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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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Golpushnezhad, Elham. "Untold Stories of DIY/Underground Iranian Rap Culture: The Legitimization of Iranian Hip-Hop and the Loss of Radical Potential." Cultural Sociology 12, no. 2 (June 2018): 260–75. http://dx.doi.org/10.1177/1749975518769001.
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In this article, I aim to explore how legitimization and de-radicalization of the underground hip-hop subculture have restrained the DIY creation of social norms and cultural behaviours that mobilized Iranian hip-hop in the early 2000s. The article offers a critical discussion of the literature around legitimization of DIY/underground subcultures, specifically youth musical subcultures such as punk and hip-hop, before turning to an analysis of Iranian hip-hop culture in three phases: (1) hip-hop and the creation of a community, 2000–2003; (2) the golden age of Iranian hip-hop, 2003–2009; (3) contemporary Iranian hip-hop, 2009–2016. The article suggests that these three phases have finally led to the entry of hip-hop into the mainstream system and cultural industry, as recent trends bringing it in line with the values and standards of Islamic Iran result in turning underground DIY culture into a mainstream popular form of music supported and funded (indirectly) by the Islamic state.
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de Paor-Evans, Adam. "The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture." Arts 7, no. 4 (November 16, 2018): 80. http://dx.doi.org/10.3390/arts7040080.
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Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.
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Singleton, Brent D. "Book Review: Hip Hop around the World: An Encyclopedia." Reference & User Services Quarterly 59, no. 2 (March 4, 2020): 141. http://dx.doi.org/10.5860/rusq.59.2.7293.
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This encyclopedia consists of over 450 A–Z entries focusing on “Artists,” “Concepts,” “Countries,” and “Styles,” as well as finer aspects of cultures within the international hip hop scene. The work is not entirely unique in all of its content. For instance, Rigg’s St. James Encyclopedia of Hip Hop Culture (St. James, 2018) focuses on the United States and makes a cursory foray into the international hip hop sphere. However, the work under review appears to be the only encyclopedia dedicated to highlighting interrelations and unique threads within hip hop globally, albeit with copious US coverage.
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Hentges, Sarah. "Hip Hop Syllabus: AME/MUS 303 Hip Hop: Art, Culture, and Politics." Radical Teacher 97 (October 28, 2013): 62–69. http://dx.doi.org/10.5195/rt.2013.42.
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This syllabus represents a course taught online through the University of Maine at Augusta in the fall of 2011 (and every otheryear thereafter). Critical pedagogy can be a challenge in any classroom, and the challenges in an online classroom are compounded. However, the subject matter and approach of Hip Hop can be a powerful tool in teaching students critical thinking skills as well in laying a foundation for interdisciplinary and intersectional theory; here these elements are represented through curriculum—the themes, texts, contexts,approaches, structure, and assignments.
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Lafargue de Grangeneuve, Loïc. "Le hip-hop à Bordeaux : évolution d'un vécu culturel et conquête de nouveaux territoires." Sud-Ouest européen 22, no. 1 (2006): 53–63. http://dx.doi.org/10.3406/rgpso.2006.2924.
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Fortement investie par les jeunes des quartiers périphériques, la culture hip-hop représente une forme de prise de parole, une culture incontestablement populaire et vécue. Dans la métropole bordelaise, les acteurs de cette culture cherchent très tôt à entrer dans les espaces publics centraux, mais d'abord en douce ou par effraction, car le hip-hop déroge aux usages habituels de l'espace urbain et n'est pas toujours accepté. Qualifié tour à tour de culture de rue, de culture de banlieue, puis de culture urbaine, le hip-hop est néanmoins progressivement accueilli par les institutions dans le cadre de grandes manifestations artistiques ; il atteint finalement la reconnaissance suprême en intégrant les équipements les plus prestigieux. Les déplacements géographiques du hip-hop acquièrent alors une dimension symbolique considérable.
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Emdin, Christopher, and Okhee Lee. "Hip-Hop, the “Obama Effect,” and Urban Science Education." Teachers College Record: The Voice of Scholarship in Education 114, no. 2 (February 2012): 1–24. http://dx.doi.org/10.1177/016146811211400205.
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Background/Context With the ever increasing diversity of schools, and the persistent need to develop teaching strategies for the students who attend today's urban schools, hip-hop culture has been proposed to be a means through which urban youth can find success in school. As a result, studies of the role of hip-hop in urban education have grown in visibility. Research targeted toward understanding the involvement of urban youth in hip-hop and finding ways to connect them to school often rest primarily on the role of rap lyrics and focus exclusively on language arts and social studies classes. Purpose of the Study The purpose of this article is to move beyond the existing research on science education by utilizing an ongoing study to interrogate hip-hop culture, its relation to the “Obama effect,” and the role of hip-hop culture in creating new possibilities for urban youth in science. The discussion of hip-hop in urban schooling is grounded in the concept of social capital to explain what makes hip-hop youth who they are and how this knowledge can become a tool for supporting their academic success. Specifically, the discussion is based on theoretical constructs related to hip-hop in urban settings, including social networks, identity, and realness and emotional energy. Research Design To explore the complexities of hip-hop and the impact of the artifacts it generates on urban science education, we examined qualitative data illustrating the enactment of hip-hopness or a hip-hop identity in urban science classrooms. Specifically, we examined the “Obama effect” and its connection to hip-hop and science education. Findings The findings indicate that when teachers bring hip-hop into their science instruction, certain markers of interest and involvement that were previously absent from science classrooms become visible. Especially, the examples of the Obama effect in urban high school science classrooms in this article illustrate that science educators can strengthen hip-hop youth's connections to school and science by consistently using the science-related decisions President Obama is making as opportunities to teach science. Conclusions By engaging in a concerted focus on hip-hop culture, science educators can connect urban youth to science in ways that generate a genuine recognition of who they are, an appreciation of their motivation for academic success, and an understanding of how to capitalize on hip-hop culture for their identities as science learners. Such efforts can eventually lead urban youth to become “the best and brightest” in the science classroom and pursue careers in science-related fields.
