HipHip Hop Hop Using Music to Enhance Critical Discussions

JEFFREY L. BROOME

MCs kick rhymes to beats, or a cappella Graf artists tagging year round through all weather Our culture’s evolving, what next will it bring Hip-hop is one of my favorite things DJs, b-boys, and b-girls are so clever They called it a fad, but we’re hip-hop forever We love our culture, to it we shall cling Hip-hop is one of my favorite things (Substantial, 2008, track 7)

As an adolescent during the late 1980s and early 1990s, a favorite secondary art students could identify these links too. The purpose of activity among my peers was to listen to hip-hop music. We were this article is to detail my resulting instructional experiences using fascinated by this fairly new addition to popular culture (partially hip-hop music as a tool for enhancing critical discussions on post- because older generations told us it wasn’t “real music”), enjoyed modern art. I begin with a literature review on postmodernism and most of it, but never discussed it critically. All of that changed for on sampling in hip-hop music, before detailing my efforts in incor- me when friends played the song “The Magic Number” (Huston, porating hip-hop into my own collegiate instruction. A concluding Mercer, Jolicoeur, Mason, & Dorough, 1990) by De La Soul. I imme- section discusses the applicability of such methods at the secondary diately recognized parts of the tune and adapted lyrics from a short level and other implications for art education. animated educational cartoon that I watched as a child a decade earlier. Background “I can’t believe they took a School House Rock cartoon and turned Conceptually, postmodernism is difficult to grasp in that it resists it into a rap song!” I blurted out. Realizing how “uncool” my observa- distinct definition while also celebrating pluralism, fragmentation, tion may have sounded to my friends, I immediately changed the and multiple points of view (Efland, Freedman, & Stuhr, 1996). In subject. However, for the first time I began to think of hip-hop’s use comparison to its antithetical predecessor—modernism—post- Figure 1. Contemporary DJ, Wisley Dorce. Wisley DJ, 1. Contemporary Figure of sampling, or using parts of existing recordings in new musical modernism cannot be categorized by the linear development of a compositions (Franzen & McLeod, 2009), as a potentially creative act distinct style. In modernism, this progression paved a general path and my perspective on hip-hop deepened. toward abstraction, the refinement of significant aesthetic forms, A few years later, I was a preservice art education major when and the existence of art for art’s sake (Anderson & Milbrandt, 2005). an instructor introduced characteristics of postmodern art to our Select modern artists achieved iconic status by inventing new collegiate class. I immediately saw intriguing connections between styles, and their work was labeled as high art—while works that postmodernism and qualities of hip-hop music, and I wondered if relied on existing patterns, such as the pottery and weavings of indigenous cultures, were lowered to the status of craft. In contrast,

