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Universal Zulu Nation Jako Nedílná Součást Hip Hopové Hudby a Kultury

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Universal Zulu Nation Jako Nedílná Součást Hip Hopové Hudby a Kultury Masarykova univerzita Filozofická fakulta Ústav hudební vědy Sdružená uměnovědná studia Nikola Zavřelová Universal Zulu Nation jako nedílná součást hip hopové hudby a kultury Bakalářská diplomová práce Vedoucí práce: PhDr. Aleš Opekar, CSc. 2019 Prohlašuji, že jsem svou bakalářskou práci vypracovala samostatně s využitím uvedených literatur. V Brně dne 20. srpna 2019 …....…………………………. Nikola Zavřelová Tímto chci poděkovat všem, kteří mi pomáhali při psaní mé bakalářské práce, a především PhDr. Aleši Opekarovi, CSc, za odborné vedení. Obsah Úvod ........................................................................................................................................................ 2 1. Počátky hip hopu ........................................................................................................................... 4 2. Universal Zulu Nation ................................................................................................................... 5 2.1 Zakladatel Afrika Bambaata ...................................................................................................... 7 2.2. Zulu víra .................................................................................................................................... 10 3. Formování kultury a její čtyři základní elementy .................................................................... 12 3.1. Deejaying .............................................................................................................................. 13 3.2. Emceeing ................................................................................................................................... 17 3.3. Graffiti .................................................................................................................................. 21 3.4. Bboying ................................................................................................................................. 23 4. Významní umělci hiphopové kultury ......................................................................................... 25 4.1. KRS-One a uvědomělý rap ...................................................................................................... 25 4.2. The Notorious B.I.G. ................................................................................................................ 27 5. Hiphopová deklarace míru ......................................................................................................... 29 Závěr ..................................................................................................................................................... 32 Resumé ................................................................................................................................................. 34 Klíčová slova ........................................................................................................................................ 34 Resume ................................................................................................................................................. 35 Keywords .............................................................................................................................................. 35 Seznam zdrojů ..................................................................................................................................... 36 1 Úvod Předkládaná bakalářská diplomová práce se zabývá významem hnutí Universal Zulu Nation pro rozvoj kultury hip hopu. Universal Zulu Nation je pacifistické hnutí, jehož zakladatelem je Africa Bambaata. Afrika Bambaataa byl původně gangsterem a členem jednoho z nejnebezpečnějších newyorských gangu 60. a 70. let 20. století Black Spades. Zásadním zlomem v Bambaatově životě byla čtrnáctidenní cesta do Afriky, kterou vyhrál ve studentské esejistické soutěži uspořádanou mezinárodní organizací UNICEF. Během své africké cesty se setkal se Zulu šamanem, který ho přiměl se zamyslet nad svými kriminálními aktivitami a celkově změnil jeho pohled na svět. Když se Afrika Bambaataa vrátil zpět domů, přetvořil gang Black Spades a rozhodl se obrátit hiphopovou kulturu k lepšímu a především začít tvořit. Proto založil pacifistické hnutí Universal Zulu Nation, které se stalo nedílnou součástí hip hopu. Pro členy hip hopové kultury to mělo znamenat naději a posun od negativního k pozitivnímu. Předkládaná práce snaží najít odpověď na otázku, jaká je role Universal Zulu Nation v rámci vývoje hip hopové kultury – jakým způsobem hnutí Universal Zulu Nation pomáhalo zformovat hip hopovou kulturu do dnešní podoby a jaký je otisk odkazu