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Abielah, Mayza Nisrin. "THE INFLUENCE AND THE ADVANTAGE OF AMERICAN HIP HOP TO THE RISING ASIAN." Rubikon : Journal of Transnational American Studies 7, no. 1 (December 23, 2020): 1. http://dx.doi.org/10.22146/rubikon.v7i1.62506.
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Cultural imperialism aims at how dominant culture affects other cultures to gain control of certain cultures and create the view that their dominant culture is the center for all countries in the world, which will create uniformity around the world. Therefore, this study will discuss how Asian rappers are influenced by American hip hop culture and how they benefitted from their careers’ success. The theory used in this study is cultural imperialism by John Tomlinson to see the influence of cultural imperialism in American hip hop culture to Asian rappers. The method used in this study is qualitative research by Creswell. The result shows that America’s cultural imperialism influences Asian Rappers by adopting its culture, language, and style of American hip hop. However, its influence is not harmful since the Asian rappers use this to gain more recognition from people, especially in Western, and to be accepted in representing Asian immigrants in the United States.
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Abielah, Mayza Nisrin. "THE INFLUENCE AND THE ADVANTAGE OF AMERICAN HIP HOP TO THE RISING ASIAN RAPPERS." Rubikon : Journal of Transnational American Studies 7, no. 1 (December 25, 2020): 1. http://dx.doi.org/10.22146/rubikon.v7i1.62563.
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Cultural imperialism aims at how dominant culture affects other cultures to gain control of certain cultures and create the view that their dominant culture is the center for all countries in the world, which will create uniformity around the world. Therefore, this study will discuss how Asian rappers are influenced by American hip hop culture and how they benefitted from their careers’ success. The theory used in this study is cultural imperialism by John Tomlinson to see the influence of cultural imperialism in American hip hop culture to Asian rappers. The method used in this study is qualitative research by Creswell. The result shows that America’s cultural imperialism influences Asian Rappers by adopting its culture, language, and style of American hip hop. However, its influence is not harmful since the Asian rappers use this to gain more recognition from people, especially in Western, and to be accepted in representing Asian immigrants in the United States.
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Villegas, Mark R. "“Gangsta Chi”." Journal of Popular Music Studies 34, no. 4 (December 1, 2022): 109–31. http://dx.doi.org/10.1525/jpms.2022.34.4.109.
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This article sheds light on the pervasive yet largely uncommented upon presence of geek culture and Orientalism in hip hop, revealing the constructed, performed, and mediated nature of racialized masculinity in popular culture. By observing a range of media artifacts but concentrating on RZA’s memoir The Tao of the Wu (2009), this article contends that geeky hip hop Orientalism performs a strategy of style codeswitching, wherein the combination of intellectualism and the fantasized East expand the repertoire of Black masculinity and fantastical worldmaking. Heavy in Orientalist themes that mirror the hyper intellectualism associated with geekiness, The Tao of the Wu evinces the strong bond between geek culture and early hip hop music. Specifically, this article focuses on RZA’s mental cultivation over physicality and his enchantment by children’s media culture (comics, anime, and kung fu cinema). Merging hip hop and geek culture, which conventionally appear to exist on opposite poles, results in new interracial paradigms of geek and hip hop representations. Hip hop geekiness largely detours from an otherwise presumed whiteness in routing itself along a storied legacy of African American Orientalism. In this way, geeky hip hop Orientalism contributes to more queered and quotidian versions of Afro Asian aesthetics, politics, and interracial fantasy worlds. A deep consideration of the bonds among hip hop, geekiness, and Orientalism helps to reimagine the embodiments and performances of racialized masculinity, which, though complex and limited, can gesture towards the freedoms promised in a more expansive spectrum of gender and sexual affinities and identities.
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Durham, Aisha S. "Behind Beats and Rhymes: Working Class from a Hampton Roads Hip Hop Homeplace." Policy Futures in Education 7, no. 2 (January 1, 2009): 217–29. http://dx.doi.org/10.2304/pfie.2009.7.2.217.
