Relevant bibliographies by topics / Hip-hop culture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Hip-hop culture'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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Journal articles on the topic "Hip-hop culture"

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Gadet, Steve. "Hip-hop Culture." Caribbean Quarterly 61, no. 1 (March 2015): 75–97. http://dx.doi.org/10.1080/00086495.2015.11672549.

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Johnson, Adeerya. "Hella Bars: The Cultural Inclusion of Black Women’s Rap in Insecure." Open Cultural Studies 6, no. 1 (January 1, 2022): 76–87. http://dx.doi.org/10.1515/culture-2022-0144.

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Abstract The musical supervision of HBO’s insecure sonically maps various representations of Black women’s connections to hip-hop music as a site of autonomy, agency, and authenticity. Importantly, the variety of Black female rappers who are featured in seasons 1–3 of insecure connects nuanced and contemporary representations of Black millennial women’s understanding of Black womanhood, sex, friendship, love, and relationships. I argue that the influence of Issa Rae’s perception and connections to hip-hop and the placement of songs in insecure supports a soundtrack that takes on a hip-hop feminist approach to Black popular culture. I explore contemporary female hip-hop artist as an emerging group of rappers who support nuanced narratives and identities of Black millennial women. Furthermore, this article highlights the connectedness of Black popular culture and hip-hop feminism as an important site of representation for Black women who use hip-hop as a signifier to culture, self-expression, and identity. I recognize the importance of insecure’s soundtrack and usage of Black women in hip-hop to underline the ways hip-hop sits at the intersections of race, sexuality, and gender for Black women’s everyday lives.
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Morgan, Marcyliena. "Preserving hip hop culture." Socialism and Democracy 18, no. 2 (July 2004): 207–14. http://dx.doi.org/10.1080/08854300408428408.

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Campbell, Mark V. "Mixtapes and memory-making: A hip hop remix of the traditional archive." Global Hip Hop Studies 2, no. 1 (June 1, 2021): 131–36. http://dx.doi.org/10.1386/ghhs_00037_1.

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The preservation of hip hop cultures presents opportunities to examine archival methods, procedures and protocol anew. By focusing in on DJ cultures and mixtapes, these elements of hip hop culture offer us pathways to decolonial and anti-colonial interventions into institutional archives. This article asks: what is at stake when we envision creative practice and artists at the centre of practices of preservation of hip hop culture?
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de Paor-Evans, Adam. "The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap." Open Cultural Studies 2, no. 1 (July 1, 2018): 122–35. http://dx.doi.org/10.1515/culture-2018-0012.

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Abstract In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and sociopolitical presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society
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Harper, P. Thandi Hicks, Warren A. Rhodes, Duane E. Thomas, George Leary, and Sylvia L. Quinton, Esq. "Hip-Hop Development™ Bridging the Generational Divide for Youth Development." Journal of Youth Development 2, no. 2 (September 1, 2007): 42–55. http://dx.doi.org/10.5195/jyd.2007.345.

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Hip-Hop culture in the lives of youth can not be ignored. This research is based on the premise that youth workers who expect ongoing successes must increase their Hip-Hop culture competence. The study examined the knowledge of and attitude towards Hip-Hop by educators who participated in a Hip-Hop 101 workshop. Their perceptions relevant to the importance of Hip-Hop awareness and application for positively influencing youth behaviors were also explored. Results revealed that workshop participants significantly increased their Hip-Hop knowledge. They also demonstrated significantly more favorable attitudes toward Hip-Hop and its use for youth development. Findings suggest that the workshop promoted an environment conducive to bridging the generation gap between youth who embrace Hip-Hop, and educators who have a less favorable view. This research provides insight into Hip-Hop Developmenttm as a core component for establishing the kinds of youth-adult partnerships necessary for today’s Hip-Hop generation’s self-growth, skill enhancement, and leadership development.
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Degand, Darnel. "Comics, emceeing and graffiti: A graphic narrative about the relationship between hip-hop culture and comics culture." Studies in Comics 12, no. 2 (November 1, 2022): 239–48. http://dx.doi.org/10.1386/stic_00064_3.

