DOCSLIB.ORG

Éducation Et Engagement Dans Le Hip Hop Global Charles Norton

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Éducation Et Engagement Dans Le Hip Hop Global Charles Norton Éducation et engagement dans le hip hop global Charles Norton To cite this version: Charles Norton. Éducation et engagement dans le hip hop global. Art et histoire de l’art. Université de Nanterre - Paris X, 2020. Français. NNT : 2020PA100150. tel-03273448 HAL Id: tel-03273448 https://tel.archives-ouvertes.fr/tel-03273448 Submitted on 29 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. École doctorale 138 : Lettres, langues, spectacles EA 4414 : Histoire des arts et des représentations Membre de l’université Paris Lumières Charles Norton Éducation et engagement dans le hip hop global Thèse présentée et soutenue publiquement le 18/12/2020 en vue de l’obtention du doctorat de Esthétique de l’Université Paris Nanterre sous la direction de M. Alain Milon (Université Paris Nanterre) Jury : Rapporteur : M. Alain-Philippe Durand Doyen et professeur des universités à University of Arizona Rapporteure : Mme. Vivian Nun Halloran Doyenne et professeur à Indiana University à Bloomington Membre du jury : M. Alain Milon Professeur des universités à l’Université Paris Nanterre, membre de l’IUF Membre du jury : M. Alain Vulbeau Professeur émérite à l’Université Paris Nanterre Membre du jury : Mme. Martina Dawley Chargé de recherche en archéologie à la tribu Hualapai Éducation et engagement dans le hip-hop global 1 2 Remerciements J’aimerais d’abord remercier mes parents Chuck et Karrol, ma sœur Pudd et mon frère Henry pour l’aide et le soutien qu’ils m’ont fournis tout au long de ma vie. De plus je remercie mes mentors dans le HHBE, Alain Milon et Alain-Philippe Durand, pour leur patience et assistance depuis des années. Un grand merci aussi à Sylviane Lamant et ma chère amie Ariane Turmel-Chénard pour ses relectures. En France je remercie Randa Chekroun, Hatoumata Magassa, Audrey Noeltner et l’équipe 123…Rap!, Alain Vulbeau, Sidi Seye, Ludovic Sauvajot, June Pham, Gaël Faye, Alban Noël et Miriam, Gérard et Françoise. A Malte je remercie Elise et David Pisani, Maria Pisani, Neil Falzon, Alba Cauchi, Maria Brown, Jon Mallia, Oliver Scicluna, Henry Naudi, Sam Janssen, Marjan Moris et Amanda Eke. En Haïti et à Miami je remercie Shai Stephenson, Jerry Rosembert, Krista Desgranges, Marylin Coicou, Alena Lowenthal, Christian Guerrier, David Atwood et Valery Rebecca. À Tucson je remercie Cydney et Ashley Tsosie-Mahieu, Pike Romero, Jocelyn Valencia, Enrique García Naranjo, Dana Drake Rosenstein, Nick Laluk, Jacob Campbell, Jose Alvarez, Micah Boyer et Tara Deubel, Luminița Mandache, Miriam Gay-Antaki, Martina Dawley et le Neoglyphix Crew, Rachel Beaty, Mike Brown, Jen Olendorf et sa famille, Hector Treto, Gauri Pathak, Lewis Borck, Jessica Nelson et Bruno Reis, Keri Miller, Jerry et Sei Lee, Jaime Lavallee, Jen Roth-Gordon, Drexel Woodson, Brackette Williams, Norma Mendoza-Denton, Qing Zhang, Diane Austin, Ana Alonso, Steve Lansing, Aomar Boum, Tad Park, Barbara Mills, Maribel Alvarez, David Gramling, Georgia Ehlers, Christian Sinclair, Adel Gamal, Scott Brown, Robert Hall, J.R. Harrison, Herm Guzman, Abraham et Adam Cooper-Terán, Timo Padilla, Robert Côté et Michael Bonine. À Phoenix je remercie Franco Habre, Alex Soto, Lawrence Martinez, Dwayne Manuel, Rezmo, Yuku, Samuel Peña, Jared Yazzie, Mariana Bahtchevanova et Markus Cruise. Au de-là je remercie Sonia Cooke, Elisabeth Otto, Vivian Nun Halloran et tous les gens que j’ai oublié de mentionner. Finalement, je remercie chaque lecteur de l’attention et de l’intérêt portés à mon travail, n'hésitez pas à me contacter pour toutes suggestions, critiques ou questions. La discussion et les échanges critiques sont au cœur du processus de croissance et d’amélioration personnelle que je préconise, tous les commentaires et critiques constructives sont ainsi les bienvenus. Cette œuvre est dédiée à Saul Hedquist, Andy « Wake Self » Martinez, Eddie Mendez et Marcus White. 