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The film documentary titled Hip Hop: beyond beats and rhymes captures ongoing conversations among scholars, cultural critics, and hip hop insiders about the state of African Americans by interrogating distinct expressive forms associated with hip hop culture. Durham draws from two scenes to describe her memories as the researched underclass and as the graduate researcher returning to her childhood public housing community to explore the shifting discursive terrain of hip hop as a struggle over meaning waged through class performances. Class is articulated through taste values and notions of respectability. Durham connects the hip hop mantra emphasizing lived, embodied culture with bell hooks' description of a homeplace to recount her researcher/ed self during the Virginia Beach Greekfest race riots and her visit home where she talks about hip hop feminism with a group of African American women from the Norfolk public housing community. By recalling autoethnographic encounters of hip hop at home, Durham calls attention to the politics of class that echoes behind beats and rhymes.
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Broome, Jeffrey. "Hip Hop Family Tree Treasury Editions: A Book Review for Art and Visual Culture Educators." Arts 8, no. 1 (December 29, 2018): 5. http://dx.doi.org/10.3390/arts8010005.
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This book review examines Ed Piskor’s Hip Hop Family Tree as compiled and packaged by Fantagraphics into two gift box sets featuring a total of four treasury editions of collected works. The basic premise of Hip Hop Family Tree focuses on a loose narrative detailing the historical development of hip-hop culture as depicted in a comic book format. The review begins with a brief summary of each treasury edition with a specific focus on selected vignettes detailing the role that visual art has played in hip-hop culture. The review closes with a discussion of the overall relevance of Piskor’s work to those working in art and visual culture education.
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Washington, Ahmad R. "Using a Critical Hip-Hop School Counseling Framework to Promote Black Consciousness Among Black Boys." Professional School Counseling 25, no. 1_part_4 (January 1, 2021): 2156759X2110400. http://dx.doi.org/10.1177/2156759x211040039.
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In this article, I outline an approach for critical hip-hop school counseling (CHHSC) for novice and tenured school counselors to use when working with Black boys. Various facets of hip-hop culture (e.g., music, hip-hop scholarship) can sharpen Black boys’ conscientização ( Freire, 1996 ) and help them discern how interconnected social institutions (e.g., political systems, traditional schools) are grounded in anti-Black discourses and practices that endanger Black life (Baldwin, 1963; Dumas, 2016). The article begins with an operational definition of hip-hop culture. From there, I connect dissident ideas within hip-hop culture to the ways social justice has been operationalized in education and counseling, school counseling in particular. I conclude with suggestions and resources school counselors can research and integrate when using this approach with Black boys in middle and secondary school settings (Grades 6–12).
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Pichler, Pia, and Nathanael Williams. "Hipsters in the hood: Authenticating indexicalities in young men's hip-hop talk." Language in Society 45, no. 4 (July 22, 2016): 557–81. http://dx.doi.org/10.1017/s0047404516000427.
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AbstractIn this article we explore the relationship between authentication and identification in the spontaneous hip-hop talk of four young London men from multi-ethnic working-class backgrounds. Whereas sociolinguistic studies of authentication and/or hip hop have frequently focused on the linguistic style of hip hoppers, this article explores hip-hop talk with a specific interest in ‘cultural concepts’ (Silverstein 2004). This focus allows us to discuss how the young men authenticate themselves in relation to a range of other identity performances they discuss, including the ‘white posh girl's’ appropriation of ‘world star’ hip-hop culture or the local South London gang's display of violent gangsta personas. These cultural concepts not only index various aspects of hip-hop culture but also need to be understood in relation to various aspects of larger-scale discourses, practices, and structures. (Hip hop, authentication, indexicalities, cultural concepts)*
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Bailey, Moya. "Homolatent Masculinity & Hip Hop Culture." Palimpsest: A Journal on Women, Gender, and the Black International 2, no. 2 (2013): 187–99. http://dx.doi.org/10.1353/pal.2013.0018.
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DUMITRU, Eduard Ștefan, and Virgil TUDOR. "THE EVOLUTION OF HIP HOP CULTURE." Research and Science Today 24, no. 2 (November 15, 2022): 223–38. http://dx.doi.org/10.38173/rst.2022.24.2.16:223-238.
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Cardozo, Elloit. "‘The Sagacity of Words’." Exchanges: The Interdisciplinary Research Journal 8, no. 3 (May 6, 2021): 1–12. http://dx.doi.org/10.31273/eirj.v8i3.652.
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Best known for his ideas of ahimsa and satyagraha, Mohandas Karamchand Gandhi was a prominent figure in the Indian freedom movement. Even today, he is highly revered for his philosophy of non-violence which was also an integral part of India’s freedom struggle. Gandhi was responsible for making non-violent protests an important part of the movement. Now famous as a global expressive culture including forms of dance and music, Hip Hop, too, was conceived as a reaction to the violence that pervaded the gang culture of the late-1960s to early-1970s in The Bronx, New York City. Drawing from this thread of similarity, this article fleshes out parallels between the ideas of Gandhi and Hip Hop culture. Divided into three sections, it begins by establishing the cultural linkages between Gandhi, the Gandhian foundations of Hip Hop, and marking out the rationale of the study. The following section goes on to discuss the intertwining strings between Gandhi’s perceptions of knowledge and the significance of knowledge in Hip Hop culture. Finally, the third section discusses references to and representations of Gandhi in selected works of 21st century Hip Hop. In doing so, the article posits that Gandhism and Hip Hop culture belong to a similar lineage of ideas, if not the same one.
