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Journal articles on the topic 'Hip hop'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Yakpo, Kofi. "Advanced Chemistry, Hip Hop pur aus Heidelberg: Ein Interview mit Linguist." Brennpunkte - Heidelberger Zweimonatsschrift gegen den Zeitgeist, no. 22 (October 1, 1993): 20–23. https://doi.org/10.5281/zenodo.5811779.

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Brennpunkte: Wir können davon ausgehen, dass die grosse Mehzahl der Leserlnnen unserer Zeitschrift wenig mit dem Begriff Hip Hop anfangen kann. Könntest Du vielleicht zunachst einmal darstellen, was die Hip Hop-Kultur überhaupt ist?  Linguist: Hip Hop ist eine Kultur, nicht nur eine Musikrichtung. Sie setzt sich aus verschiedenen Elementen zusammen und begründet eine Lebensart. Die Leute leben Hip Hop oder sind Hip Hop. Es gibt einerseits die Sparte rappen, dann Breakdance, drittens Sprühen, Graffiti, und als viertes die ganze DJ-Kult

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2

Kim, Pil Ho, and Wonseok Lee. "Industrial Hip Hop Against Hip Hop Industry." Journal of Popular Music Studies 33, no. 4 (2021): 39–42. http://dx.doi.org/10.1525/jpms.2021.33.4.39.

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3

Zimányi, Gabriella, and Anita Lanszki. "The Influence of Social Media on Hip-Hop Dancers and their Classes." Tánc és Nevelés 1, no. 1 (2020): 97–112. http://dx.doi.org/10.46819/tn.1.1.97-112.

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The popularity of social media has influenced the field of the arts including the world of hip-hop dance as well. The platforms allowed hip-hop dancers to reach entire crowds throughout the online surfaces. Choreographers and dancers became famous by their shared videos, which soon lead to the appearance of a growing number of edited, performance-like, therefore, manipulated class footages. These posts show a distorted image and unrealistic expectations regarding the purpose of taking classes. The influence of these videos has been unknown so far but it is a heated topic amongst hip-hop dancer

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4

Ralph, Michael. "Hip-Hop." Social Text 27, no. 3 (2009): 141–46. http://dx.doi.org/10.1215/01642472-2009-025.

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BALDO, Maria Isabel. "Hip Hop." Grau Zero – Revista de Crítica Cultural 3, no. 2 (2016): 101–23. http://dx.doi.org/10.30620/gz.v3n2.p101.

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Respaldado no horizonte de educação popular de Paulo Freire, sobretudo no que se refere à prática educativa como a junção do saber popular com o saber erudito, e na perspectiva da ecologia de saberes promulgada por Boaventura de Sousa Santos, o presente artigo pretende situar a cultura Hip Hop – por nós aqui entendida também como um movimento social urbano – como possibilidade possível de educação emancipatória e, deste modo, de empoderamento e visibilidade social de vozes silenciadas nas periferias, respaldada na resistência e na participação coletiva. [Recebido: 20 set. 2015 – Aceito: 21 out

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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 (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 a

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Yang, Zhuoxi. "Research on The Identity Construction of Chinese Hip-Hop Fans." Lecture Notes in Education Psychology and Public Media 3, no. 1 (2023): 136–47. http://dx.doi.org/10.54254/2753-7048/3/2022481.

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Hip-Hop culture was born in black neighborhoods in the United States, Since its introduction to China, it has been excluded from the mainstream cultural system and remained "underground" for a long time. However, with the broadcast of "The Rap of China", a show featuring hip-hop music, hip-hop culture has attracted widespread attention in China, and the number of Chinese hip-hop fans has exploded. This paper takes Chinese hip-hop culture and Chinese hip-hop fans as the research objects, attempts to explore how hip-hop fans achieve identity construction from their perspective. This research mai

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8

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 (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 favora

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9

Adjapong, Edmund S., and Kelly Allen. "Interrogating your positionality and leveraging hip hop to decolonize education." Global Hip Hop Studies 5, no. 1 (2024): 23–42. http://dx.doi.org/10.1386/ghhs_00081_1.