3 RÉSUMÉ Selon ses adeptes, puisqu’elle touche à plusieurs domaines de connaissance tels que les arts et l’enseignement, la culture hip-hop peut être qualifiée de holistique. Le rap, qui est un des éléments que renferme la culture hip-hop, est devenu le genre musical le plus populaire et rentable aux États-Unis en 2017. Malgré ses origines diverses, ses différentes manifestations et son caractère parfois engagé, le rap commercial est souvent métonymique de la culture hip-hop en entier. Les artistes de rap commercial abordent, pour la plupart, des thèmes qui renforcent des stéréotypes racistes et enrichissent les grandes entreprises et les sociétés d’exploitation. À l’aide de travaux ethnographiques multi-sites menés de 2010 à 2019, cette thèse documente, analyse et diffuse certaines manifestations éducatives et engagées de la culture hip-hop dans son ensemble. Ces études ethnographiques ont permis de réfléchir : comment des artistes engagés utilisent le breakdance et la pédagogie hip-hop pour critiquer la corruption politique et renforcer l’autonomisation des jeunes handicapés à Malte ; l’histoire des graffitis politiques en Haïti, et comment les artistes s’en servent comme outil de résistance face aux interventions néolibérales provoquées par la nécessité de reconstruire le pays après le tremblement de terre de 2010 ; le Settler Colonialism américain, ainsi que la façon dont les artistes autochtones utilisent le hip-hop pour combattre l’appropriation culturelle, le racisme structurel et les politiques suprématistes blanches qui régissent les limites frontalières en Arizona. Une section de réflexion critique clôt finalement ce travail d’analyse dans la tradition de pédagogie engagée de Freire. J’y fais des liens entre ces ethnographies et discute des projets connexes qu'ils ont engendrés, interrogeant la position et les expériences du chercheur. J’étudie également dans cette section l’interaction entre l’industrie du rap et l’engagement militant, en proposant une nouvelle théorie esthétique de la culture hip-hop. Les données recueillies par cette étude démontrent que le hip- hop est bien plus qu’une entreprise, un art ou même une culture. C’est un cadre transformateur et intersectionnel qui valorise les droits de l'homme et favorise l'autonomisation en transcendant l’espace physique entre les artistes et leurs publics. Mots clés : Pédagogie hip-hop, arts engagés, ethnographie, recherche participative, esthétique. 4 ABSTRACT According to its practitioners, hip hop is a holistic culture that encompasses numerous artistic elements and even knowledge and teaching. Rap, one element of hip-hop culture, became the most profitable and popular musical genre in the United States in 2017. Despite its global origins, diverse manifestations, and myriad social engagements, commercial rap is often metonymic with hip-hop culture as a whole, despite its espousal of problematic messages, reinforcement of racist stereotypes, and enrichment of exploitative corporations. Using multi-sited ethnography and bibliographic research conducted between 2010 and 2019, this dissertation documents, analyzes, and amplifies selected initiatives in education and social engagement in hip-hop culture in a global context. These ethnographies describe: how engaged hip hop artists use breakdance and Hip-Hop Based Education to critique political corruption and empower handicapped youth in Malta; the history of political graffiti in Haiti, and how artists use it to resist the predatory neoliberal interventions that continue to dominate reconstruction following the earthquake of 2010; and confront and resist the legacy of Settler Colonialism in the United States, and how Indigenous artists are using hip hop to combat cultural appropriation, structural racism, and white supremacist border politics in the US state of Arizona. Finally, a critical reflection chapter uses Freire’s concept of engaged pedagogy to make connections