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Kelly, Lauren Leigh. "Listening differently: youth self-actualization through critical Hip Hop literacies." English Teaching: Practice & Critique 19, no. 3 (May 4, 2020): 269–85. http://dx.doi.org/10.1108/etpc-08-2019-0106.
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Purpose This study aims to refocus the field of Hip Hop based education on youth identities and epistemologies rather than on the tangible artifacts of Hip Hop culture. It argues that centering classroom pedagogy and curriculum on youth self-actualization best supports the critical literacy development of students grappling with social and structural inequities within an ever-evolving youth and media culture. Design/methodology/approach Building upon previous literature on critical literacy, Hip Hop pedagogy and adolescent identity formation, this paper shares data from a semester-long teacher–researcher case study of a high school Hip Hop literature and culture class to explore how young people develop critical literacies and self-actualizing practices through a critical study of youth culture. Findings For youth engaged in Hip Hop culture, co-constructing spaces to discuss their consumption of popular media and culture in class allows them to openly grapple with questions of identity, provide support for each other in dealing with these questions and reflect more critically upon their self-constructed, performed and perceived identities. Originality/value This form of English education challenges traditional notions of teaching and learning as it positions students as co-creators of curriculum and as part of the curriculum itself. Building on research that frames Hip Hop pedagogy as a culturally relevant tool for engaging urban youth, this paper argues that educators should approach critical Hip Hop literacy development as a means by which young people across diverse educational and social backgrounds come to know themselves and others as part of the process of self-actualization and critical resistance.
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Morgan, Marcyliena, and Dionne Bennett. "Hip-Hop & the Global Imprint of a Black Cultural Form." Daedalus 140, no. 2 (April 2011): 176–96. http://dx.doi.org/10.1162/daed_a_00086.
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Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to world culture; however, the “hip-hop nation” has created not just art and entertainment, but art with the vision and message of changing the world – locally, nationally, and globally. International representations of hip-hop capture and reinterpret hip-hop's history by incorporating local as well as African American aesthetic, cultural, social, and political models. This essay examines the global movement of the hip-hop nation and its artistic incorporation into global youth culture. It considers how that movement is both a social and political process that integrates symbols of African American culture and political struggle.
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Kelekay, Jasmine Linnea. "Too Dark to Support the Lions, But Light Enough for the Frontlines”: Negotiating Race, Place, and Nation in Afro-Finnish Hip Hop." Open Cultural Studies 3, no. 1 (January 1, 2019): 386–401. http://dx.doi.org/10.1515/culture-2019-0033.
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Abstract In this article, I examine cultural production as an avenue for mapping African diasporic identities and racialised experiences in Finland. Hip hop culture has long acted as a lingua franca for the African diaspora and has been central in the development of collective identities among second-generation European youth of colour. Prior to the 2010s, the landscape of Finnish hip hop was largely white with little engagement with race or hip hop’s roots as a Black American cultural form. This status quo was disrupted by the rise of Afro-Finnish rappers. Since gaining mainstream visibility, they have catapulted into the national consciousness with music that reclaims the language of racial and ethnic identities, interrogates assumptions about national belonging, and represents the lived experiences of first-generation Black/Afro-Finnish men. Approaching hip hop as a resource for resisting normative Whiteness and carving out space for Black/African diasporic collectivities in the Finnish cultural and political imaginary, I show how Afro-Finnish rappers articulate and navigate Blackness in relation to identity, racism, and national belonging in Finland. In doing so, I emphasise the tensions between racial, ethnic, and cultural hybridity, on the one hand, and the rigidity of Finnish Whiteness and national exclusion, on the other.
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Karvelis, Noah. "Race, Class, Gender, and Rhymes: Hip-Hop as Critical Pedagogy." Music Educators Journal 105, no. 1 (September 2018): 46–50. http://dx.doi.org/10.1177/0027432118788138.
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Hip-hop is a truly African-American art form in every sense of the phrase. Multiple decades after its development into the genre that we recognize it as today, hip-hop firmly remains a fundamental and unique element of African-American culture that has experienced international presence and regard. As a direct result of deep involvement with African-American culture, hip-hop is uniquely placed as a tool for developing rich, critical understandings of an array of complex social issues. Through thoughtful inclusion and the music classroom, the lyrics, culture, and history of hip-hop can be taught in a manner that augments education, particularly in areas relating to race, gender, and class in society.
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Rodriguez, Nathian Shae. "Hip-Hop’s Authentic Masculinity: A Quare Reading of Fox’s Empire." Television & New Media 19, no. 3 (April 24, 2017): 225–40. http://dx.doi.org/10.1177/1527476417704704.
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Black masculinity in the hip-hop culture often promotes instances of homophobia, effeminophobia, and misogyny. To reify an “authentic” black masculinity, individuals within the hip-hop genre police its boundaries through discourse and behavior. This policing is evident in popular media content like songs, music videos, interviews, television shows, and film. These media depictions can, over time, cultivate the attitudes and opinions of the viewing public about homosexuals and their place within black culture, specifically in hip-hop. Through a quare lens, the study investigates how Fox’s television show Empire helps construct and maintain stereotypical representations of black gay men against the milieu of hip-hop. Empire reifies queer stereotypes and highlights conventions of black masculinity and hip-hop authenticity.
