Ayesha Pande Literary Rights Guide/September 2012
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Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University. -
Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry
Claremont Colleges Scholarship @ Claremont CGU Theses & Dissertations CGU Student Scholarship Fall 2019 A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry Anthony Blacksher Follow this and additional works at: https://scholarship.claremont.edu/cgu_etd Part of the African American Studies Commons, Africana Studies Commons, American Literature Commons, American Popular Culture Commons, Critical and Cultural Studies Commons, Ethnic Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Inequality and Stratification Commons, Poetry Commons, Race and Ethnicity Commons, Social History Commons, Sociology of Culture Commons, Television Commons, and the United States History Commons Recommended Citation Blacksher, Anthony. (2019). A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry. CGU Theses & Dissertations, 148. https://scholarship.claremont.edu/cgu_etd/148. doi: 10.5642/cguetd/148 This Open Access Dissertation is brought to you for free and open access by the CGU Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in CGU Theses & Dissertations by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry By Anthony Blacksher Claremont Graduate University 2019 i Copyright Anthony Blacksher, 2019 All rights reserved ii Approval of the Dissertation Committee This dissertation has been duly read, reviewed, and critiqued by the Committee listed below, which hereby approves the manuscript of Anthony Blacksher as fulfilling the scope and quality requirements for meriting the degree of doctorate of philosophy in Cultural Studies with a certificate in Africana Studies. -
The Wolfe Institute
The Wolfe Institute The Ethyle R.Wolfe Institute for the Humanities, in cooperation with the Department of Puerto Rican and Latino Studies, presents a series Writing Latin@ New York Becoming Julia de Burgos The Making of a Puerto Rican Icon While it is rare for a poet to become a cultural icon, Julia de Burgos has evoked feelings of bonding and identification in Puerto Ricans and Latinos in the United States for over half a century. In the first book-length study written in English, Vanessa Pérez Rosario examines poet and political activist Julia de Burgos’s development as a writer, her experience of migration, and her legacy in New York City, the poet’s home after 1940. Pérez Rosario situates Julia de Burgos as part of a transitional generation that helps bridge the historical divide between Puerto Rican nationalist writers of the 1930s and the Nuyorican writers of the 1970s. Becoming Julia de Burgos departs from the prevailing emphasis on the poet and intellectual as a nationalist writer to focus on her contributions to New York Latino/a literary and visual culture. It moves beyond the standard tragedy-centered narratives of Burgos’s life to place her within a nuanced historical understanding of Puerto Rico’s peoples and culture to consider more carefully the complex history of the island and the diaspora. Pérez Rosario unravels the cultural and political dynamics at work when contemporary Latina/o writers and artists in New York revise, reinvent, and riff off of Julia de Burgos as they imagine new possibilities for themselves and their communities. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Hard Cashless Society: Millennial Economics and Street Hop in Johannesburg Permalink https://escholarship.org/uc/item/1v7011xt Author Cole Kai-Lewis, Abimbola Naomi Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Hard Cashless Society: Millennial Economics and Street Hop in Johannesburg A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Abimbola Naomi Cole Kai-Lewis 2016 © Copyright by Abimbola Naomi Cole Kai-Lewis 2016 ABSTRACT OF THE DISSERTATION The Hard Cashless Society: Millennial Economics and Street Hop in Johannesburg by Abimbola Naomi Cole Kai-Lewis Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2016 Professor Jacqueline Cogdell DjeDje, Co-Chair Professor Cheryl L. Keyes, Co-Chair The concept of the cashless society emerged in the nineteenth century through the writings of author Edward Bellamy. In his work, Looking Backward: 2000-1887 (1888), Bellamy described the implementation of a card-based credit system that eventually replaced cash payments. Widely recognized as the first literary allusion to a cashless society, Bellamy presented a utopia where monetary exchanges were substituted with an established credit model. His socialist-activist writing suggested the possibilities of impending millennial economic transactions and proposed a time when every citizen would be apportioned credit to make purchases. Subsequent writings by anthropologists, economists, eschatologists, and futurists predicted the global implications of an imminent cashless society. However, there were additional interpretations of the cashless society generated by hip-hop artists. -