among the preceding ethnographies, discuss related projects beyond the geographic boundaries of the three main ethnographic chapters, interrogate the researcher’s positionality and experiences, and investigate the interplay of commercialization and engagement to propose a new aesthetic theory for hip-hop culture. This research demonstrates that hip hop is indeed much more than a business, an art, or even a culture. It is a transformative and intersectional framework for human rights and empowerment that transcends not only languages and cultures, but also the physical spaces of its participants. Key words: Hip-Hop Based Education, engaged arts, ethnography, participant observation, aesthetics. 5 6 Préface My grandmama was raised on a reservation (Huh) My great-grandmama was from a plantation (Huh) They sang - songs for inspiration They sang - songs for relaxation They sang - songs, to take their minds up off that Fucked up situation I am, yes I am, the descendant (yes yes) Of those folks whose, backs got broke Who, fell down inside the gun smoke (Black people!) Chains on their ankles and feet I am descendance, of the builders of your street (Black people!) Tenders to your cotton money I am hip hop […] -Mos Def, extrait de la chanson « Rock N Roll »1 Dans cet extrait de treize lignes, le rappeur new yorkais Mos Def fait une synthèse puissante des arts populaires américains. Il établit un lien critique entre différentes expériences afro-américaines et autochtones de la violence, de la dépossession et de l’exploitation en révélant que ce sont ces mesures coloniales qui ont permis au capitalisme américain de se développer et aux États-Unis de prospérer. Ce faisant, le rappeur conteste la stratégie (néo)coloniale eurocentrique qui vise à diviser pour mieux régner, et rejette le faux récit suprématiste blanc de l'histoire américaine perpétré par les manuels scolaires, les médias populaires et les mentalités conservatrices qui dominent dans le pays.
Load more

Recommended publications
  • Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No
    Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars.
    [Show full text]
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
    [Show full text]
  • YASIIN BEY Formerly Known As “Mos Def”
    The Apollo Theater and the Kennedy Center Present Final U.S. Performances for Hip-Hop Legend YASIIN BEY Formerly Known as “Mos Def” The Apollo Theater Tuesday, December 21st, 2016 The Kennedy Center New Year’s Eve Celebration at the Kennedy Center Concert Hall Saturday, December 31st, 2016 – Monday, January 2, 2017 (Harlem, NY) – The Apollo Theater and The John F. Kennedy Center for the Performing Arts announced today that they will present the final U.S. performances of one of hip hop’s most influential artists - Yasiin Bey (formerly known as Mos Def). These special engagements follow Bey’s announcement earlier this year of his retirement from the music business and will kick-off at the Apollo Theater on Tuesday, December 21st, culminating at The Kennedy Center from Saturday, December 31st through Sunday, January 2, 2017. Every show will offer a unique musical experience for audiences with Bey performing songs from a different album each night including The New Danger, True Magic, The Ecstatic, and Black on Both Sides, alongside new material. He will also be joined by surprise special guests for each performance. Additionally, The Kennedy Center shows will serve as a New Years Eve celebration and will feature a post-show party in the Grand Foyer. Yasin Bey has appeared at both the Apollo Theater and Kennedy Center multiple times throughout his career. “We are so excited to collaborate with the Kennedy Center on what will be a milestone moment in not only hip-hop history but also in popular culture. The Apollo is the epicenter of African American culture and has always been a nurturer and supporter of innovation and artistic brilliance, so it is only fitting that Yasiin Bey have his final U.S.