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Scholars have advocated for the use of hip-hop-based education to facilitate authentic learning experiences for students. As a result, more educators find themselves grappling with incorporating hip hop culture in their classrooms. While we support the inclusion of hip hop in educational spaces, we argue that all educators must interrogate their positionality related to race and hip hop culture to ensure that they are not replicating the social injustices hip hop – and subsequently, hip hop education – was created to counter within their classrooms and pedagogies. Through the lens of critical

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10

Wojnowska, Anna. "Hip-hop subculture and the resocialization of the juvenile." Pedagogika 27, no. 1 (2018): 303–9. http://dx.doi.org/10.16926/p.2018.27.24.

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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 (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 i

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Souyri, Emilie. "Le hip hop à l’école: Practising the ‘fifth element’ as a pedagogical tool in French schools." Global Hip Hop Studies 5, no. 1 (2024): 111–31. http://dx.doi.org/10.1386/ghhs_00085_1.

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There has been very little dialogue between hip hop pedagogy research in English-speaking countries and in France so far. Through an analysis of fourteen teachers and hip hop educators, I provide a preliminary exploration of the current status of hip hop education in France. I suggest that even though French hip hop pedagogues are not familiar with critical pedagogy or culturally relevant pedagogy, they do share key questions, themes and practices with their counterparts described in the existing anglophone literature. French artists and teachers participating in this study display a strong se

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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 (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 her

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Söderman, Johan. "Vem är egentligen expert?" Educare, no. 2 (June 1, 2011): 123–50. http://dx.doi.org/10.24834/educare.2011.2.1213.

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Who is the expert? Hip-hop as university politics and progressive education. Since hip-hop started over 35 years ago in New York, it has been associated with social activism and education. Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop with regards to the history of this street culture. This articles aim is to highlight this “hip-hop academization” and analyze the academization processes. The research questions are: How is hip-hop legitimized in official webpage texts? Who is the expert and what is at stake? What symbolic

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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 (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) c

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Luo, Zixian. "The Conceive of Community Marketing to Activate the Chinese Hip-hop Music Market: The Case of the Woken Day Label." Lecture Notes in Education Psychology and Public Media 38, no. 1 (2024): 104–10. http://dx.doi.org/10.54254/2753-7048/38/20240600.

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Currently, the academic research in China mainly focuses on the cultural connotations and dissemination of hip-hop music and hip-hop culture. The research on the marketing value and strategies management of the large and cohesive fan community of hip-hop music is not the majority, and even the marketing activities of the entire Chinese hip-hop music market are not very active. Against this background, to investigate the superiority and feasibility of community marketing in the hip-hop music market, this study utilizes the research method of case analysis. By examining the building and growth o

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Yue, Jiaying. "The Development and Popularity of Hip Hop Culture and Its Clothing: Supreme vs. Louis Vuitton." Journal of Education, Humanities and Social Sciences 43 (December 26, 2024): 16–20. https://doi.org/10.54097/bntkk071.

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In recent years, hip-hop culture spread more and more widely. That influence is also growing. Among them, there are obvious manifestations in its clothing. Hip-hop clothing is diverse and widely used in everyday wear, fashion design, and a range of cultural activities. The unique rebellious courage, sense of freedom and anti-traditional significance of hip hop culture have derived various kinds of clothing and peripheral products. At present, hip hop style clothing blending different cultures has become an important cultural expression and fashion trend. This paper first combs the historical d

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18

Puschiavo, Gabriela. "CULTURA HIP-HOP, CONHECIMENTO E ISLÃ:." Revista Hydra: Revista Discente de História da UNIFESP 8, no. 15 (2025): 318–28. https://doi.org/10.34024/hydra.2024.v8.19551.