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McNally, James, and Kriss ‘Krissy Kriss’ Johnson. "‘Doing that music which moves me’: A conversation with Bristol hip hop pioneer, Krissy Kriss." Global Hip Hop Studies 2, no. 1 (June 1, 2021): 115–29. http://dx.doi.org/10.1386/ghhs_00036_7.
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From the early-1980s, the arrival of hip hop in the UK city of Bristol created a wave of new possibilities for multiracial Bristolians. In the medium-term, this would help yield the music popularly termed ‘the Bristol Sound’, exemplified by post-hip hop performers like Tricky and Massive Attack – all of whom were part of the city’s early hip hop scene. More immediately, however, Bristol would become home to a vital hip hop party culture, centred on makeshift – and frequently illegal – parties thrown in warehouses, shebeens and small independent clubs in and around the city’s storied Black district, St. Paul’s. In this wide-ranging oral history conversation, which broadens the debate on Bristol hip hop and its diasporic sound-making, pioneering Bristol MC, Kriss ‘Krissy Kriss’ Johnson, discusses his memories and experiences of hip hop in the city. He provides fresh insights on diasporic Black identities in semi-rural contexts; the historic textures of teenage Black popular culture in Bristol in the 1970s–80s; the political realities of early-Thatcherism; the resurgence of British street racism in the 1970s; the psychogeography of Bristol neighbourhoods and historic change in St. Paul’s; the historically grounded appeals of hip hop culture as a site of affirmative teenage Black identity and possibility; the lived experience of Bristol’s DIY hip hop party culture. In doing this, Johnson offers a historically important Black perspective on a scene that has often been glossed by journalists and academics alike in terms of its utopian polyculturalism. By prioritizing his response as a young Black person in the historical particularities of his lived context, the conversation moves beyond the priorities of such accounts to provide a nuanced appreciation of Bristol’s hip hop movement in the city’s complex race and class geography. The account, moreover, recentres hip hop in the history of this party scene, which journalists have typically viewed from the prism of an overdetermined hybridity seen as peculiar to the city.
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Huang, Po-Lung. "Japanese street dance culture in manga and anime: Hip hop transcription in Samurai Champloo and Tokyo Tribe-2." East Asian Journal of Popular Culture 7, no. 1 (April 1, 2021): 61–79. http://dx.doi.org/10.1386/eapc_00039_1.
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Street dance, one of the four most important elements of hip hop culture, was developed mainly by African American youths in the 1970s and imported to Japan in the 1980s. Since then, street dance has been diversified by local media such as manga/anime in Japan. This article therefore analyses how Japanese storytelling, exemplified by Shin’ichirō Watanabe’s anime Samurai Champloo (2004–05), Santa Inoue’s manga Tokyo Tribe-2 (1997–2005) and Tatsuo Satō’s anime adaptation Tokyo Tribes (2006–07), has transcribed the hip hop elements into the Tokugawa-Edo period’s art scenes and fictitious ‘Tōkyō’, and provides a basis for understanding hip hop culture in Japan by drawing on Charles Taylor’s ‘language of perspicuous contrast’ (1985). Although manga and anime quickly reflected popular cultural trends in Japan, hip hop elements did not manifest as main material until Tokyo Tribe-2 was released. Thus, there was apparently a prolonged interval between the arrival of hip hop culture in Japan and its representation by manga/anime after Japanese youths’ first fancied street dance. Therefore, street dance culture could have been transformed within the Japanese cultural context. This article also analyses the representation/transcription of street dance and hip hop in manga/amine by contextualizing the Japanese sociopolitical background to explain this prolonged interval.
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Bennett, Andy. "Hip hop am Main: the localization of rap music and hip hop culture." Media, Culture & Society 21, no. 1 (January 1999): 77–91. http://dx.doi.org/10.1177/016344399021001004.
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Driscoll, Christopher. "Introduction." Bulletin for the Study of Religion 40, no. 3 (September 22, 2011): 1–3. http://dx.doi.org/10.1558/bsor.v40i3.001.
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At the 2010 annual meeting of the American Academy of Religion held in Atlanta, GA, a group of young scholars organized a wildcard session titled “What’s This ‘Religious’ in Hip Hop Culture?” The central questions under investigation by the panel were 1) what about hip hop culture is religious? and 2) how are issues of theory and method within African American religious studies challenged and/or rethought because of the recent turn to hip hop as both subject of study and cultural hermeneutic. Though some panelists challenged this “religious” in hip hop, all agreed that hip hop is of theoretical and methodological import for African American religious studies and religious studies in general. This collection of essays brings together in print many findings from that session and points out the implications of hip hop's influence on religious scholars' theoretical and methodological concerns.
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Chen, Xi, Yazhou Tong, and Jinsheng Zhang. "Brotherhood and Hip-Hop: The Case of Chinese Hip-Hop Club Triple H." SAGE Open 11, no. 4 (October 2021): 215824402110615. http://dx.doi.org/10.1177/21582440211061532.