    [Show full text]
  • A History of Hip Hop in Halifax: 1985 - 1998
    HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the
    [Show full text]
  • Yasiin Bey Formerly Known As “Mos Def”
    **ANNOUNCEMENT** The Apollo Theater Announces a Second Show For yasiin bey Formerly Known as “Mos Def” Performances Are Among the Legendary Emcee’s Final US Shows The Apollo Theater Additional Date: Thursday, December 22nd, 2016 (Harlem, NY) – Due to popular demand, the Apollo Theater announced today that it has added a second show on Thursday, December 22nd for yasiin bey (formerly known as Mos Def), one of hip hop’s most influential artists. These special engagements follow bey’s announcement earlier this year of his retirement from the music business and will kick-off at the Apollo Theater on Wednesday, December 21st. Every show will offer a unique musical experience for audiences with bey performing songs from a different album each night including The New Danger, True Magic, The Ecstatic, and Black on Both Sides, alongside new material. He will also be joined by surprise special guests for each performance. Yasiin bey has appeared at the Apollo Theater multiple times throughout his career. Following his final U.S. performances, bey will venture to Africa to focus on his arts, culture, and lifestyle collective A Country Called Earth (ACCE). He will also continue to pursue his newly formed passions as a painter and his art, as well as that of various other ACCE artists, will be anonymously displayed at the Apollo Theater and the Kennedy Center. TICKET INFORMATION Tickets for the second show of yasiin bey at the Apollo go on sale to the public on Thursday, December 15th at 12 Noon. An online ticket pre-sale will be offered to the Apollo’s “A-list” email list beginning Wednesday, December 14th at 12 Noon.
    [Show full text]
  • The Unquiet Dead: Race and Violence in the “Post-Racial” United States
    The Unquiet Dead: Race and Violence in the “Post-Racial” United States J.E. Jed Murr A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Dr. Eva Cherniavsky, Chair Dr. Habiba Ibrahim Dr. Chandan Reddy Program Authorized to Offer Degree: English ©Copyright 2014 J.E. Jed Murr University of Washington Abstract The Unquiet Dead: Race and Violence in the “Post-Racial” United States J.E. Jed Murr Chair of the Supervisory Committee: Professor Eva Cherniavksy English This dissertation project investigates some of the ways histories of racial violence work to (de)form dominant and oppositional forms of common sense in the allegedly “post-racial” United States. Centering “culture” as a terrain of contestation over common sense racial meaning, The Unquiet Dead focuses in particular on popular cultural repertoires of narrative, visual, and sonic enunciation to read how histories of racialized and gendered violence circulate, (dis)appear, and congeal in and as “common sense” in a period in which the uneven dispensation of value and violence afforded different bodies is purported to no longer break down along the same old racial lines. Much of the project is grounded in particular in the emergent cultural politics of race of the early to mid-1990s, a period I understand as the beginnings of the US “post-racial moment.” The ongoing, though deeply and contested and contradictory, “post-racial moment” is one in which the socio-cultural valorization of racial categories in their articulations to other modalities of difference and oppression is alleged to have undergone significant transformation such that, among other things, processes of racialization are understood as decisively delinked from racial violence.
    [Show full text]
  • Hip Hop Helps: Systemic Discrimination in Social Work Andragogy
    This thesis/project/dissertation has been reviewed for 508 compliance. To request enhancements, please email [email protected]. HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project Presented to the faculty of the Division of Social Work California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF SOCIAL WORK by Yarin Gomez SPRING 2017 © 2017 Yarin Gomez ALL RIGHTS RESERVED ii HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project by Yarin Gomez Approved by: __________________________________, Committee Chair Maria Dinis, Ph.D., MSW ____________________________ Date iii Student: Yarin Gomez I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. __________________________, Department Chair ___________________ Dale Russell Date Division of Social Work iv Abstract of HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY by Yarin Gomez Hip Hop is a transnational culture ignored in social work academia. A qualitative exploratory study with a social constructionist lens used a non-probability sampling method to recruit six Masters-level social work students in a stakeholder-engaged focus group. Subjects took the Rap Music Attitude and Perception (RAP) Scale, to gage perceptions about the music genre. As part of the focus group, open-ended questions were presented about Hip Hop music video content with themes of institutional racism. Data analysis verified individual and collective processes of social identity construction, delineating social agency versus oppression, and exploring the educational merits of Hip Hop.