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Em comemoração aos 50 anos do Hip-Hop, Sharif Shabazz rememora nesta entrevista momentos importantes para o movimento hip-hop, discute sobre as diferenças entre movimento e cultura hip-hop, nos apresenta quais os impactos culturais e sociais que o Hip-Hop trouxe para o Brasil, além de explicar como o conhecimento se constituiu como um quinto elemento dessa cultura, traçando também as relações existentes entre o Hip-hop e o Islã.

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19

Im, Jae-hyun. "Incorporating Hip-hop and Black Popular Culture in Korean Primary School English Teacher Training." Korea Association of Primary English Education 29, no. 4 (2023): 201–30. http://dx.doi.org/10.25231/pee.2023.29.4.201.

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This study illustrates how hip-hop and black popular culture can be integrated into primary school English teacher education and explores Korean teachers’ reactions to these elements. Within an intensive teacher training program where hip-hop and black popular culture were introduced and adapted for Korean ELT, the study analyzed Korean primary school English teachers’ responses to the pedagogical values of these elements within Korean context. The findings reveal mixed attitudes toward the inclusion of hip-hop and black popular culture. From the perspective of “teacher as learner,” there were

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20

Abrianto, Chandra Okta. "HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (2019): 44–53. http://dx.doi.org/10.33153/sorai.v12i1.2622.

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Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of tex

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Tan, Beng Hwee. "The incorporation of Hip Hop dance in English language education in Japanese universities." Global Hip Hop Studies 5, no. 1 (2024): 133–55. http://dx.doi.org/10.1386/ghhs_00086_1.

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This article explores the possibility of incorporating Hip Hop dance and culture into English language education in Japan. Japan’s unique context, where Hip Hop dance is immensely popular but knowledge of its history and culture is lacking, provides a unique opportunity for research on Hip Hop dance and education. Data were collected from four key groups of participants to obtain perspectives and suggestions for a Hip Hop-based English language course for undergraduate students. With the growing popularity of Hip Hop dance and culture in Japan, dance can be utilized in Japanese universities as

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Pardue, Derek. "Brazil." Global Hip Hop Studies 3, no. 1 (2022): 33–39. http://dx.doi.org/10.1386/ghhs_00065_1.

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The story of hip hop in Brazil is one of empowerment among primarily disenfranchised youth of African and mixed racial heritage. Hip hop’s conquest is less a story of ghetto superstars and much more about overall recognition – hip hop as Brazilian culture. Over the years hip hop has grown to embrace ever-widening demographics and identities, mixing styles and (sub)urban geographies across the country. What is perhaps most impressive is the general pride among fans and artists that hip hop is a culture (and not just music) and thus a source of education, belonging and identity. Following legend

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Linhares da Silva, Edson, and Victória Bassan Mineto. "VOZES DA RUA E POLÍTICAS EM MOVIMENTO." Revista Hydra: Revista Discente de História da UNIFESP 8, no. 15 (2025): 63–90. https://doi.org/10.34024/hydra.2024.v8.19609.

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Neste artigo, analisamos a trajetória de luta do movimento Hip-Hop na cidade de São Paulo, focando na criação de políticas públicas que visam fortalecer suas bases e ampliar as oportunidades de emprego para os/as praticantes dessa cultura. Para compreender esse contexto, destacamos as articulações realizadas pelo movimento Hip-Hop, evidenciando que as políticas públicas muitas vezes emergem das demandas da sociedade civil, e não apenas da agenda governamental. No entanto, o envolvimento do governo nem sempre se alinha às expectativas, resultando em uma série de negociações que são fundamentais

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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 (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 res

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Clark, Msia Kibona. "Ghana." Global Hip Hop Studies 3, no. 1 (2022): 65–72. http://dx.doi.org/10.1386/ghhs_00049_1.

