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An Afrocentric Analysis of Hip-Hop Musical Art Composition and Production: Roles, Themes, Techniques, and Contexts

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An Afrocentric Analysis of Hip-Hop Musical Art Composition and Production: Roles, Themes, Techniques, and Contexts AN AFROCENTRIC ANALYSIS OF HIP-HOP MUSICAL ART COMPOSITION AND PRODUCTION: ROLES, THEMES, TECHNIQUES, AND CONTEXTS __________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board __________________________________________________________________ in Partial Fulfillment of Requirements for the Degree DOCTOR OF PHILOSOPHY __________________________________________________________________ by Onyekambuashie N. Amatokwu January, 2009 © by Onyekambuashie N. Amatokwu 2009 All Rights Reserved ABSTRACT An Afrocentric Analysis of Hip-Hop Musical Art Composition and Production: Roles, Themes, Techniques, and Contexts. Onyekambuashie N. Amatokwu Doctor of Philosophy Temple University 2009 Major Advisor: Abu Shardow Abarry, Ph.D. This thesis investigates the roles, themes, techniques and contexts of composition in hip-hop. It seeks to explain how hip-hop artists view and define their work, while also taking into consideration the viewpoints of other participants in the marketing pool of hip-hop production and consumption. The conceptual plan on which the study is based is Afrocentric; coupled with Ethnographic method of data processing and interpretation. This method is comprised of personal interviews, participant observation, sonic analysis and the use of bibliographic entries and notes that allows for sense and meaning in text. Also used are documented data, which contain descriptions of hip-hop lyrics, interviews, opinions, journalistic notes, and scholarly reports as a means of evolving a cohesive sense of the message’s intent, opinion, knowledge of its roles, themes, techniques, images, and contexts The study found that the issues and themes that dominate hip-hop include bondage impairment, concern over currently warped social values and trends, and iv challenges over oppressive cultural values and social institutions. The artists whose compositions and renderings were used for the purpose of this study not only demonstrated an ability to isolate and construct themes about issues, but were also familiar with the issues that reveal them as agents for the liberation of the minds of their Diaspora Africa peoples and communities. Their music and grassroots commentaries were found to be appropriately designed to persuade their targeted audience to greater awareness. They conveyed messages that encouraged positive attitude and behavioral change in respect to addressed themes that were, in the main, issues of disenfranchisement. They addressed negative, disapproving behaviors which the atmosphere of disenfranchisement has spurned, and were being expressed through the media of the hip-hop rap musicals. The study also highlights the connection between classical African musical expressions and postmodern Diaspora African musical innovations. v ACKNOWLEDGMENTS One cannot embark on a study like this dissertation without being indebted in various ways to several people. First and foremost, I will like to give thanks to God and also my parents, Fidelis N. Amatokwu, Ph.D. and Florence I. Okonta-Odedina; my stepfather, Wole Odedina; my senior sister and her family, Emma and Sinchieze Nwabudike; my nieces, Chioma “Thai” and Fumnanya Nwabudike; my brother, Jioha Paul Amatokwu; my sisters, Yemisi and Etubuno, Eziuno and Kobindi Amatokwu; my many uncles and aunts, my cousins and extended family members around the world, Vashti, Noni, Neferet, Anita, D, Nazinga, Lenice, Adele, Sherry, mama Gerri, Queengodis. Jontue Cooper, you are more than a ballplayer, let god shine though. You all have taught me so much that I learned without even being aware that you were teaching me. I bless you. Everyone may not be your friend, but everyone is your teacher. I make the above statement on behalf of my late grandparents who helped me become who I am today. In the spirit of my grandmother, Madam Onyekambuashie Amatokwu the First, who taught me ways of love, and after whom I am named. To all of you, I give my heartfelt congratulations for a job well done. I give praise to our ancestors with whom all things are made new again. In addition, I praise my committee members: Dr. Molefi Asante, who made it possible for so many lovers of Africa to study and work for Africa and the world. I found vi that Dr. Asante was my father’s teacher, and was delighted to learn that he was to be my teacher as well. My gratitude also goes to Dr. Nate Norment, who stepped up with some last minutes financial blessings and for agreeing to join us on this journey. Many thanks goes to Dr Abdul-Rasheed Na’Allah of Western Illinois University for saving the day and for being a lifesaver to many of us graduate students in the African-American Studies department. Simply put, you all are brilliant educators. And to my African Diaspora Foundation family, I say thank you for the tiredness work. I am lucky that all of you lent your energy to encourage me in this work. Thank you for raising my morale every time I was discouraged of ever completing this work. My advisor and second dad, Dr. Abu Abarry is equally unique. I have learned so much about research and the patience required to complete it. I thank you for every piece of advice you have given me. To all fighters for freedom and truth telling, I extend my regards and hold you in respect and admiration. The determination to pursue and obtain a Ph.D. was inspired by good intentions and the determination to prove myself worthy of the honor of a doctor of philosophy degree in the Liberal Arts. I also have a mischievous desire for people to call or visit the Amatokwu household and be confused as to which Dr. Amatokwu they were referred. For in my father’s household, an enquirer will find two up and coming medical doctors, one up and coming accounting doctorate, my humble self, an up and ready doctor of philosophy in African-American Studies; and one more. vii TABLE OF CONTENTS Page ABSTRACT .............................................................................................................. iv ACKNOWLEDGMENTS ........................................................................................ vi CHAPTER 1: INTRODUCTION ................................................................................................. 1 An Afrocentric Analysis of Hip-Hop ............................................................ 2 The Problem and Its Background ................................................................. 3 Review of the Literature ............................................................................... 15 Who Actually Owns Hip-Hop Patent Rights ................................................ 22 Who Are the Creative Producers of Hip-Hop in Postmodern America? ....... 34 Methodological Considerations .................................................................... 42 Treating the African-centered Research by Using the Ethnographic Data Gathering Methodology ................................................................. 47 The Quest for an Interdisciplinary Methodology .......................................... 51 The Ethnographic Method ............................................................................ 54 The Afrocentric Perspective to Ethnic-Culture Research ............................. 57 Procedure ...................................................................................................... 60 The Significance of the Study ....................................................................... 63 Organization of Chapters………….………………………………………….66 2: THE CASE OF ANCESTRAL DIVINE SACRIFICE (ADS) LINK ................. 67 Rapping, Break Dancing and Disc Jockeying (the DJ-ing) .......................... 70 Mdu Neter a.k.a. Hieroglyphic a.k.a. Graffiti ............................................... 71 Disc Jockeying a.k.a. Spinning the Record a.k.a. Big Band ......................... 74 Rap and Hip-Hop .......................................................................................... 88 Fashion Seen in the Hip-Hop Region ........................................................... 87 viii 3: SYSTEMATIC ANALYSIS OF THEMES AND ISSUES ................................ 92 Modern Day Jeli (Griot): Techniques and Artistry ....................................... 92 Miscalled Gangsta Rap ................................................................................. 94 Hip-Hop and Rap as Social Political Tools .................................................. 101 Old School, New School, Same School ........................................................ 104 In Their Own Music ...................................................................................... 106 4: OBSERVABLE THEMES OF HIP-HOP MUSIC .............................................. 114 Interview Ideas and Themes ......................................................................... 114 Lightly Treated Raw Data of Conversations with Artists ............................. 118 Shabazz ............................................................................................. 119 Talib Kweli ....................................................................................... 123 Bahamadia ......................................................................................... 131 Jamal a.k.a. Last Emperor ................................................................. 149 Kali .................................................................................................... 143 Rajah ................................................................................................
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