Journal articles: 'Hip hop'

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Kim, Pil Ho, and Wonseok Lee. "Industrial Hip Hop Against Hip Hop Industry." Journal of Popular Music Studies 33, no. 4 (December 1, 2021): 39–42. http://dx.doi.org/10.1525/jpms.2021.33.4.39.

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Zimányi, Gabriella, and Anita Lanszki. "The Influence of Social Media on Hip-Hop Dancers and their Classes." Tánc és Nevelés 1, no. 1 (August 17, 2020): 97–112. http://dx.doi.org/10.46819/tn.1.1.97-112.

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The popularity of social media has influenced the field of the arts including the world of hip-hop dance as well. The platforms allowed hip-hop dancers to reach entire crowds throughout the online surfaces. Choreographers and dancers became famous by their shared videos, which soon lead to the appearance of a growing number of edited, performance-like, therefore, manipulated class footages. These posts show a distorted image and unrealistic expectations regarding the purpose of taking classes. The influence of these videos has been unknown so far but it is a heated topic amongst hip-hop dancers. The relation of social media and hip-hop dance was studied through a qualitative research with participants from Budapest, London and Los Angeles (n=6). The results show that social media sometimes individually and other times regionally can be an advantage or a disadvantage both for hip-hop dancers and the classes that they take. The platforms also influence hip-hop teachers and their students mentally and physically, it effects their motivation, sponsorship and job opportunities as well.

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Ralph, Michael. "Hip-Hop." Social Text 27, no. 3 (2009): 141–46. http://dx.doi.org/10.1215/01642472-2009-025.

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BALDO, Maria Isabel. "Hip Hop." Grau Zero – Revista de Crítica Cultural 3, no. 2 (April 11, 2016): 101–23. http://dx.doi.org/10.30620/gz.v3n2.p101.

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Respaldado no horizonte de educação popular de Paulo Freire, sobretudo no que se refere à prática educativa como a junção do saber popular com o saber erudito, e na perspectiva da ecologia de saberes promulgada por Boaventura de Sousa Santos, o presente artigo pretende situar a cultura Hip Hop – por nós aqui entendida também como um movimento social urbano – como possibilidade possível de educação emancipatória e, deste modo, de empoderamento e visibilidade social de vozes silenciadas nas periferias, respaldada na resistência e na participação coletiva. [Recebido: 20 set. 2015 – Aceito: 21 out. 2015]

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Wojnowska, Anna. "Hip-hop subculture and the resocialization of the juvenile." Pedagogika 27, no. 1 (2018): 303–9. http://dx.doi.org/10.16926/p.2018.27.24.

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Johnson, Adeerya. "Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South." Religions 12, no. 11 (November 22, 2021): 1030. http://dx.doi.org/10.3390/rel12111030.

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Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens?

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Yang, Zhuoxi. "Research on The Identity Construction of Chinese Hip-Hop Fans." Lecture Notes in Education Psychology and Public Media 3, no. 1 (March 1, 2023): 136–47. http://dx.doi.org/10.54254/2753-7048/3/2022481.

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Hip-Hop culture was born in black neighborhoods in the United States, Since its introduction to China, it has been excluded from the mainstream cultural system and remained "underground" for a long time. However, with the broadcast of "The Rap of China", a show featuring hip-hop music, hip-hop culture has attracted widespread attention in China, and the number of Chinese hip-hop fans has exploded. This paper takes Chinese hip-hop culture and Chinese hip-hop fans as the research objects, attempts to explore how hip-hop fans achieve identity construction from their perspective. This research mainly adopts quantitative research and qualitative research through questionnaires and in-depth interviews with hip-hop fans, and finds that the identity construction of hip-hop fans has two aspects: self-identity construction through hip-hop fans' pursuit of an "ideal self", resonance with hip-hop music and consumption behavior, and social identity construction through their interaction with "in-groups" and "out-groups". Although there are some limitations in the methods and conclusions, this paper will still be beneficial to further explore the chinese hip-hop fans research from the perspective of identity construction.

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Harper, P. Thandi Hicks, Warren A. Rhodes, Duane E. Thomas, George Leary, and Sylvia L. Quinton, Esq. "Hip-Hop Development™ Bridging the Generational Divide for Youth Development." Journal of Youth Development 2, no. 2 (September 1, 2007): 42–55. http://dx.doi.org/10.5195/jyd.2007.345.

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Hip-Hop culture in the lives of youth can not be ignored. This research is based on the premise that youth workers who expect ongoing successes must increase their Hip-Hop culture competence. The study examined the knowledge of and attitude towards Hip-Hop by educators who participated in a Hip-Hop 101 workshop. Their perceptions relevant to the importance of Hip-Hop awareness and application for positively influencing youth behaviors were also explored. Results revealed that workshop participants significantly increased their Hip-Hop knowledge. They also demonstrated significantly more favorable attitudes toward Hip-Hop and its use for youth development. Findings suggest that the workshop promoted an environment conducive to bridging the generation gap between youth who embrace Hip-Hop, and educators who have a less favorable view. This research provides insight into Hip-Hop Developmenttm as a core component for establishing the kinds of youth-adult partnerships necessary for today’s Hip-Hop generation’s self-growth, skill enhancement, and leadership development.