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Among African countries where hip hop has a strong presence, Ghana is an interesting case study in the relationship between hip hop and afrobeats. Ghana has benefitted from the popularity of afrobeats, with several Ghanaian artists releasing collaborations with international artists. Many Ghanaian hip hop artists have also been helped by the relationship between Ghana and the African diaspora and leveraged that relationship into a successful rap career. An examination of hip hop in Ghana requires a consideration of genre classification in a music scene where hip hop and afrobeats often interse

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Koutsougera, Natalia A. "“Out in the Streets”." Meridians 22, no. 1 (2023): 204–28. http://dx.doi.org/10.1215/15366936-10220557.

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Abstract This article provides a socio-anthropological portrayal of the hip-hop narrational mosaics in Greece through the intertemporal exploration of two hip-hop scenes: the rap scene and the hip-hop dance scene. It explores the gray and contested zones of a local hip-hop culture—which reflect on global hip-hop imageries, norms, and antinomies–through permutations and manifestations of difference, hybridization and subcultural capital, and their subversive intersections with race, class, gender, and affective states in contemporary Greece in landscapes of crisis. Drawing on content analysis o

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Harrison, Anthony, and Craig Arthur. "Hip-Hop Ethos." Humanities 8, no. 1 (2019): 39. http://dx.doi.org/10.3390/h8010039.

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This article excavates the ethos surrounding hip hop, starting from the proposition that hip hop represents a distinct yet pervasive expression of contemporary black subjectivity, which crystalized in 1970s New York City and has since proliferated into a potent ethos of the subaltern embraced within socially marginalized youth communities throughout the world. The article begins by outlining the black diasporic traditions of expressive performance that hip hop issues from, as discussed through the work of Zora Neale Hurston and Amiri Baraka. In the remainder of the article, a blueprint of hip

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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 (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.

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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 (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 re

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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 (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 c

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Dahlan, A. Fahmi, and Ida Rochani Adi. "IDEOLOGY, VALUES AND NORMS IN HIP-HOP COMMUNITY WIJILAN YOGYAKARTA: AN ETHNOGRAPHIC STUDY." Rubikon : Journal of Transnational American Studies 12, no. 1 (2025): 57. https://doi.org/10.22146/rubikon.v12i1.101571.

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This research explores the cultural adaptation of American hip-hop in Wijilan, Yogyakarta, focusing on the dynamics of hybridity between global and local cultures. Hip-hop, originally rooted in the Bronx during the 1970s, has become a global cultural force that merges with various traditions worldwide. In Wijilan, the hip-hop community has blended the individualistic values of American hip-hop with the Javanese collective ethos of gotong royong. This fusion results in unique artistic expressions. Using ethnographic methods, this study reveals hip-hop's role as an ideology through identity form

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Hobson, Janell. "Hip-Hop Hegemony." Meridians 8, no. 1 (2008): 15–18. http://dx.doi.org/10.2979/mer.2008.8.1.15.

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Bensignor, François. "Logique hip-hop." Hommes et Migrations 1203, no. 1 (1996): 58–61. http://dx.doi.org/10.3406/homig.1996.2789.

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Fofana, Dieynébou, and Isabelle Magos. "Génération hip-hop." L'école des parents N° 594, no. 1 (2012): 36. http://dx.doi.org/10.3917/epar.594.0036.

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Simmonds, Kevin. "Hip Hop Nation." Callaloo 29, no. 3 (2006): 823. http://dx.doi.org/10.1353/cal.2006.0155.

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Lenz, Michael. "Hip-Hop Landscapes." Journal of Popular Music Studies 13, no. 2 (2001): 245–48. http://dx.doi.org/10.1111/j.1533-1598.2001.tb00028.x.

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

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Dimitriadis, Greg. "Framing Hip Hop." Urban Education 50, no. 1 (2014): 31–51. http://dx.doi.org/10.1177/0042085914563185.

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Williams, Olajide, Alexandra DeSorbo, Vanessa Sawyer, et al. "Hip Hop HEALS." Health Education & Behavior 43, no. 1 (2015): 68–75. http://dx.doi.org/10.1177/1090198115596733.

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Williams, Olajide, and James M. Noble. "‘Hip-Hop’ Stroke." Stroke 39, no. 10 (2008): 2809–16. http://dx.doi.org/10.1161/strokeaha.107.513143.

