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Hip Hop Music to Enhance Critical Discussions HipHip Hop Hop Using Hip Hop 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- scratching 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 funk 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
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