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After hip-hop increased in popularity in Chinese entertainment programs, different perceptions of hip-hop in China reflected a clash of various thinking patterns among audiences, with hip-hop club Triple H on the cusp of controversy. Taking Triple H as a case study, this paper aims to explore how emotional attachments influence the development of Chinese hip-hop clubs in post-subculture. The findings indicated that the brotherhood rooted in hip-hop culture has been reshaped by the hybridity of Chinese hip-hop featuring fraternity mixed with sensitivity, loyalty filled with controversy, and heroism heightened by diversity. This paper argues that the recurring theme of “brotherhood” contributing to the charisma of Chinese hip-hop clubs cannot be partially interpreted as either gangster love or an underground bond, which gives rise to a new approach to the notion of authenticity, with hip-hop interpreted as a distinctive lifestyle.
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Lee, Jamie Shinhee. "Globalization of African American Vernacular English in popular culture." English World-Wide 32, no. 1 (February 17, 2011): 1–23. http://dx.doi.org/10.1075/eww.32.1.01lee.
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This study examines crossing (Bucholtz 1999; Cutler 1999; Rampton 1995) in Korean hip hop Blinglish as a case study of globalization of African American Vernacular English (AAVE) in popular culture. Blinglish in Korean hip hop can be understood as a prime example of “English from below” (Preisler 1999) to informally express subcultural identity and style. The findings of the study suggest that AAVE features appear at different linguistic levels including lexis, phonology, and morpho-syntax in Korean hip hop Blinglish but do not demonstrate the same degree of AAVE penetration, with a frequency-related hierarchy emerging among these linguistic components. The area of Korean hip hop Blinglish with the heaviest crossing influence from AAVE is found to be lexis followed by phonology. The presence of AAVE syntactic features is somewhat restricted in type and occurrence, indicating that the verbal markers in AAVE are considerably varied and intricate, and syntactic elements are not as easily crossed by non-AAVE speakers as lexical items.
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Rolsky, L. "Bishop Lamont and Hermeneutics of Play." Bulletin for the Study of Religion 40, no. 3 (September 22, 2011): 9–15. http://dx.doi.org/10.1558/bsor.v40i3.003.
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This paper investigates the subject of hip-hop within the study of religion and the study of American religion and culture. In particular, the paper focuses on the corpus of California hip-hop artist Bishop Lamont in developing a "hermeneutics of play" through a combinative "lived religion" approach as a way of reading and reflecting on the larger religious significance of hip-hop in late 20th century America. As both a reading practice and a subject of study for both historians and religious studies scholars, hip-hop comes into view in this paper as an essential component in narrating an American religious history of the last three decades. Hip-hop and its study also reveals its own understandings of religion, America, and American religion as articulated through post-industrial and a variety of religious vocabularies that have been largely ignored by scholars of religion. In essence, this paper argues that by exploring the rhetorical, religious, and existential complexity found within hip-hop cultures, a more complex post-1965 American religious landscape emerges for both the historian and theorist of religion.
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Söderman, Johan. "The formation of ‘Hip-Hop Academicus’ – how American scholars talk about the academisation of hip-hop." British Journal of Music Education 30, no. 3 (April 30, 2013): 369–81. http://dx.doi.org/10.1017/s0265051713000089.
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Social activism and education have been associated with hip-hop since it emerged in New York City 38 years ago. Therefore, it might not be surprising that universities have become interested in hip-hop. This article aims to highlight this ‘hip-hop academisation’ and analyse the discursive mechanisms that manifest in these academisation processes. The guiding research question explores how hip-hop scholars talk about this academisation. The theoretical framework is informed by the scholarship of sociologist Pierre Bourdieu. Hip-hop scholars were interviewed in New York City during 2010. The results demonstrate themes of hip-hop as an attractive label, a door opener, a form of ‘low-culture’, a trap and an educational tool.
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Kruse, Adam J., and Donna J. Gallo. "Rethinking the Elementary “Canon”: Ideas, Inspirations, and Innovations from Hip-Hop." Music Educators Journal 107, no. 2 (December 2020): 58–65. http://dx.doi.org/10.1177/0027432120975089.
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This article offers perspectives on disrupting the typical elementary school “canon” through providing considerations and pedagogical orientations for including hip-hop. Three issues of critical importance in elementary music education are addressed: decentering Whiteness in elementary music, understanding hip-hop in relation to culturally responsive teaching, and establishing new pathways for musical creativity through hip-hop. Engaging with hip-hop both as a genre and the product of a culture offers music educators opportunities to meaningfully reconsider their practices.
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Lalonde, Amanda. "Buddy Esquire and the early hip hop flyer." Popular Music 33, no. 1 (January 2014): 19–38. http://dx.doi.org/10.1017/s0261143013000512.