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Healey, Josh. "Invincible Hip-Hop." Tikkun 25, no. 3 (2010): 47–50. http://dx.doi.org/10.1215/08879982-2010-3016.

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Maher, George Ciccariello. "Brechtian Hip-Hop." Journal of Black Studies 36, no. 1 (2005): 129–60. http://dx.doi.org/10.1177/0021934704271175.

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Hayes, Brian. "Hip-Hop Physics." American Scientist 97, no. 6 (2009): 438. http://dx.doi.org/10.1511/2009.81.438.

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Kruse, Adam J. "Being Hip-Hop." General Music Today 30, no. 1 (2016): 53–58. http://dx.doi.org/10.1177/1048371316658931.

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Djakouane, Aurélien, and Louis Jesu. "Générations hip-hop." L'Année sociologique Vol. 74, no. 1 (2024): 57–84. http://dx.doi.org/10.3917/anso.241.0057.

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Si comme le rappelle Eliot Freidson (1986), les professions artistiques posent un défi à l’analyse sociologique, c’est encore plus vrai des milieux peu institutionnalisés, issus des cultures populaires, comme la danse hip-hop. L’observation de l’évolution des identités professionnelles des danseurs de hip-hop offre donc une perspective intéressante pour comprendre les mutations à l’œuvre dans cet univers artistique : démultiplication de l’activité, voisinage du public et du privé, évolution des formes de transmission et de collaboration artistiques, métamorphoses des lieux de pratique ordinair

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Rice, Jeff. "The 1963 Hip-Hop Machine: Hip-Hop Pedagogy as Composition." College Composition and Communication 54, no. 3 (2003): 453. http://dx.doi.org/10.2307/3594173.

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Rice, Jeff. "The 1963 Hip-Hop Machine: Hip–Hop Pedagogy As Composition." College Composition & Communication 54, no. 3 (2003): 453–71. http://dx.doi.org/10.58680/ccc20031491.

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This essay proposes an alternative invention strategy for research–based argumentative writing. By investigating the coincidental usage of the term “whatever” in hip–hop, theory, and composition studies, the essay proposes a whatever-pedagogy identified as “hip–hop pedagogy,” a writing practice that models itself after digital sampling’s rhetorical strategy of juxtaposition.

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Kim, Tae-Ryong. "The succession and change of Korean hip-hop expressed through <Show Me the Money>." K-Culture·Story Contents Reasearch Institute 1 (July 31, 2022): 89–107. http://dx.doi.org/10.56659/kdps.2022.7.1.89.

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The purpose of this paper is to examine the aspects of desire and resistance inherent in Korean hip-hop. And to understand the current socio-cultural function and position of Korean hip-hop. For this purpose, <Show Me the Money> was selected as a sample of Korean hip-hop. And all the songs released from season 3 to season 10 were analyzed. Through this, I tried to understand the desire and resistance inherent in today's Korean hip-hop. And compared with the past from the point of view of 'inheritance and change', and examined what it means. As a result, today's Korean hip-hop

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Johnson, Adeerya. "Hella Bars: The Cultural Inclusion of Black Women’s Rap in Insecure." Open Cultural Studies 6, no. 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 femi

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Johnson, Ariyan. "The overlooked contributions of African American women hip hop dancers to breaking and hip hop culture." Global Hip Hop Studies 4, no. 1 (2023): 57–62. http://dx.doi.org/10.1386/ghhs_00076_1.

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In the late 1980s through 1990s shifts within the aesthetic of hip hop culture helped the sustainability of breaking. When the discussion of hip hop and its major contributors are mentioned, seldom is there any acknowledgement of African American women. Like many art forms, hip hop is male-dominated, which can eclipse narratives about African American women in early hip hop dance circles. African American women practitioners are rarely called upon to moderate panels, write or are acknowledged as true pioneers of the field. Many times, throughout hip hop, African American women kept the dance a

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