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Sidjabat, Yedija Remalya, Vissia Ita Yulianto, and Royke Bobby Koapaha. "POLITIK IDENTITAS DALAM PERSPEKTIF POSKOLONIAL STUDI KASUS HIP HOP DANGDUT GRUP NDX A.K.A." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 4, no. 2 (November 28, 2018): 77. http://dx.doi.org/10.30872/calls.v4i2.1693.

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Hip hop dangdut is music identity of NDX A.K.A group. Hip hop dangdut that became popular in society also bring the pros and cons for some groups. Political identity in this research investigates background in choosing music dangdut and hip hop that integrated in NDX’s songs. Political identity used to see the factor that played a role in formation of hip hop dangdut, but not fully realized by NDX group. Political identity in formation of hip hop dangdut then analyzed in textual and contextual to answer the contestation of hip hop dangdut in postcolonial perspective. The concept postcolonial in this research is criticized dominance or the form of leadership culture (hegemony) conducted by capitalists. Hip hop dangdut formed because of the hegemony of media in popularizing hip hop that occurs massively. Contestation on hip hop dangdut identity is analyzed using the concept of mimicry and hybridity to see ‘in-between’ space or third space that can be described the position of hip hop dangdut. Negotiations between hip hop and dangdut is a form of hybridity that takes place in ambivalence, which is mimicking and mocking, and not entirely subordinated to the cultural discrimination that occurs to the strategy of globalization. The performance and NDX music that performed on stage shows the cultural identity negotiations between hip hop and dangdut that formed in the third space.

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Chen, Xi, Yazhou Tong, and Jinsheng Zhang. "Brotherhood and Hip-Hop: The Case of Chinese Hip-Hop Club Triple H." SAGE Open 11, no. 4 (October 2021): 215824402110615. http://dx.doi.org/10.1177/21582440211061532.

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After hip-hop increased in popularity in Chinese entertainment programs, different perceptions of hip-hop in China reflected a clash of various thinking patterns among audiences, with hip-hop club Triple H on the cusp of controversy. Taking Triple H as a case study, this paper aims to explore how emotional attachments influence the development of Chinese hip-hop clubs in post-subculture. The findings indicated that the brotherhood rooted in hip-hop culture has been reshaped by the hybridity of Chinese hip-hop featuring fraternity mixed with sensitivity, loyalty filled with controversy, and heroism heightened by diversity. This paper argues that the recurring theme of “brotherhood” contributing to the charisma of Chinese hip-hop clubs cannot be partially interpreted as either gangster love or an underground bond, which gives rise to a new approach to the notion of authenticity, with hip-hop interpreted as a distinctive lifestyle.

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Im, Jae-hyun. "Incorporating Hip-hop and Black Popular Culture in Korean Primary School English Teacher Training." Korea Association of Primary English Education 29, no. 4 (December 31, 2023): 201–30. http://dx.doi.org/10.25231/pee.2023.29.4.201.

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This study illustrates how hip-hop and black popular culture can be integrated into primary school English teacher education and explores Korean teachers’ reactions to these elements. Within an intensive teacher training program where hip-hop and black popular culture were introduced and adapted for Korean ELT, the study analyzed Korean primary school English teachers’ responses to the pedagogical values of these elements within Korean context. The findings reveal mixed attitudes toward the inclusion of hip-hop and black popular culture. From the perspective of “teacher as learner,” there were positive responses in terms of interest in African American English features and the value of hip-hop and black popular culture as educational resources and their trendiness in literacy education. However, their practicality was viewed negatively. Within the “discourse of schooling” in Korea, the positive aspects included the value of teaching American culture through hip-hop and black popular culture, while doubts about their effectiveness in Korean ELT prompted a negative response. Regarding “teaching activities,” positive reactions emerged when teachers contextualized racial issues in the U.S. in relation to Korean multiculturalism, but concerns arose about the appropriateness of the language and imagery in hip-hop. This study encourages further discussion on this topic.

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Abrianto, Chandra Okta. "HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (August 27, 2019): 44–53. http://dx.doi.org/10.33153/sorai.v12i1.2622.

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Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.

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Söderman, Johan. "Vem är egentligen expert?" Educare, no. 2 (June 1, 2011): 123–50. http://dx.doi.org/10.24834/educare.2011.2.1213.