    [Show full text]
  • Winter 2017.18 FEATURED ARTIST: Tania Gonzalez Ortega YOUR GUIDE to LOCAL ARTS & CULTURE in INSIDE THIS ISSUE the METHOW VALLEY and BEYOND
    WINTER 2017.18 FEATURED ARTIST: TANIA GONZALEZ ORTEGA YOUR GUIDE TO LOCAL ARTS & CULTURE IN INSIDE THIS ISSUE THE METHOW VALLEY AND BEYOND. EXHIBITS, EVENTS. CLASSES. METHOW ARTS. ACCESS TO IMAGINATION. EEsstt.. 11998822 Book your Methow Valley getaway locally. We feature licensed, legal nightly rentals and local inns, as well as extended stay homes, we are happy to provide recommendations. You are also welcome to stop by our office at 245 Riverside Ave, inside the Purple Sage Gallery on the boardwalk, downtown Winthrop and book your next stay. Art made by regiional artiists and friiends. METHOW ARTS ALLIANCE POST OFFICE BOX 723 PRST TWISP, WaSHINGTON 98856 U.S. Postage PAID Wenatchee, WA 98801 Permit No. 241 experience www.MethowArts.org l 509.997.4004 Methow Arts Alliance WINTER 2017 109 Second Avenue, PO Box 723 Twisp, WA 98856 THE CaLL 509.997.4004 I wish all of you a vibrant Winter www.MethowValleyArts.org season. Enjoy the abundance of methow arts alliance is a non profit organization founded creative activity offered in the Christine M. Kendall in 1983 that enriches the lives of our community through a Methow Valley. From innovative variety of diverse art programs. classes to world-renowned performance, exhibits of local Board of Directors artwork and theatre, Art is at A loud screee of a Red-tailed Hawk Don Ashford, President the forefront of life here in the T. Lewis, Vice President Valley. fills the air. The sharp cry breaks Frauke Rynd, Treasurer Amanda Jackson Mott Alison Philbin, Secretary Executive Director, Visit our website for updates, through a quiet afternoon Jonathan Baker Methow Arts Alliance new listings, articles, and ticket Hannah Cordes info www.methowarts.org.
    [Show full text]
  • Notes on Identity and Politics in the Native American Indian Hip Hop Community
    Native American Indian Hip Hop By Neal Ullestad Native American Indian Hip Hop 2 ABSTRACT Notes on Identity and Politics in the Native American Indian Hip Hop Community 1/25/12 This article raises several questions for analysis regarding identity and politics in indigenous hip hop in the United States. Asking how community, home, land, patriarchy and colonialism affect expressed indigenous hip hop identities, and how pedagogy, affirmation and play are exhibited in Native lyrical content, primarily positive examples are examined. Native American Indian Hip Hop 3 Forged in the creative imagination of identities in resistance to imposed defeat, loss of land and culture, and stereotypes that enable oppression, Native American Indian rappers are today making a positive impact in indigenous communities across the country. Using the most modern musical techniques and sounds, they carry forward elements of the wisdom of the past. Gabriel Yaiva, Diné hip hop artist and activist from Arizona, who listens for wisdom in the “sounds of the ancients,” wonders on “Many Ways to Grow Corn,” “Who’s planning for the Seventh Generation?” (Summer Solstice, 2009) At the same time that he ponders the future, Yaiva pronounces that “there was a time when we had to wait in line to be heard.” That time has passed, and indigenous activists are speaking out, telling their stories and working together in coalitions – with natives and non-natives alike – to take control of their lives, culture and environment. An amazing array of young indigenous people is utilizing hip hop and rap as a vehicle to organize for justice and well-being and to express their Native identities.
    [Show full text]
  • Hip Hop As a Continuation of the African American Protest Tradition, from David Walker’S Appeal (1829) to Kendrick Lamar’S “The Blacker the Berry”(2015)
    Gothelf, Jasmine (2015) Check The Rhime!: Hip Hop as a continuation of the African American protest tradition, from David Walker’s Appeal (1829) to Kendrick Lamar’s “The Blacker the Berry”(2015). MRes thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/31890/1/For%20Submission%20-%20Check%20Tha %20Rhime%20Hip%20Hop%20as%20a%20Continuation%20of%20the%20African %20American%20Protest%20Tradition%20-%20Jasmine%20Gothelf.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. This article is made available under the University of Nottingham End User licence and may be reused according to the conditions of the licence. For more details see: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] Check The Rhime! Hip Hop as a continuation of the African American protest tradition, from David Walker’s Appeal (1829) to Kendrick Lamar’s “The Blacker the Berry” (2015) Jasmine Yvonne Gothelf Student ID: 4228837 The University of Nottingham American Studies MRes Abstract My thesis presents Hip Hop as a continuation of the African American protest tradition. Drawing upon literature from recognized African American protest movements, including abolitionism, antilynching campaigns, the Civil Rights movement and Black Power, I present Hip Hop as the current embodiment of the protest aesthetic.