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Hip-hop culture will officially turn 50 years old on 11 August 2023. This cultural movement began in a recreational room in The Bronx, New York City, and is now enjoyed throughout the world. In recognition of its upcoming half-century celebration, this article reviews the origins of hip-hop culture (e.g. hip-hop pioneers such as DJ Kool Herc, Keef Cowboy and Lovebug Starski) and the relationship its emceeing and graffiti elements have with comics culture. I begin with a brief review that demonstrates how graffiti predates hip-hop culture. This is illustrated through depictions of cave paintings, ancient Roman street art and ancient Mayan graffiti. I also highlight hobo graffiti and the graffiti from the Cholos and Bachutos gangs from twentieth-century Los Angeles, California. The introduction of the ‘Kilroy was here’ tag during the Second World War and the protest graffiti from a German anti-Nazi group are also depicted. I conclude the historical review of graffiti with an introduction to the early appearances of hip-hop-styled graffiti. Next, I present multiple historical influences on hip-hop emceeing. Examples include (but are not limited to) West African griots, enslaved Africans, Muhammad Ali, Millie Jackson, The Last Poets and Gil Scott-Heron. Likewise, older genres, such as funk music, blues music, jazz poetry and Black militant poetry inspired much of rap music. Afterwards, I examine the bidirectional relationship between graffiti and comics art, and emceeing and the textual/storytelling aspects of comics. This includes comics-inspired graffiti, hip-hop monikers (e.g. Big Pun, Snoop Dogg, MF Doom and Jean Grae), hip-hop lyrics (from artists such as Grandmaster Caz, Inspectah Deck, Jay-Z and The Last Emperor) and album covers. Conversely, I offer examples of how graffiti has inspired comics visuals and storytelling as well as how emceeing has inspired the comic-book storytelling and the protagonists featured in fictional and non-fictional comic book narratives.
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Leigh Kelly, Lauren. "“I am not Jasmine; I am Aladdin”: How Youth Challenge Structural Inequity through Critical Hip Hop Literacies." International Journal of Critical Media Literacy 2, no. 1 (September 7, 2020): 9–30. http://dx.doi.org/10.1163/25900110-00201002.

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Abstract Previous research on Hip Hop Education has advocated for the inclusion of critical media literacy in schools and for the recognition of Hip Hop music and culture as a central component of young people’s literate and social identities (e.g. Hall, 2017; Kelly, 2020; McArthur, 2016). This article places critical Hip Hop literacy at the intersections of media education, social justice education, and culturally sustaining pedagogies by discussing the role of Hip Hop literature and culture as a form of text that can foster young people’s critical consciousness development in the secondary classroom. Through analysis of data collected in a high school Hip Hop Literature and Culture class, this qualitative case study examines how critical Hip Hop literacy practices can support youth sociopolitical development in racially diverse classrooms and schools. The results of this study reveal the need for schools to support students in identifying, analyzing, and challenging structures of oppression through the development of critical Hip Hop literacies.
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Johnson, Adeerya. "Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South." Religions 12, no. 11 (November 22, 2021): 1030. http://dx.doi.org/10.3390/rel12111030.

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Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens?
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Vito, Christopher. "Shop talk: The influence of hip hop on Filipino‐American barbers in San Diego." Global Hip Hop Studies 1, no. 1 (June 1, 2020): 13–23. http://dx.doi.org/10.1386/ghhs_00002_1.

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Barber culture frequently intersects with hip hop. Barbershops often incorporate rap music, street wear apparel and popular culture into their daily environment. In tandem, an important part of hip hop culture is the haircuts and designs that people choose to get. Many Filipino-Americans across the United States utilize barber and hip hop culture to help create their own unique sense of identity ‐ a sense of identity forged in the fires of diaspora and postcolonial oppression. In this first instalment of the GHHS ‘Show and Prove’ section ‐ short essays on hip hop visual culture, arts and images ‐ I illustrate the ways in which Filipino-Americans in San Diego use barber shops both as a means of entrepreneurialism and as a conduit to create a cultural identity that incorporates hip hop with their own histories of migration and marginalization. I interview Filipino-American entrepreneur Marc Canonizado, who opened his first San Diego-based business, Goodfellas Barbershop Shave Parlor, in 2014. We explore the complex linkages between barbershops, Filipino-Americans and hip hop culture, as well as discuss his life story and plans for the future.
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Dissertations / Theses on the topic "Hip-hop culture"

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Isoke, Saidah K. "“Thank God for Hip-hop”: Black Female Masculinity in Hip-hop Culture." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492775852958055.

