Anthony Pinn examines how hip hop artists challenge white supremacist definitions of Blackness by challenging white distinctions between life and death.
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.
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.
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.
Constantly shifting like a floating signifier, the interpretive life of "realness" has meant different things to global Hip-Hop adherents: staying true to oneself; reppin' one's hood; production ...styles such as boom bap; cadence, delivery, and flow; vivid storytelling; and underground resistance to forces of capitalist cooptation, among others. Yet to many others, realness means language - the artful capacity to rap, talk, and style oneself in ways that index one's cultural roots and identities. In this article, I consider the latter understanding of realness through the theoretical lens of decolonial meta-rap. In decolonial meta-rap, Nigerian emcees turn the reflexive apparatus of Hip-Hop back to itself, in the process raising questions about anglonormativity and colonial continuities in Nigeria. Focusing on the discourses of these emcees as well as their self-presentations in oral interviews and music videos, I argue that Nigerian emcees both popularize and continue the long decolonial struggle against cultural sites of colonial power in Africa.
Hip hop is the most popular music in the US and remains on the fringes of the music education profession as both under-integrated, researched, and utilised. The purpose of this project was to ...investigate the experiences and perceptions of undergraduate music students who facilitated a hip hop project with hip hop experts in a local youth arts organisation located in the southeastern region of the US. As a qualitative investigation, analysis of these data revealed four themes associated with undergraduate music student experiences, which included (1) adaptability, (2) connection, (3) discomfort, and (4) impact. These data suggest direct influences on participant understandings related to hip hop with implications for the field of music education to include hip hop experiences in democratic and learner-led classrooms.
A free ebook version of this title is available through Luminos,
University of California Press's Open Access publishing program.
Visit www.luminosoa.org to learn more. How Hip Hop Became Hit
Pop ...examines the programming practices at commercial radio
stations in the 1980s and early 1990s to uncover how the radio
industry facilitated hip hop's introduction into the musical
mainstream. Constructed primarily by the Top 40 radio format, the
musical mainstream featured mostly white artists for mostly white
audiences. With the introduction of hip hop to these programs, the
radio industry was fundamentally altered, as stations struggled to
incorporate the genre's diverse audience. At the same time, as
artists negotiated expanding audiences and industry pressure to
make songs fit within the confines of radio formats, the sound of
hip hop changed. Drawing from archival research, Amy Coddington
shows how the racial structuring of the radio industry influenced
the way hip hop was sold to the American public, and how the
genre's growing popularity transformed ideas about who constitutes
the mainstream.
For more than two decades, le hip hop has shown France’s “other” face: danced by minorities associated with immigration and the suburbs, it has channeled rage against racism and unequal opportunity ...and offered a movement vocabulary for the expression of the multicultural difference that challenges the universalist discourse of the Republic.
French hip-hoppers subscribe to black U.S. culture to articulate their own difference but their mouv’ developed differently, championed by a Socialist cultural policy as part of the patrimoine culturel, instituted as a pedagogy and supported as an art of the banlieue. In the multicultural mix of “Arabic” North African, African and Asian forms circulating with classical and contemporary dance performance in France, if hip hop is positioned as a civic discourse, and hip hop dancer as legitimate employment, it is because beyond this political recuperation, it is a figural language in which dancers express themselves differently, figure themselves as something or someone else.
French hip hop develops into concert dance not through the familiar model of a culture industry, but within a Republic of Culture; it nuances an “Anglo-Saxon” model of identity politics with a “francophone” post-colonial identity poetics and grants its dancers the statut civil of artists, technicians who develop and transmit body-based knowledge.
This book-- the first in English to introduce readers to the French mouv’ --analyzes the choreographic development of hip hop into la danse urbaine,
touring on national and international stages, as hip hoppeurs move beyond the banlieue, figuring new forms within the mobility brought by new media and global migration.