34 ART EDUCATION n September 2015 Incorporating the hip-hop genre into his own collegiate instruction, one teacher shares instructional experiences using hip-hop music as a tool for enhancing critical discussions on postmodern art. Hip Hop Using Hip Hop MusicMusic to Enhance Critical Discussions on Postmodern Art s kick rhymes to beats, or a cappella postmodernists argue against the modernist dismissal of cultural into new works, recontextualizing these elements in that process MC traditions, with a concern for what is lost when social customs are to assign new meaning. Considering the ambiguity of postmodern Graf artists tagging year round through all weather devalued. Postmodernism questions the possibility of untethering plurality, yet its emphasis in contemporary art education, some oneself from cultural frameworks, as meanings are derived from teachers may be looking for ways to discuss these complex topics Our culture’s evolving, what next will it bring social contexts, rather than in isolation. through touchstones, such as hip-hop music, that may connect with Hip-hop is one of my favorite things Just as postmodern art has attempted to disrupt the linear students’ interests. teleological path of modernism, postmodernism philosophers— DJs, b-boys, and b-girls are so clever Hip-Hop such as Jean-François Lyotard and Michel Foucault—have While Potter (1995) has noted in-depth philosophical connections questioned the truth of similar master narratives put forth by They called it a fad, but we’re hip-hop forever between hip-hop and postmodern cultural theories, my approach in other systems, including science, positivism, and history (Clark, this article is to provide practical connections for the consideration 1 We love our culture, to it we shall cling 1996). If meaning is constructed in social contexts, then the of secondary and post-secondary art educators through an exami- narratives put forth in historical textbooks and scientific theories nation of sampling in hip-hop music. Precursors of sampling origi- Hip-hop is one of my favorite things (Substantial, 2008, track 7) have also been similarly constructed and do not necessarily nated during the 1970s when disc jockeys (DJs) at house parties and represent a preexisting universal truth. These grand narratives, community center dances began to work from multiple turntables then, are subjective and such depictions should be viewed (see Figure 1) to blend songs together in order to prevent dead air critically. Utilizing Jacques Derrida’s methods of deconstruction, between tracks (Fricke & Ahearn, 2002). Pioneering DJs identified postmodernists attempt to uncover hidden inequities in estab- drum breaks in specific songs that were prone to energize b-boys lished narratives (Efland, Freedman, & Stuhr, 1996) and instead (break dancers and battle dancers) on the dance floor. With that embrace alternative pluralistic perspectives, including multicul- recognition, these DJs would purchase multiple records of the same turalism, social reconstructionism, and feminism (Clark, 1996). song, isolate desired drum breaks, and by alternating turntables, Postmodern philosophies have become increasingly influen- play the same drum patterns repeatedly, allowing longer durations tial in art education, with Gude (2004) specifically describing the for b-boys to showcase signature moves. Eventually, masters of application of postmodern principles to K-12 art instruction. These ceremonies or microphone controllers (MCs) began to add rhymes principles are regularly adopted by many postmodern artists and over these looped tracks, while others paved the way for record hip-hop musicians, and include the use of appropriation, recon- as an additional rhythmic device. textualization, and layering. In brief, appropriation involves the By the 1980s, hip-hop artists began to receive recording contracts borrowing, or copying, of existing sources for use in new works of and had access to studio technology, eventually allowing digital art. Recontextualization is the placement of such existing images sampling to replace the necessary use of multiple turntables (Ross, in new contexts to generate new meanings for viewers. Layering is 2003). Trends in sampling quickly evolved from borrowing beats the overlaying of multiple sources on top of one another, further and melodies, to incorporating snippets of existing dialogue changing the meaning, intensifying complexity, and sometimes and hard rock guitars. Today, some producers borrow sounds from obscuring the original “real” source from new constructions. multiple sources in ways that would have required multiple DJs in From a modernist perspective, the use of the approaches the past (Schloss, 2004) and layer these sounds into new struc- described above, particularly the appropriation of existing imagery, tures, using methods similar to those of collage or bricolage artists would have been negatively criticized for unoriginality. In postmod- (Foreman, 2012). Other producers sample heavily from a singular ernism, however, it is not uncommon for artists to borrow (or in existing source, changing little—as many appropriation artists do. hip-hop terminology, sample) established sources for incorporation