Guide to Translanguaging in Latino/A Literature
The CUNY-NYSIEB Guide to Translanguaging in Latino/a Literature Vanessa Pérez Rosario, Ph.D. with Vivien Cao January 2015 CUNY-NYSIEB. The Graduate Center, The City University of New York 365 Fifth Avenue, New York, NY 10016 This report was developed by CUNY-NYSIEB, a collaborative project of the Research Institute for the Study of Language in Urban Society (RISLUS) and the Ph.D. Program in Urban Education at the Graduate Center, The City University of New York, and funded by the New York State Education Department. The report was written under the direction of CUNY-NYSIEB's Project Director, Maite (María Teresa) Sánchez, and the Principal Investigators of the project: Ricardo Otheguy, Ofelia García, and Kate Menken. For more information about CUNY-NYSIEB, visit www.cuny-nysieb.org. Published in 2015 by CUNY-NYSIEB, The Graduate Center, The City University of New York, 365 Fifth Avenue, New York, NY 10016. [email protected]. This report has not been reviewed by the New York State Education Department. Table of Contents INTRODUCTION .............................................................................................................................................. I LATINO/A LITERATURE: GRADES PREK-6 ............................................................................................ 1 ALMA FLOR ADA ................................................................................................................................................................ 2 The Lizard and the Sun/ La lagartija y el sol .................................................................................................. -
By Raquel Cepeda and How the García Girls Lost Their Accent (1991) by Julia Álvarez
Beyond Difference: interlingualism and the use of Spanglish in Bird of Paradise- How I Became a Latina (2013) by Raquel Cepeda and How the García Girls Lost their Accent (1991) by Julia Álvarez Giorgia Scribellito (University of Warsaw) DOI: 10.25167/EXP13.18.6.8 Abstract. In this article I analyze interlingualism in the books Bird of Paradise- How I Became a Latina (2013) by Raquel Cepeda and How the García Girls Lost their Accent (1991) by Julia Álvarez. I argue that interlingualism is a form of interculturalism and that it is present and vibrant in these two books. The type of interlingualism that is present is Spanglish and in particular code-switching. Spanglish is employed to a certain extent in Bird of Paradise and widely used in How the García Girls Lost their Accent. In both books, however, it assumes a very significant role for the protagonists. It reflects their hybrid identity and the creation of a sense of community among bilingual speakers. I start by describing the meaning of interculturalism and compare it with multiculturalism to provide a clear definition and I proceed with an analysis of the language employed in these two texts. Key words: interlingualism, interculturalism, multiculturalism, Spanglish, Caribbean-American literature, Latino 1. INTRODUCTION In the autobiographical book Bird of Paradise- How I Became a Latina (2013) the author Raquel Cepeda employs Spanglish to communicate her personal thoughts or while speaking with Latino friends. Similarly, in How the García Girls Lost their Accent (1991) the García girls and their extended family utilize Spanglish to speak to one another. -
Hip Hop and the Media, 1970S- 1990S. (2008) Directed by Dr