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Branch, William. "Theological implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Branch, William. "Thelogical implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Silva, Roberta Grangel da. "Experimentações juvenis : nas trilhas do Hip Hop /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/97541.

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Orientador: Soraia Georgina Ferreira de Paiva Cruz
Banca: Helio Rebello Cardoso Junior
Banca: Sonia Regina Vargas Mansano
Resumo: Esse trabalho teve como objetivo cartografar a Cultura Hip Hop, tendo como foco o Breaking. Nossa prática foi de um exercício de nomadismo na tentativa de acompanhar as linhas que foram tecidas ao longo dos encontros com a literatura, com os grupos que se agenciam com a Cultura Hip Hop, dando visibilidade aos modos de subjetivação, de singularização, aos afetos que escaparam de determinados territórios capturados pela cultura de massa e de estratégias de controle. Nesse processo, afetamos e fomos afetados pela história do Hip Hop que nos foi sendo percebida como narrativas de processos criadores. Tais processos foram sustentados por corpos vibráteis cujas intensidades dispararam movimentos de resistência com linhas de fuga que possibilitaram a produção de modos de existência singulares em relação aqueles produzidos pelos fluxos capitalísticos. Cartografar o movimento do desejo na vontade de expandir a vida através do agenciamento corpo-cidade-ruptura, significou entender que o devir não se repete e que sempre há algo no outro que nos transforma.
Abstract: The present paper has the object of mapping the Hip Hop culture, being Breaking the focus study. Our practice was an exercise of nomadism in an attempt of following the lines drawn throughout the encounters with the literature with the groups that are influenced by the Hip Hop Culture, giving visibility to the modes of subjectivity, singularity and affections that escaped from certain territories captured by mass culture and control strategies. In this process, we affected and were affected by the history of Hip Hop that was being perceived as narratives of creative processes. Such processes were sustained by vibrating bodies whose intensities shoot resistance movements with lines of escape that allow the creation of particulars ways of existence related to those created by the capitalistic flows.. To map the movement of desire in the will of expanding life through the managing of body-city-breaking meant understand that the change does not repeat and that there is always something in the other that transforms one.
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Silva, Roberta Grangel da [UNESP]. "Experimentações juvenis: nas trilhas do Hip Hop." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/97541.

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Made available in DSpace on 2014-06-11T19:29:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-04Bitstream added on 2014-06-13T19:37:42Z : No. of bitstreams: 1 silva_rg_me_assis.pdf: 552705 bytes, checksum: 325bcffbf6adf0368b933b0b34164de6 (MD5)
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Esse trabalho teve como objetivo cartografar a Cultura Hip Hop, tendo como foco o Breaking. Nossa prática foi de um exercício de nomadismo na tentativa de acompanhar as linhas que foram tecidas ao longo dos encontros com a literatura, com os grupos que se agenciam com a Cultura Hip Hop, dando visibilidade aos modos de subjetivação, de singularização, aos afetos que escaparam de determinados territórios capturados pela cultura de massa e de estratégias de controle. Nesse processo, afetamos e fomos afetados pela história do Hip Hop que nos foi sendo percebida como narrativas de processos criadores. Tais processos foram sustentados por corpos vibráteis cujas intensidades dispararam movimentos de resistência com linhas de fuga que possibilitaram a produção de modos de existência singulares em relação aqueles produzidos pelos fluxos capitalísticos. Cartografar o movimento do desejo na vontade de expandir a vida através do agenciamento corpo-cidade-ruptura, significou entender que o devir não se repete e que sempre há algo no outro que nos transforma.
The present paper has the object of mapping the Hip Hop culture, being Breaking the focus study. Our practice was an exercise of nomadism in an attempt of following the lines drawn throughout the encounters with the literature with the groups that are influenced by the Hip Hop Culture, giving visibility to the modes of subjectivity, singularity and affections that escaped from certain territories captured by mass culture and control strategies. In this process, we affected and were affected by the history of Hip Hop that was being perceived as narratives of creative processes. Such processes were sustained by vibrating bodies whose intensities shoot resistance movements with lines of escape that allow the creation of particulars ways of existence related to those created by the capitalistic flows.. To map the movement of desire in the will of expanding life through the managing of body-city-breaking meant understand that the change does not repeat and that there is always something in the other that transforms one.
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Lafargue, de Grangeneuve Loïc. "Fonctionnaliser la culture ? : action publique et culture hip-hop." Cachan, Ecole normale supérieure, 2004. http://www.theses.fr/2004DENS0042.