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AbstractBetween 1978 and 1984 Buddy Esquire designed over 300 hip hop flyers. His career coincided with the first flourishing of the Bronx scene, when hip hop shifted from a community-based event to a full-blown commercial phenomenon. This paper analyses Buddy Esquire's flyer design style, supported by a discussion with the flyer artist. The analysis demonstrates that Esquire's ‘neo-deco’ style communicates the aspiration of live hip hop to classiness by suppressing overt graffiti elements, by alluding to the nightclub culture of disco and by using the Art Deco stylings of the Jazz Age as a signifier of sophistication. The paper then moves beyond an interpretation of the flyers, searching for reflections of Buddy Esquire's aesthetic in early hip hop culture. Finally, it proposes that Buddy Esquire's flyers challenge assumptions in current hip hop scholarship regarding early hip hop's aesthetic relationship to the past (particularly the early 20th century) and its self-documenting impulse.
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Sidjabat, Yedija Remalya, Vissia Ita Yulianto, and Royke Bobby Koapaha. "POLITIK IDENTITAS DALAM PERSPEKTIF POSKOLONIAL STUDI KASUS HIP HOP DANGDUT GRUP NDX A.K.A." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 4, no. 2 (November 28, 2018): 77. http://dx.doi.org/10.30872/calls.v4i2.1693.
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Hip hop dangdut is music identity of NDX A.K.A group. Hip hop dangdut that became popular in society also bring the pros and cons for some groups. Political identity in this research investigates background in choosing music dangdut and hip hop that integrated in NDX’s songs. Political identity used to see the factor that played a role in formation of hip hop dangdut, but not fully realized by NDX group. Political identity in formation of hip hop dangdut then analyzed in textual and contextual to answer the contestation of hip hop dangdut in postcolonial perspective. The concept postcolonial in this research is criticized dominance or the form of leadership culture (hegemony) conducted by capitalists. Hip hop dangdut formed because of the hegemony of media in popularizing hip hop that occurs massively. Contestation on hip hop dangdut identity is analyzed using the concept of mimicry and hybridity to see ‘in-between’ space or third space that can be described the position of hip hop dangdut. Negotiations between hip hop and dangdut is a form of hybridity that takes place in ambivalence, which is mimicking and mocking, and not entirely subordinated to the cultural discrimination that occurs to the strategy of globalization. The performance and NDX music that performed on stage shows the cultural identity negotiations between hip hop and dangdut that formed in the third space.
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Setiawan, Kristanto, and Dyah Nurul Maliki. "HIP-HOP CULTURE REPRESENTATION IN TELEVISION ADVERTISING." Jurnal Komunikasi dan Bisnis 8, no. 2 (November 2, 2020): 75–84. http://dx.doi.org/10.46806/jkb.v8i2.673.
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This research used framing analysis by Gamson and Modigliani. This research utilized framing analysis to tell storyline of Nano-Nano Chewy Advertising. Framing Analysis by Gamson and Modigliani has been using to get hip-hop culture representative by using framing devices and reasoning devices element. This research using descriptive qualitative approach. Technique Data collecting in this research is documentation, participant passive observation, and interview. Data collecting in this research is framing analysis by Gamson and Modigliani.
The result of research showing that there is an hip-hop culture representative in Nano-Nano Chewy Advertising. The representative is showing by rapping, breakdance, grafiti and fashion element. Nano-Nano Chewy Advertising have an objective to create an cool, fun, and cheeful association. This association was developed specially for Nano-Nano target market which is an teenager.
This research tell that there is a functional and emotional benefit from Nano-Nano Chewy product. The Creative concept that looks cheerfull is associates with the brand tagline “Rame Rasanya”. This Advertising was create to maintain Nano-Nano top of mind brand awareness.
Keyword: framing, hip-hop, representation, Advertising, Nano-Nano Chewy.
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Tascón España, Pablo. "Movimiento Hip Hop en Ciudad de Punta Arenas. / Hip Hop Culture in Punta Arenas." Revista Liminales. Escritos sobre Psicología y Sociedad 3, no. 06 (November 1, 2014): 67–81. http://dx.doi.org/10.54255/lim.vol3.num06.253.
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El presente estudio busca comprender bajo un enfoque naturalista cómo en un periodo denominado por autores de las Ciencias Sociales ( Bajoit, 2009; Sandoval, 2010) de “cambio cultural”, emerge el movimiento Hip Hop y su particular forma de expresión en la ciudad de Punta Arenas. La investigación tiene un objetivo central y busca interpretar la relación entre la expresión contracultural y los jóvenes que son parte de tal, como así también sus significados respecto al ser actores del mismo. La investigación pretende identificar, entonces, la lógica de acción actual de los jóvenes y a su vez dilucidar si existe relación o no con la raíz histórica del movimiento Hip Hop, es decir una expresión de disidencia en razón de la estructura social establecida y las contradicciones que afloran de la misma.
The following study aims to understand under the naturalist approach how in a period called for authors of the social sciences (Bajoit, 2009; Sandoval, 2010) of “cultural change”, emerges the Hip Hop movement and its particular form of expression in the city of Punta Arenas. The research has a main objective and seeks to interpret the relation between the expression counterculture and the young people that are part of it, likewise the meaning concerning to be actors of it. The research pretends to identify the logic of current action of the youngsters and at the same time elucidate if there is a relation or not with the historical root of the movement “Hip Hop”, i.e. an expression of dissent aiming with the social structure established and the contradictions that came out from itself.