September 2015 n ART EDUCATION 35 Instructional Experiences To enhance the argument that recontexualization can be creative, I often display work by Robert Colescott and the Guerrilla I spent the bulk of my K-12 teaching career working at the Girls. Colescott, for example, frequently altered the composition of elementary level, and did not make instructional connections well-known paintings to make new statements on the stereotypical between hip-hop and postmodernism until years later when I representation or absence of minorities in history (see Figure 2). was teaching an art appreciation course to non-art majors at the Similarly the Guerrilla Girls are known, among other reasons, for university level. Over time, I refined approaches for making these famously appropriating La Grande Odalisque in a campaign on the connections clearer with students, as well as in professional presen- underrepresentation of women artists in museum settings (see tations, and I offer my strategies as a jumping-off point for teachers Figure 3). I encourage teachers to seek examples of appropria- to consider in making similar connections. tion art that resonates best with their students, and other more I typically followed an assigned introductory reading on recent examples may include Pablo Cano’s masterwork-inspired postmodern art with an adaptation of an instructional activity marionettes (Sickler-Voigt, 2011); Candice Breitz’s appropriation suggested by Anderson (1998) involving a class debate on appro- of popular culture film footage into her own video productions priation artwork by Sherrie Levine.2 Levine is known for taking (Spont, 2010); and Titus Kaphar’s cutting, pasting, and manipu- photographs of others’ photographs—typically by established lating of classical artworks (Levenson, 2014). In particular, Brietz’s white male artists from the modernist era, such as Edward Weston commentaries on popular culture’s influence on identity formation, and Walker Evans—and retitling the work as her own. She makes no and Kaphar’s juxtaposition of depictions of Africans and African significant changes to these appropriated images, and the purpose Americans into existing classical works (see Figure 4) may provide is to critique the marginalization of women in art history and estab- rich opportunities for classroom exercises on deconstructing visual lished hierarchies in modernism. Typically, two different camps cultural and established historical narratives. develop within classes: those who feel Levine’s work is plagiaristic, In discussing creative recontextualization in hip-hop, I use and those who support her efforts on conceptual bases. The two examples that sample sources seemingly far-removed from the sides participate in a critical debate, and my role becomes that of a contemporary funk and rhythm and blues aesthetic featured facilitator, making sure that one side does not dominate the other frequently in rap songs, often beginning with Jay-Z’s sampling in order to foster continued critical thinking on this topic. (Carter, Strouse, & Charnin, 1998) of “It’s a Hard Knock Life” from At the conclusion, I emphasize that students have participated the Broadway musical, Annie. In this track, a show tune inspired in a philosophical debate addressing complex issues delineating by a popular comic strip character introduced in the 1920s modernism from postmodernism. However, since the debate is is transformed into a narrative on a different hard-knock life purposefully left without a clear loser or winner, I also empathize situated in contemporary urban Black America. Other examples with those students who are still confused, and admit that this of cross-genre sampling can suffice, including the appropria- topic can be murky even for the most informed practitioners in tion of classical Beethoven melodies, country pop music by art education. To offer further clarification on the dense concepts Kenny Rogers and Dolly Parton, or new age ambient songs by surrounding postmodernism, I explain how familiarity with hip-hop Enya (WhoSampled, 2013). For instructors seeking more recent music aided me in understanding some attributes of postmodern examples matched to the tastes of current students, I suggest art many years ago. Class discussion is then extended by collec- exploring Rhianna’s and Flo Rida’s sampling of 1980s synth tively revisiting characteristics of postmodernism in search of pop (by Soft Cell and Dead or Alive, respectively), Pitbull’s and connections to students’ familiarity with hip-hop music and culture. Ke$ha’s appropriation of a Danish harmonica player (Lee Oskar), If students appear stumped by this query, an appropriate segue and also Flo Rida’s sampling of lead vocals by famed blues can be provided by wondering aloud about the acceptance of singer- (Etta James). borrowing images in art in comparison to the borrowing of sounds heard in popular music on a daily basis. By playing audio clips The Argument for Plagiarism of original and sampled music, and simultaneously displaying I guess it’s the fact that you can’t be artistic examples of selected postmodern artwork, the debate is inevi- Intricate raps, becomin’ so simplistic… tably renewed, but with subtler nuances and, often, the switching of allegiances with the broadening of examples. I provide a few So some stay illiterate and feeble, legally licked guiding examples below, and I recommend WhoSampled (2013) as You go the ways of the weasel a Web-based resource for tracing songs that contain samples. Ya stole somebody’s record then ya looped it, ya looped it… But now you’re getting sued, kinda stupid (Berrin, Dajani, Gabriel, The Argument for Creative Recontextualization Gamble, Nash, Ross, & Wonder, 1991) See an ignorant man made a statement that’s so wrong In enhancing the argument that appropriation amounts to little When he said rap music is an oxymoron… more than plagiarism, I often lead my classes in reexamining the Some of us use sample and others utilize scratching controversies surrounding Sherrie Levine’s photographs and also But it’s still all music, stop judging and listen… precursors of postmodern appropriationism in Marcel Duchamp’s And they claim that our isn’t real art readymade artwork, including his altered postcards of the Mona Lisa and exhibition of factory-made urinals. In conjunction with Like they rule the art world, please tell me when did this start these discussions, I play hip-hop examples where the sampled track See art is opinion, only techniques have guidelines has been looped (Schloss, 2012), or changed very little and used Smarter than what y’all think, and I haven’t even reached my for longer durations throughout songs, and comes from an easily prime. (Substantial, 2008, track 7) recognizable melody and related genre, such as funk-pop hits by

36 ART EDUCATION n September 2015 [I] did not make instructional connections between HIP-HOP AND POSTMODERNISM until years later when I was teaching an art appreciation course to non-art majors at the university level. Figure 2. Robert Colescott. George Washington Carver Crossing the Delaware. 1975.

Figure 3. The Guerrilla Girls, Do Women Have to be Naked to Get into the Met. Museum? 1989.

Rick James, Diana Ross, or James Brown. In reaction, some students wonder aloud if sampling is a creative act or more likely motivated by securing a hit song through the use of existing melodies with established popularity. In facilitating these discussions, but without taking sides, I point out that Sherrie Levine was successfully sued for copyright infringement (Anderson, 1998) and that similar suits occurred in the music industry once hip-hop sales became more lucrative (Franzen & McLeod, 2009). Noted music producers, such as Steve Albini, have criticized sampling as a lazy practice riding on the genius of others, and most hip-hop artists now seek proper clear- ance for the sounds that they borrow. For a recent case familiar to many of today’s students, I suggest investigating the controversy and legal battles between Marvin Gaye’s estate and the co-writers of the grammy-nominated chart-topping hit, “Blurred Lines” Figure 4. Titus Kaphar, Self Evidence, 2011.

September 2015 n ART EDUCATION 37 Figure 5. The Guerrilla Girls, Do Women Have to be Naked to Get into Music Videos? 2014.