    [Show full text]
  • CES 209 Hip Hop Around the Globe MTWRF 09:00-10:15 TBD TBD Summer 2015
    CES 209 Hip Hop Around the Globe MTWRF 09:00-10:15 TBD TBD Summer 2015 Instructor: Nicholas D. Krebs Office: Wilson-Short 115 Office Hours: W 10:30-12:00, or by appointment E-mail: [email protected] Course Description and Objectives “It is what the paint signifies in the public imagination that defines whether it conveys high status or lowly character virtue.’‘ – Leonard Harris (2013), “Against Minstrelsy,” Black Diaspora Review. Vol 3, No. 2: p. 3. “Babylon, Babylon, out my window all I see is Babylon, on the news all I see is Babylon, and all niggas do is just babble on….ain’t got no gavel, I ain't tryna fight nobody battle, I-I just wanna be free, I ain't tryna be nobodies chattel.” – Ab-Soul (2012), “Terrorist Threats (feat. Danny Brown & Jhene Aiko),” Control System. “Now, I’ma need you to kill the hypocrisy, this is an aristocracy. I’m Socrates, but my skin more chocolatey.” – Kanye West (2010), “See Me Now (feat. Beyoncé, Charlie Wilson & Big Sean),” My Beautiful Dark Twisted Fantasy. This course introduces students to the critical investigation of hip hop around the globe, and begins by recognizing hip hop as a social cultural movement that exerts significant resistance against oppressive societal forces while simultaneously producing material and mental empowerment for marginalized peoples around the world. We will establish this claim by thoroughly examining both the aesthetics and elements of the art form, and its resultant sociocultural movement. Focusing on the roots of hip hop in the inner-cities of the United States during the late twentieth century, and its continued prominence in urban environments across the globe in the twenty-first century, we will highlight the relationships between art, capitalism, politics, and social movements in order to provide students with a working critique of the structural context in which hip hop arose, matured, and continues to evolve.
    [Show full text]
  • The Politics of the Cipher: Hip-Hop, Antiphony and Multiculturalism Bharath Ganesh University College London
    The politics of the cipher: hip-hop, antiphony and multiculturalism Bharath Ganesh University College London (UCL) Department of Geography Thesis submitted for the degree of Doctor of Philosophy September 2016 I, Bharath Ganesh, confirm that work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Abstract This project explores the incipient forms of multiculture present in the musical publics assembled by hip-hop music and culture based on ethnography of a university student group, S4HH (Students for Hip-hop). I position the cipher (a circle of people rapping together) as the diagram of the ethics and politics of hip-hop listening. The primary aesthetic feature of the cipher is antiphony or call-and-response musicality. However, affect in hip-hop musical publics goes beyond aesthetics; it catalyses ethical and political responses. My methods add detail on the varied socialites of listening to the literature on hip-hop studies. I develop antiphony as a unique event that shatters identity and cultivates ethical subjectivities that are constituted in cycles of affect and response between self and other. This argument is based on writings on antiphony from Wole Soyinka, Toni Morrison, Henry Louis Gates Jr., and Paul Gilroy. This work helps operationalise the concepts ‘event’, ‘self’, ‘other’, ‘body’, and ‘community’ in the work of Emmanuel Levinas, Gilles Deleuze, and Jean-Luc Nancy for mapping the ethics and politics of antiphony in hip-hop listening. My study of antiphonal relations illuminates the ethics and politics of bodily response to the material distribution and circulation of affect in hip-hop spaces.
    [Show full text]