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Tascón España, Pablo. "Movimiento Hip Hop en Ciudad de Punta Arenas. / Hip Hop Culture in Punta Arenas." Revista Liminales. Escritos sobre Psicología y Sociedad 3, no. 06 (November 1, 2014): 67–81. http://dx.doi.org/10.54255/lim.vol3.num06.253.
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El presente estudio busca comprender bajo un enfoque naturalista cómo en un periodo denominado por autores de las Ciencias Sociales ( Bajoit, 2009; Sandoval, 2010) de “cambio cultural”, emerge el movimiento Hip Hop y su particular forma de expresión en la ciudad de Punta Arenas. La investigación tiene un objetivo central y busca interpretar la relación entre la expresión contracultural y los jóvenes que son parte de tal, como así también sus significados respecto al ser actores del mismo. La investigación pretende identificar, entonces, la lógica de acción actual de los jóvenes y a su vez dilucidar si existe relación o no con la raíz histórica del movimiento Hip Hop, es decir una expresión de disidencia en razón de la estructura social establecida y las contradicciones que afloran de la misma.
The following study aims to understand under the naturalist approach how in a period called for authors of the social sciences (Bajoit, 2009; Sandoval, 2010) of “cultural change”, emerges the Hip Hop movement and its particular form of expression in the city of Punta Arenas. The research has a main objective and seeks to interpret the relation between the expression counterculture and the young people that are part of it, likewise the meaning concerning to be actors of it. The research pretends to identify the logic of current action of the youngsters and at the same time elucidate if there is a relation or not with the historical root of the movement “Hip Hop”, i.e. an expression of dissent aiming with the social structure established and the contradictions that came out from itself.
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Hodge, Daniel White. "AmeriKKKa’s most wanted: Hip Hop culture and Hip Hop theology as challenges to oppression." Journal of Popular Music Education 2, no. 1 (August 1, 2018): 13–28. http://dx.doi.org/10.1386/jpme.2.1-2.13_1.
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Alim, H. Samy. "Translocal style communities." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 19, no. 1 (March 1, 2009): 103–27. http://dx.doi.org/10.1075/prag.19.1.06ali.
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This article addresses issues that lie at the intersection of debates about language, Hip Hop Culture, and globalization. Critically synthesizing a wide range of recent work on Hip Hop and foregrounding issues of youth agency as evidenced by Hip Hop youth’s metalinguistic theorizing, the article presents an empirical account of youth as cultural theorists. Hip Hop youth are both participants and theorists of their participation in the many translocal style communities that constitute the Global Hip Hop Nation. Highlighting youth agency, the article demonstrates that youth are engaging in the agentive act of theorizing the changes in the contemporary world as they attempt to locate themselves at the intersection of the local and the global. The article concludes by calling for a linguistic anthropology of globalization characterized by ethnographic explorations of and a theoretical focus on popular culture, music, and mass-mediated language as central to an anthropological understanding of linguistic processes in a global era.
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Vasil, Martina. "Hip-Hop and Haring: Pop Culture and Interdisciplinary Learning for the General Music Classroom." General Music Today 34, no. 1 (February 6, 2020): 6–13. http://dx.doi.org/10.1177/1048371320901541.
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Teachers are searching for accessible, relevant, and engaging lessons for students as elementary classrooms grow more diverse and high-stakes testing constrict curricula and recess time. General music teachers may consider implementing lessons that blend popular culture with collaborative, interdisciplinary projects. Artist Keith Haring was inspired by 1980s hip-hop music and drew break dancing figures in much of his artwork. Both Haring’s artwork and hip-hop culture have broad appeal and are accessible to students. The purpose of this article is to share an exploratory series of lessons that used hip-hop music and dance in conjunction with the artwork of Haring. The author provides a brief background on 1980s hip-hop music and break dancing and the artwork of Haring, then delves into the details of the collaborative art and music project completed with grades K–5. Tips for bringing popular culture into the general music classroom are offered.
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Lomax, Tamura. "In Search of Our Daughters’ Gardens." Bulletin for the Study of Religion 40, no. 3 (September 22, 2011): 15–20. http://dx.doi.org/10.1558/bsor.v40i3.004.
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This essay argues that Alice Walker’s seminal essay, “In Search of Our Mothers’ Gardens,” offers a bridge between hip hop and womanist thought that is insightful for theorizing the “daughter’s” (Generation Y) experiences. Moreover, Walkers' essay anticipates hip hop culture, particularly the artistic expressions of female MCs (a.k.a. the “daughters”). One such daughter is current hip hop sensation, Nicki Minaj.
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Reagan, Katherine A. "The Cornell Hip Hop Collection: An example of an archival repository." Global Hip Hop Studies 1, no. 1 (June 1, 2020): 149–55. http://dx.doi.org/10.1386/ghhs_00009_1.
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Those seeking to study and understand hip hop’s history can familiarize themselves with the growing number and variety of archival efforts focused on the documentation of hip hop culture and its multiple forms of expression. This article summarizes the history, mission and scope of one of those efforts, the hip hop archives at Cornell University in Ithaca, New York, and places it in the context of other archival projects centred around hip hop.