(Blistein, 2014). Interestingly enough, the accompanying music mature subject matter, and I highly suggest that secondary art video for “Blurred Lines” features nude female models and served teachers carefully screen lyrics for classroom use, since some as a new source of motivation for the Guerrilla Girls to address the hip-hop media includes explicit, violent, or misogynistic content. sexual objectification of women in popular media sources. The Although using such examples can provide opportunities for critical resulting poster campaign by the Guerrilla Girls appropriates images deconstruction (Chung, 2007; Clinton, 2010), I strongly advise from the “Blurred Lines” video and also updates the composition teachers to select specific portions of songs, or edited versions, that of their previous efforts in borrowing imagery from La Grande will not lead to trouble with school community members. Most Odalisque—in essence, re-appropriating their own appropriation mobile digital media players and audio-sharing websites easily allow (see Figure 5). for the playing of specific song snippets and the quick muting of undesirable content. I would also advise teachers who are uncertain Additional Discussion of meanings embedded within lyrical content to consult with others Frequently, students offer comparisons between specific hip-hop more familiar with hip-hop colloquialisms before actually sharing songs and collage or bricolage artworks. In these cases, I find it selections with students. useful to keep multilayered hip-hop tracks on hand to illustrate how Many secondary art educators also suggested that classroom numerous sources can be woven together to create new music, with debates could be followed by studio projects that involve some personal favorites coming from the Beastie Boys’ Paul’s Boutique and sort of appropriation and recontextualization within its stated De La Soul’s Three Feet High and Rising, both noted for combinations objectives. Possibilities for such projects include the use of collage, of samples so dense that many of the original sources have yet to be the recontextualized appropriation of familiar imagery through identified (Franzen & McLeod, 2009). traditional media, the digital manipulation and layering of images Occasionally, discussions emerge related to the repeated in new media, or mixed-media possibilities that include visuals and borrowing of specific images, and if this repetition somehow music. For teachers in search of artistic exemplars, both past and impacts the degree of creativity involved in such appropriation. As present, from those who have straddled the line as practitioners of an example, a student once expressed to me that the Mona Lisa has both visual art and hip-hop music, I suggest the seminal works of been used so many times in popular imagery that she was no longer Fab 5 Freddy (Fricke & Ahearn, 2002), , and Jean-Michel impressed with such recontextualizations. Appropriate comparisons Basquiat (Nosnitsky, 2013), who were all involved in some combi- can be made to hip-hop, with reports estimating that James Brown’s nation of visual art, graffiti, and performing or producing hip-hop “Funky Drummer” has been sampled thousands of times and that music. More recent examples of such cross-disciplinary exemplars some DJs find it unethical to bite, or sample a source used recently include (1) Swizz Beatz, who produces hip-hop music while creating by others (Schloss, 2012), although it has happened frequently in and collecting visual art (Giles, 2014), (2) the video and audio perfor- several successful songs. mance art of Eclectic Method (Franzen & McLeod, 2009), and (3) the advocacy of the Hi-ARTS (2015) non-profit organization to support Implications the efforts of hip-hop artists in theatre, dance, visual art, and music. Hip-hop could never be a way of life For those wishing to expand on postmodern possibilities It doesn’t tell you how to raise a child or treat a wife… presented by the use of hip-hop media in art curricula, I suggest Positivity is the key in the lock adapting established studio projects related to the deconstruc- (Fareed, Muhammad, Taylor, Yancey, & Mills, 1996, track 10) tion of advertisement (Chung, 2005) as a way to address sexism or violence in hip-hop imagery. Class conversations could also be When presenting the strategies discussed above at profes- used as a springboard for tackling the controversial topic of cultural sional conferences, I have asked high school art educators if these appropriation (Young, 2008) by more specifically investigating comparisons would work well with their students, and received power relationships and disrespectful misrepresentations involved mainly positive responses with some suggested revisions. Most in copying customs, clothing, and imagery of ethnic minorities. obviously, higher education allows for the presentation of more

38 ART EDUCATION n September 2015 On a broader scale, I am hopeful that the examples provided in thinking exercises may empower students to make future critical this article demonstrate possibilities for art educators to consider judgments and decisions about art, the influence of popular culture, in making curricular connections to the interests of students as a and broader societal issues. way to increase engagement and make conceptually difficult topics clearer. Today’s students have grown up in an age when hip-hop is an established global phenomenon influencing society through Jeffrey L. Broome is an Associate Professor of Art Education at music, visual culture, dance, dress, and speech. Whether it is hip-hop Florida State University, Tallahassee. E-mail: [email protected] or whatever else is culturally relevant to student lives, teachers should consider ways to incorporate these themes into instruction, AUTHOR NOTE rather than blindly following pre-established academic narratives. The author wishes to acknowledge the assistance of Tom Anderson, Professor of I’m also hopeful that the instructional conversations featured in Art Education at Florida State University, for helping to co-develop a conference this article are useful examples in facilitating open-ended debates presentation that served, in part, as the impetus for this article. that require students to think critically, justify opinions, and make connections to outside topics (Anderson, 1998). Such higher-order

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