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L'action publique menée vis à vis de la culture hip-hop consiste en une politique de reconnaissance destinée à contribuer au traitement des problèmes sociaux urbains. Or, l'enquête réalisée à Marseille et dans l'agglomération bordelaise montre que la fonctionnalisation du hip hop entre en contradiction avec l'ancrage social et territorial de cette culture. Le hip hop gagne les institutions culturelles classiques de centre ville, mais l'esthétisation passe par l'adoption de codes de l'art savant : elle implique un changement de nature de l'activité qui conduit au retrait partiel des jeunes hommes des quartiers populaires. La culture hip hop constitue aussi une prise de parole d'un groupe dominé: les politiques publiques du hip hop représentent une institutionnalisation ambiguë du conflit. Enfin, les stratégies municipales vis à vis du hip hop dépendent fortement de la volonté et de la capacité des maires à inscrire cette culture dans la politique d'image de leur ville
Public action towards hip-hop culture consists of a recognition policy that must help the treatment of urban social problems. Nevertheless, the inquiry realized in Marseille, Bordeaux and its suburbs shows that the < functionalization » of hip hop enters in contradiction with the social and territorial embeddedness of this culture. Hip hop reaches the classical cultural institutions of city centre, but its esthetization needs adoption of fine art's codes ; it implies a transformation of activity's nature that brings young men from popular neighbourhoods to a partial exit. Hip hop culture constitutes also a voice of a subordinated group : hip hop public policy represents an ambiguous institutionalization of conflict. Finally, local govemment's strategies towards hip hop depend strongly on the will and the ability of mayors to connect this culture with the image policy of their town
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Süß, Heidi. "Hip-Hop-Feminismus." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.
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Süß, Heidi. "Hip-Hop-Feminismus." Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.
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Mansfield, John. "Hip-hop pathology and the commodification of culture /." Title page and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arm287.pdf.

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Sachs, Aaron Dickinson. "The hip-hopsploitation film cycle: representing, articulating, and appropriating hip-hop culture." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/591.

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In this dissertation, I examine the articulation of hip-hop in the mid-1980s as it emerged onto the national stage of American popular culture. Using Articulation Theory, I weave together an argument explaining how and why hip-hop went from being articulated as a set of multicultural and inclusive practices, organized around breaking, graffiti, and DJing, to being articulated to a violent, misogynistic, and homophobic hyper-masculine representation of blackness as essentially rap music culture. In doing so I also argue that there are real political, social, racial, cultural, and ideological implications to this shift in articulation; that something is at stake in defining hip-hop as both black and rap music culture. I put forward this argument by making three distinct steps over the course of this dissertation. First, I identify a change in how hip-hop was represented and thus articulated in popular media. Through an intertextual analysis of the hip-hopsploitation genre films I show that early hip-hop was being represented primarily as a set of cultural practices cohering around breaking, graffiti, and DJing rather than the now dominant articulation as rap music culture. Next I set forth one possible reason for this shift within the limiting conditions set by the available media technologies and means of commodification. The visual nature of hip-hop's early articulation coupled with the economic inaccessibility of consumer home video made breaking and graffiti difficult to commodify compared to rapping as an aural element. Using "technological determinist" theorists like McLuhan, Innis, and Kittler, I argue that understanding how hip-hop as been historically constructed requires analyzing the limiting effect that the material conditions of media technologies have on the production of hip-hop. Finally, I offer a second, racial and cultural reason for this shift in articulation, and begin identifying some of the significance of this shift. A key aspect of the articulation of hip-hop as rap music is the further connection to blackness. This connection may function to maintain white patriarchal hegemony by displacing it on the black body via rap music: a complex dynamic of disidentification and appropriation.
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Books on the topic "Hip-hop culture"

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Garofoli, Wendy. Hip-hop culture. Mankato, Minn: Capstone Press, 2010.

