Detroit, MIchigan, has long been recognized as a center of musical innovation and social change. Rebekah Farrugia and Kellie D. Hay draw on seven years of fieldwork to illuminate the important role ...that women have played in mobilizing a grassroots response to political and social pressures at the heart of Detroit's ongoing renewal and development project. Focusing on the Foundation, a women-centered hip hop collective, Women Rapping Revolution argues that the hip hop underground is a crucial site where Black women shape subjectivity and claim self-care as a principle of community organizing. Through interviews and sustained critical engagement with artists and activists, this study also articulates the substantial role of cultural production in social, racial, and economic justice efforts.
This book investigates the discursive and performative strategies employed by Australian Indigenous rappers to make sense of the world and establish a position of authority over their identity and ...place in society. Focusing on the aesthetics, the language, and the performativity of Hip Hop, this book pays attention to the life stance, the philosophy, and the spiritual beliefs of Australian Indigenous Hip Hop artists as ‘glocal’ producers and consumers. With Hip Hop as its main point of analysis, the author investigates, interrogates, and challenges categories and preconceived ideas about the critical notions of authenticity, ‘Indigenous’ and dominant values, spiritual practices, and political activism. Maintaining the emphasis on the importance of adopting decolonizing research strategies, the author utilises qualitative and ethnographic methods of data collection, such as semi-structured interviews, informal conversations, participant observation, and fieldwork notes. Collaborators and participants shed light on some of the dynamics underlying their musical decisions and their view within discussions on representations of ‘Indigenous identity and politics’. Looking at the Indigenous rappers’ local and global aspirations, this study shows that, by counteracting hegemonic narratives through their unique stories, Indigenous rappers have utilised Hip Hop as an expressive means to empower themselves and their audiences, entertain, and revive their Elders’ culture in ways that are contextual to the society they live in.
Introduction: Culture on the Stage of History: The Past Is Present in ‘Indigenous Hip Hop’
Chapter 1: "The Black from Down-Unda": Contact Zones and Cultures of Black Resistance
Chapter 2: "2 Black 2 Strong": The Politics of Blackness and Identification
Chapter 3: ‘Indigenous Hip Hop’: The Politics of Identity and Representation
Chapter 4: "Know Our True Identity": Indigenous Articulations of Identity through Kin, Place, and Spirituality
Chapter 5: Hip Hop and Australian Indigenous Youth: New Modes of Political Participation
Conclusion: ‘Indigenous Hip Hop’: History in the making
"Hip Hop outside of the U.S. North American context has been largely mute for far too long. Yet, Hip Hop remains a powerful force throughout the globe. What Minestrelli has provided here is a window into the strong and current culture of Hip Hop within Australian contexts. This study examines the related history of Hip Hop within an indigenous context and provides the reader with an area of Hip Hop that is developing and connected to rich roots. Minestrelli’s work stands to be a cornerstone text in the field of Hip Hop Studies." — Daniel White Hodge, North Park University, USA
Chiara Minestrelli holds a PhD in Australian Indigenous studies from Monash University (2015). She is visiting professor in the Africana Studies Program at Lehigh University. She has published on Australian Indigenous literature and Hip Hop and Australian Indigenous Hip Hop.
Hip Hop Africa Charry, Eric; Polak, Rainer; Shipley, Jesse Weaver ...
10/2012
eBook
Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of ...contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, Côte d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture.
Anthony Pinn examines how hip hop artists challenge white supremacist definitions of Blackness by challenging white distinctions between life and death.
This vibrant book pulses with the beats of a new American South,
probing the ways music, literature, and film have remixed southern
identities for a post-civil rights generation. For scholar and
...critic Regina N. Bradley, Outkast's work is the touchstone, a blend
of funk, gospel, and hip-hop developed in conjunction with the work
of other culture creators-including T.I., Kiese Laymon, and Jesmyn
Ward. This work, Bradley argues, helps define new cultural
possibilities for black southerners who came of age in the 1980s
and 1990s and have used hip-hop culture to buffer themselves from
the historical narratives and expectations of the civil rights era.
Andre 3000, Big Boi, and a wider community of creators emerge as
founding theoreticians of the hip-hop South, framing a larger
question of how the region fits into not only hip-hop culture but
also contemporary American society as a whole. Chronicling
Stankonia reflects the ways that culture, race, and
southernness intersect in the late twentieth and early twenty-first
centuries. Although part of southern hip-hop culture remains
attached to the past, Bradley demonstrates how younger southerners
use the music to embrace the possibility of multiple Souths,
multiple narratives, and multiple points of entry to contemporary
southern black identity.
Making Beats Schloss, Joseph G
2013, 2004, c2014., 2014-11-20
eBook
<!CDATADespite having created one of the most important musical cultures of the last fifty years, hip-hop composers who use digital sampling are rarely taken seriously as artists. But hip-hop deejays ...and producers have collectively developed an artistic system that features a complex aesthetic, a detailed array of social protocols, a rigorous set of ethical expectations and a rich historical consciousness.
Based on ten years of research among hip-hop producers, Making Beats is the first work of scholarship to explore the goals, methods and values of this surprisingly insular community. Focusing on a variety of subjects--from hip-hop artists' pedagogical methods to the Afro-diasporic roots of the sampling process to the social significance of digging for rare records--Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values and cultural realities.>
Hip Hop Ukraine Helbig, Adriana N; Miszczynski, Adriana N
05/2014
eBook
In Hip Hop Ukraine, we enter a world of urban music and dance competitions, hip hop parties, and recording studio culture to explore unique sites of interracial encounters among African students, ...African immigrants, and local populations in eastern Ukraine. Adriana N. Helbig combines ethnographic research with music, media, and policy analysis to examine how localized forms of hip hop create social and political spaces where an interracial youth culture can speak to issues of human rights and racial equality. She maps the complex trajectories of musical influence-African, Soviet, American-to show how hip hop has become a site of social protest in post-socialist society and a vehicle for social change.
In the wake of the 1959 Cuban Revolution, a key state ideology developed: racism was a systemic cultural issue that ceased to exist after the Revolution, and any racism that did persist was a result ...of contained cases of individual prejudice perpetuated by US influence. Even after the state officially pronounced the end of racism within its borders, social inequalities tied to racism, sexism, and homophobia endured, and, during the economic liberalization of the 1990s, widespread economic disparities began to reemerge. Cuban Underground Hip Hop focuses on a group of self-described antiracist, revolutionary youth who initiated a social movement (1996–2006) to educate and fight against these inequalities through the use of arts-based political activism intended to spur debate and enact social change. Their “revolution" was manifest in altering individual and collective consciousness by critiquing nearly all aspects of social and economic life tied to colonial legacies. Using over a decade of research and interviews with those directly involved, Tanya L. Saunders traces the history of the movement from its inception and the national and international debates that it spawned to the exodus of these activists/artists from Cuba and the creative vacuum they left behind. Shedding light on identity politics, race, sexuality, and gender in Cuba and the Americas, Cuban Underground Hip Hop is a valuable case study of a social movement that is a part of Cuba’s longer historical process of decolonization.
In this article, the author suggests that Hip‐Hop culture and rap music, in particular, can be integrated into individual counseling interactions with Black male clients to discuss the social ...injustices (e.g., hypercriminalization) they face. Literature examining the history of Hip‐Hop culture and how rap music has been used therapeutically with Black males is presented. The article concludes with a vignette illustrating how Elligan's () rap therapy framework can help explore experiences Black male clients encounter.
