco \u2013 with their own cultural roots. But that’s not all: in Sudan you can also hear Ethiopian or Congolese motifs. Spreading that particular mix is at the heart of what Habibi Funk is about. We’re interested in music that came out of a genuine engagement with other cultures. Of course you can always talk about power relations, and appropriation does exist. But the music we find exciting is based on appreciation \u2013 on the attempt to turn influences into something of your own.<\/p>\n\n\n\n

How do you try to counter Orientalist structures?<\/strong><\/p>\n\n\n\n

When we started the label, it was clear that we wanted to do things differently. At the time, lots of reissues were simply put out without much concern for rights or fair deals. That was never an option for us. We license everything properly and split the income fifty-fifty \u2013 a classic indie deal. The master rights always stay with the artists or the original labels; we’re just the licensees. The same goes for the visual side: it was important to us not to reproduce the same mechanisms of exploitation that existed historically, precisely because we’re a European label working with music from regions with a colonial past. That’s why we deliberately avoid Orientalist clich\u00e9s: no pyramids, no belly dancers, no exoticising kitsch.<\/p>\n\n\n<\/div>\n<\/div>\n\n\n

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Recommended by the editors:<\/strong><\/p>\n <\/div>\n\n\n\n\r\n\r\n\r\n\r\n

\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
\r\n\r\n Collecting<\/span>\r\n

\r\n The world’s largest Playmobil collection: 400,000 figures <\/h3>\r\n\r\n
\r\n

It all began in a child’s bedroom \u2013 today Oliver Schaffer owns the world’s largest Playmobil collection, with more than 400,000 figures. A visit to his high-bay warehouse.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
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\r\n

Dirk and Thomas came out to their families only recently. Today they live together as a couple. In an interview with our author, they talk about their path to an open life.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
\r\n\r\n Masculinity<\/span>\r\n

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He used to march through the streets in a leather coat, carrying the Reich war flag, giving hate speeches and dreaming of the great revolution. Today Axel Reitz works in extremism prevention.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n <\/div>\r\n\r\n\n\n\r\n\r\n\r\n\r\n
\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
\r\n\r\n Award winners<\/span>\r\n

\r\n The invisible people on the waiting list <\/h3>\r\n\r\n
\r\n

Germany lags behind the rest of Europe on organ donation \u2013 we show those who can\u2019t wait any longer.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
\r\n\r\n After dark<\/span>\r\n

\r\n Learning to dream lucidly: awake in your own mind\u2019s cinema <\/h3>\r\n\r\n
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Steering your dreams consciously, without apps and without hype: what sleep research knows about lucid dreaming.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"A\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
\r\n\r\n After dark<\/span>\r\n

\r\n Pankower Tor: the toads missing from the building plan <\/h3>\r\n\r\n
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Berlin wants to build 2,000 homes here \u2013 but strictly protected amphibians are holding up the major project. A case study.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n <\/div>\r\n\r\n\n\n\n
\n TO THE MAGAZINE HOMEPAGE<\/a>\n <\/div>\n<\/div>\n","protected":false},"author":121,"featured_media":62369,"template":"","tags":[385,387,331],"magazinkategorie":[217],"class_list":["post-75127","magazin","type-magazin","status-publish","has-post-thumbnail","hentry","tag-sammeln-alltagskultur-en","tag-musik-en","tag-photo-series-en","magazinkategorie-collecting"],"acf":[],"yoast_head":"\nHabibi Funk: on exploitation and musical heritage<\/title>\n<meta name=\"description\" content=\"A Berlin label gives forgotten Arabic sounds a stage \u2013 and asks what cultural responsibility means in the record business today.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/visualjournalism.de\/en\/magazine\/collecting\/habibi-funk\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" 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