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Hip Hop Culture. Santa Barbara: ABC-CLIO, 2008.

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Garofoli, Wendy. Hip-hop culture. Mankato, Minn: Capstone Press, 2010.

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Koviloski, Aleksandar. Hip Hop Recnik: HIP-HOP DICTIONARY (first english-macedonian hip-hop dictionary). Skopje, Republic of Macedonia: Sovremenost, 2008.

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Bazin, Hugues. La culture hip-hop. Paris: Desclée de Brouwer, 1995.

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Hip-hop. Madrid: Celeste Ediciones, 1998.

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Malone, Bonz. Hip hop immortals. New York: Thunder's Mouth Press, 2003.

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Hip hop dance. Santa Barbara, Calif: Greenwood, 2012.

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Hip hop America. New York: Penguin Books, 1999.

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Hip-hop history. London: Raintree, 2011.

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Book chapters on the topic "Hip-hop culture"

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Bailey, Julius. "Conscious Hip-Hop versus the Culture Industry." In Philosophy and Hip-Hop, 59–70. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137429940_4.

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Webb, Peter. "Popular Culture, Hybridity and Hip-hop." In Popular Culture: Global Intercultural Perspectives, 88–106. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-42672-7_7.

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Travis, Raphael, and Scott W. Bowman. "Hip-Hop Culture and Social Change." In Understanding Society through Popular Music, 139–54. Third edition. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315751641-8.

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Castillo-Garsow, Melissa. "Somos Mujeres Somos Hip Hop." In The Routledge Companion To Gender, Sex And Latin American Culture, 335–46. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315179728-29.

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Perkinson, James W. "Beyond Occasional Whiteness." In Shamanism, Racism, and Hip Hop Culture, 3–16. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979186_1.

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Perkinson, James W. "Modernity’s Witchcraft Practice." In Shamanism, Racism, and Hip Hop Culture, 17–42. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979186_2.

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Perkinson, James W. "The Gift/Curse of “Second Sight”." In Shamanism, Racism, and Hip Hop Culture, 45–83. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979186_3.

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Perkinson, James W. "Constructing the Break." In Shamanism, Racism, and Hip Hop Culture, 85–114. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979186_4.

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Perkinson, James W. "Rap Rapture and Manic Mortality." In Shamanism, Racism, and Hip Hop Culture, 117–36. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979186_5.

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Perkinson, James W. "From Mega-Lith to Mack Daddy." In Shamanism, Racism, and Hip Hop Culture, 137–56. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979186_6.

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Conference papers on the topic "Hip-hop culture"

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Collell, Guillem. "Hip Hop, a Contemporary Footbridge Designer’s Delight." In Footbridge 2022 (Madrid): Creating Experience. Madrid, Spain: Asociación Española de Ingeniería Estructural, 2021. http://dx.doi.org/10.24904/footbridge2022.123.

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<p>Do contemporary footbridge designers take ideas originated from vulnerable and disadvantaged social groups into account? I believe the direct response, unfortunately, is clearly no, they do not.</p><p>Footbridge design is a top-down practice, typically associated with a sophisticated yet snob and elitistic culture. This paper strives to debunk this misconception with a counterexample. The counterexample must represent of today’s society and it must take form to include different cultural contexts. You cannot find a better example to illustrate such a fine and necessary opportunity as what hip hop represents in current culture.</p>
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Simatupang, Lono, Wisma Nugraha, Oki Sutopo, and Vanny Suitela. "“When the Girls getting into Hip-Hop Music” Indonesian Youth and Hip-Hop Music Consumption in the Internet Age." In Proceedings of the 1st International Conference on Gender, Culture and Society, ICGCS 2021, 30-31 August 2021, Padang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.30-8-2021.2316381.

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Mo, Kang-Sheng. "Technology and the Change of Hip Hop Creative Culture in Taiwan." In 3rd IEEE International Conference on Knowledge Innovation and Invention 2020 (IEEE ICKII 2020). WORLD SCIENTIFIC, 2021. http://dx.doi.org/10.1142/9789811238727_0074.