zakladatele Universal Zulu Nation Afriky Bambaaty. Práce se bude zabývat hip hopem především ze stránky hudební, ale vzhledem k tomu, že se jedná o kulturu, ke které patří více elementů, zmíní i některé z nich. Hudbu slyšíme, cítíme, protože vydává určité vibrace a máme potřebu ji ztvárňovat například prostřednictvím tance. Jsou samozřejmě i určité zvyky, které tato kultura má. Určitým způsobem ovlivňuje i chování lidí a jejich oblékání. Jedná se o životní styl, který ctí velká skupina lidí a dovolím si říct, že jich stále přibývá. Příčinou a zároveň důsledkem je, že se hip hop stále vyvíjí a vytváří se další hip hopové podstyly, které si získaly své příznivce. Od 70. let 20. století se hip hop rozvinul ve významný kulturní a umělecký fenomén, který ovlivňuje mladé lidi po celém světě. Výzkumníci Derric Alridge a James Stewart ve své práci poukazují na nedostatek akademických studií, které by se tímto tématem seriózně zabývaly. Vůbec první publikací, která se věnovala tématu hip hopu, byla vydána až v roce 1994. Její autorkou je Tricia Rose a publikace nese název Black Noise: Rap Music and Black Culture in Contemporary America. Další zásadnější publikace zaměřená na kulturu hip hopu byla vydána v roce 2005 pod názvem Can't Stop, Won't Stop: A History of the Hip Hop Generation a jejím autorem je novinář Jeff Chang. Vedle těchto rozsáhlejších publikací vznikaly rozsahem omezenější texty zabývající se jednotlivými fenomény v rámci hip hopové 2 kultury.1 Dalším významnějším příspěvkem je publikace Murraye Formana a Marka Anthonyho Neala s názvem That’s the Joint: The Hip-Hop Studies Reader.2 Navzdory existenci výše zmíněných textů, které jsou velkým přínosem pro studium hip hopové kultury, stále není tento sociální a umělecký fenomén se všemi jeho aspekty a projevy pokryt zcela dostatečně. Příkladem je právě Universal Zulu Nation, kdy texty zabývající tímto významným hnutím, které se velkou měrou podílelo utváření hip hopové kultury, absentují. Práce se snaží přispět do stále probíhající debaty ohledně uměleckého a kulturního významu hip hopu. 1 ALRIDGE, Derrick and STEWART, James. Introduction: Hip Hop in History: Past, Present, and Future. [online] The Journal of African American History 2005, roč. 90, č. 3, s. 190. [cit. 2019-08-08]. Dostupné z: https://www.jstor.org/stable/20063997 . 2 FORMAN, Murray and NEAL, Mark Anthony et. al. That’s the Joint!: The Hip-Hop Studies Reader. Vyd. 1. New York: Routledge, 2004. 3 1. Počátky hip hopu Počátky hip hopu můžeme najít v ulicích jižního Bronxu, kde se začal hip hop v polovině 70. let 20. století objevovat. V této době procházel Bronx těžkým období, které se vyznačovalo napjatou sociální situací, projevující se působením velkého množství drogových dealerů a mezi sebou válčícími gangy. V tomto momentu byl hip hop ještě nerozvinutou kulturou, která v sobě měla především prvky černé muziky, disca, energického funku a jamajského dubu. Vše bylo v začátcích a nebylo jasné, jestli má takový styl vůbec nějaký potenciál, protože byl dlouhou dobu hudebním průmyslem zcela přehlížen.3 Skutečný počátek hip hopu je pak řadou výzkumníků datován do let 1973 až 1979, kdy byl hip hop komercializován. V tomto období se také zformovaly čtyři základní elementy hip hopu, tedy grafitti, break dance, DJing a MCing.4 Těmto zásadním fenoménům celé kultury se budeme věnovat v samostatné kapitole. Hlavním hnacím motorem hiphopové hudby a později i kultury byli Afrika Bambaata, Kool Herc a Grandmaster Flash, kteří těžko mohli tušit, jak populární v budoucnu taková hudba bude. Ve druhé polovině 70. let se hip hopová hudba šířila prostřednictvím tzv. party tapes a magnetofonových kazet s nahrávkami rapových vystoupení, které velice dobře zachycují výjimečnou atmosféru hiphopových akcí. Ilegální prodávání nahrávek bylo široce rozšířené. Při jednom rozhovoru pořadu MTV Mixtape Monday se Brucie B při vzpomínání na tuto dobu rozpovídal o tom, jak s nahrávkami obchodoval. Chodil od jedné ulice k druhé a kazety prodával za dvacet dolarů za kus. Nakonec se kazety poslouchaly z aut a takovým symbolickým zvykem se stalo nošení přenosného kazetového přehrávače, kterým dávali najevo hiphopovou nadvládu.5 Jedním z vyjadřovacích prostředků hiphopové černošské komunity se stal rap. Můžeme si ho definovat jako rychlé chrlení slov nebo recitaci slov, kterou doprovází pomalý instrumentální podklad. Slovo rap v americké angličtině má význam nějaké řeči nebo problému se zákonem. Konkrétně zkratka R.A.P. znamená Rhythmic American Poetry, tedy rytmická americká poezie. Rapeři prostřednictvím rapu mezi sebou komunikují, debatují a kritizují.6 3 VESELÝ, Karel. Hudba ohně: radikální černá hudba od jazzu po hip hop a dále. V Praze: BiggBoss, 2010. str. 69- 70. ISBN 978-80-903973-1-6. 4 WILLIAMS, Justin. Historicizing the Breakbeat: Hip-Hop's Origins and Authenticity. Lied und populäre Kultur / Song and Popular Culture
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