SCISM, JENNIFER LYNN, M.A. This is My Mic: Hip Hop and the Media, 1970s- 1990s. (2008) Directed by Dr. Charles Bolton, 74 pp. This study explores how the media, in particular the print media of New York City, portrayed hip hop culture and hip hoppers from the 1970s through the early 1990s. Through examining various newspaper sources it is apparent that the media, since hip hop began to culminate as a culture, has created a misunderstood, simple, and stereotypical image of hip hop. Before graffiti art, emceeing, DJing, and break dancing were fully linked as the pillars of hip hop, the print media of New York City ignored the rise of the culture. When hip hop’s pillars finally merged and became one meshed counter culture, the newspaper editors of New York City still chose to ignore ploys by journalists to include hip hop in their headlines. The editors, like many Americans who found themselves outside the cultural boundaries of hip hop thought they understood hip hop and believed the young culture would die out and be replaced by another fad. Little did they know that hip hop culture, in particular the music, would become a major pop culture genre. When hip hop was covered by New York City journalists the image portrayed was rarely, if ever, a wholly positive one despite efforts on the part of hip hoppers to create a socially conscious movement. In the late twentieth century journalists in New York City did not always intentionally create a biased and negative image of hip hop. Rather, their interpretations of the culture often were ill-informed, and at times their articles were coded in language that coincided with racial and class-based stereotypes concerning working-class African Americans. -
Soy Americana. Soy Latina. Soy Negra.: Afrodominican
SOY AMERICANA. SOY LATINA. SOY NEGRA.: AFRO- DOMINICAN AMERICAN IDENTITY IN THE U.S. Item Type text; Electronic Thesis Authors CRUZ, DOMINIQUE CRISTIANA Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 14:06:52 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/612818 SOY AMERICANA. SOY LATINA. SOY NEGRA.: AFRODOMINICAN AMERICAN IDENTITY IN THE U.S. By DOMINIQUE CRISTIANA CRUZ ____________________ A Thesis Submitted to the Honors College In Partial Fulfillment of the Bachelors degree With Honors in Latin American Studies THE UNIVERSITY OF ARIZONA M A Y 2 0 1 6 Approved by: ______________________ Dr. Anne Garland Mahler Department of Spanish and Portuguese Cruz 1 Abstract Latinidad, or the idea of a shared solidarity among Latinxs of all ethnicities in the United States, is as diverse in reality as it is homogenized in mainstream culture. Under the wave of a fairly unidimensional representation of Latinxs lies a vibrant undercurrent of literature and media created by AfroLatinx scholars. “AfroLatinx”1 works to challenge the hegemony of Latinidad as a direct acknowledgment of the African diaspora and blackness. Even within the plethora of textual production on AfroLatinxs, there are gaps. Specifically, there appears to be a gap of stories of second and third generation AfroLatinxs who have always lived in the United States and grew up in largely white suburban areas. -
Hip Hop, Critical Pedagogy, and Radical Education in a Time of Crisis
ISSN: 1941-0832 Introduction to Special Issue: Hip Hop, Critical Pedagogy, and Radical Education in a Time of Crisis By Christopher M. Tinson and Carlos REC McBride “DO THE REAL HARLEM SHAKE” HARLEM, NYC, PHOTOGRAPH BY CHRIS TINSON RADICAL TEACHER 1 http://radicalteacher.library.pitt.edu No. 97 (Fall 2013) DOI 10.5195/rt.2013.43 “Hip-Hop [can] use . a binding formula or emergent limitations in its trajectory. We make no claims philosophy. In the time since its creation, its subtending of exhausting every angle of Hip Hop-based instruction. A parts have each gone off along their own vectors, some single issue, no matter how ambitious, could not more or less prosperously, but all at great deficit to the accomplish that. However, we do intend for scholars, potency of others. The question, then, remains, much as it practitioners, and students whose work is influenced by Hip does in the study of the heavens, whether hip-hop is, in Hop to join with us in thinking critically about the ethical fact, a closed universe—bound to recollapse, ultimately, in styles it proffers, the consequences of its academic code a fireball akin to its birth—or an open one, destined to switching, and the impact of its pedagogical power moves. 1 expand forever, until it is cold, dark, and dead.” Hip Hop and the Color of Crisis Among several notable events that have recently epending on whom you ask, Hip Hop is in perpetual captured national attention, two particular incidents crisis. Those who are concerned about Hip Hop’s pinpoint Hip Hop’s current engagement with political D fate, mainly artists and fans of the culture, and struggle and critical education: the murder of Trayvon those who teach and write about it, are in constant debate Martin and the subsequent acquittal of his killer George and dialogue about its traditions, its rituals, its political Zimmerman, and the renewed bounty on Assata Shakur.