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Hall, Delandrea. ""Dis Generation": The Role of Hip-Hop Culture and Identity in the Teaching of Social Studies." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1588203.

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Ellis, Antonio. "African American Male K–12 Teachers: Exploring Historical Relationships Between Hip-Hop Music and Classroom Culture." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1579812.

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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.
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Yan, Zixuan. "Explaining the New Street Snap Style Among Young People in China, From 2017 to 2021: Rap Shows and Celebrity Effect and Hip-hop Culture." In 2021 International Conference on Social Development and Media Communication (SDMC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220105.145.

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Супоненкова, В. А. "Formation of a Student's Identity in the Field of Additional Education (on the example of Hip-Hop Dance)." In Современное образование: векторы развития. Роль социально-гуманитарного знания в подготовке педагога: материалы V международной конференции (г. Москва, МПГУ, 27 апреля – 25 мая 2020 г.). Crossref, 2020. http://dx.doi.org/10.37492/etno.2020.35.15.064.

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статья посвящена раскрытию роли хип-хоп танца в формировании идентичности школьника в сфере дополнительного образования (на примере функционирования танцевального коллектива «Young Nation» на базе ГБОУ г. Москвы «СОШ № 554»). Цель работы состоит в том, чтобы показать значимость и возможности хип-хоп танца в развитии идентичности школьника в рамках программы дополнительного образования. В исследовании рассматривается влияние хип-хоп танца на возникновение у школьников необходимых жизненных качеств (творческих, коммуникативных, профессиональных). Хип-хоп танец тесно связан с общеобразовательными предметами и способствует комплексному развитию школьника (социальному, культурному, физическому, интеллектуальному). the article is devoted to the role of hip-hop dance in the formation of identity of the student in the field of education (exemplified by the dance group «Young Nation» on the basis of GBOU city of Moscow «school № 554»). The purpose of the work is to show the significance and possibilities of hip-hop dance in the development of a student's identity in the framework of additional education programs. The study examines the influence of hip-hop dance on the emergence of necessary life qualities in schoolchildren (creative, communicative, professional). Hip-hop dance is closely related to General education subjects and contributes to the comprehensive development of the student (social, cultural, physical, intellectual).
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Kemayo, Kamau. "Black Linguistic Elegance and Hip Hop Lyricism." In Annual International Conference on Contemporary Cultural Studies. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2382-5650_ccs15.10.

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Carriere, Michael, and David Schalliol. "Engagement as Theory: Architecture, Planning, and Placemaking in the Twenty-First Century City." In Schools of Thought Conference. University of Oklahoma, 2020. http://dx.doi.org/10.15763/11244/335068.

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Our recent book, "The City Creative: The Rise of Urban Placemaking in Contemporary America" (University of Chicago Press, 2021), details how participatory design and community engagement can lead to democratically planned, inclusive urban communities. After visiting more than two hundred projects in more than forty cities, we have come to understand that planning, policy, and architectural design should be oriented by local communities and deep engagement with intervention sites. Of course, we are not the first to reach such a conclusion. In many ways, our work builds off contributions made by individuals, including Jane Jacobs, Kevin Lynch, and Christopher Alexander, and such movements as Team 10 and the advocacy architecture movement of the 1960s. Nevertheless, we need to broaden this significant conversation. Importantly, our classroom work has allowed us to better understand how histories often left out of such discussions can inform this new approach. To that end, we have developed community-student partnerships in underserved neighborhoods in cities like Milwaukee and Detroit. Through these connections and their related design-build projects, we have seen how the civil rights movement, immigration narratives, hip-hop culture, and alternative redevelopment histories, such as in urban agriculture, can inform the theory and practice of design. We want to bring these perspectives into dialogue with the mainstream approach to development and design. How does this look and work? Using a case study from the Milwaukee School of Engineering (MSOE) University Scholars Honors Program curriculum, we highlight the redevelopment of Milwaukee’s Fondy Park, an effort to create community-centered spaces and programming in an underserved African American community. Lessons include those essential for pedagogy and education, as well as for how these issues are theorized and professionally practiced, with implications for institutions, programs, and individuals.
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