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Who is the expert? Hip-hop as university politics and progressive education. Since hip-hop started over 35 years ago in New York, it has been associated with social activism and education. Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop with regards to the history of this street culture. This articles aim is to highlight this “hip-hop academization” and analyze the academization processes. The research questions are: How is hip-hop legitimized in official webpage texts? Who is the expert and what is at stake? What symbolic fights are going on between pioneers of the culture and academics? How do hip-hop scholars talk about the academization? The theoretical framework stems from sociologist Pierre Bourdieu, including his work within cultural fields and capital forms. The empirical data, which has been collected with an ethnographical approach, are webpage texts, observations, recordings from academic events concerned with hip-hop and individual interviews with hip-hop scholars in New York City during 2010. The results show how hip-hop at the university is an attractive label and a door-opener for the scholars, but at the same time how hip-hop is regarded as low-culture within the university. Finally, the data shows how the pioneers of hip hop construct the scholars as outsiders in order to maintain themselves as foremost experts of the culture.

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Golpushnezhad, Elham. "Untold Stories of DIY/Underground Iranian Rap Culture: The Legitimization of Iranian Hip-Hop and the Loss of Radical Potential." Cultural Sociology 12, no. 2 (June 2018): 260–75. http://dx.doi.org/10.1177/1749975518769001.

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In this article, I aim to explore how legitimization and de-radicalization of the underground hip-hop subculture have restrained the DIY creation of social norms and cultural behaviours that mobilized Iranian hip-hop in the early 2000s. The article offers a critical discussion of the literature around legitimization of DIY/underground subcultures, specifically youth musical subcultures such as punk and hip-hop, before turning to an analysis of Iranian hip-hop culture in three phases: (1) hip-hop and the creation of a community, 2000–2003; (2) the golden age of Iranian hip-hop, 2003–2009; (3) contemporary Iranian hip-hop, 2009–2016. The article suggests that these three phases have finally led to the entry of hip-hop into the mainstream system and cultural industry, as recent trends bringing it in line with the values and standards of Islamic Iran result in turning underground DIY culture into a mainstream popular form of music supported and funded (indirectly) by the Islamic state.

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Luo, Zixian. "The Conceive of Community Marketing to Activate the Chinese Hip-hop Music Market: The Case of the Woken Day Label." Lecture Notes in Education Psychology and Public Media 38, no. 1 (January 15, 2024): 104–10. http://dx.doi.org/10.54254/2753-7048/38/20240600.

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Currently, the academic research in China mainly focuses on the cultural connotations and dissemination of hip-hop music and hip-hop culture. The research on the marketing value and strategies management of the large and cohesive fan community of hip-hop music is not the majority, and even the marketing activities of the entire Chinese hip-hop music market are not very active. Against this background, to investigate the superiority and feasibility of community marketing in the hip-hop music market, this study utilizes the research method of case analysis. By examining the building and growth of the existing Chinese hip-hop music community, this paper find that community marketing is of great significance for the hip-hop artists and labels, effectively expanding public opinion influence and market reputation while engaging in positive interaction with fans. In the end, this study fulfills the research objective of assisting hip-hop artists and labels in formulating new marketing strategies, thereby providing reference for marketing research in the subculture field.

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Harrison, Anthony, and Craig Arthur. "Hip-Hop Ethos." Humanities 8, no. 1 (February 27, 2019): 39. http://dx.doi.org/10.3390/h8010039.

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This article excavates the ethos surrounding hip hop, starting from the proposition that hip hop represents a distinct yet pervasive expression of contemporary black subjectivity, which crystalized in 1970s New York City and has since proliferated into a potent ethos of the subaltern embraced within socially marginalized youth communities throughout the world. The article begins by outlining the black diasporic traditions of expressive performance that hip hop issues from, as discussed through the work of Zora Neale Hurston and Amiri Baraka. In the remainder of the article, a blueprint of hip hop’s ethos is presented based on five fundamental tenets: (1) properties of flow, layering, and rupture; (2) a principle of productive consumption; (3) the production of excessive publicity or promotion—what hip-hop affiliates refer to as “hype”; (4) embracing individual and communal entrepreneurship; and (5) a committed politics of action and loyalty. While acknowledging hip hop’s malleability and refusal to be neatly characterized, the article maintains that its characteristic spirit embodies these core doctrines.

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Alves, Cristiano N. "the circuit hip hop in the region of Campinas." Mercator 12, no. 28 (August 30, 2013): 125–40. http://dx.doi.org/10.4215/rm2013.1228.0009.

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Hobson, Janell. "Hip-Hop Hegemony." Meridians 8, no. 1 (September 1, 2008): 15–18. http://dx.doi.org/10.2979/mer.2008.8.1.15.

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Bensignor, François. "Logique hip-hop." Hommes et Migrations 1203, no. 1 (1996): 58–61. http://dx.doi.org/10.3406/homig.1996.2789.

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Fofana, Dieynébou, and Isabelle Magos. "Génération hip-hop." L'école des parents N° 594, no. 1 (2012): 36. http://dx.doi.org/10.3917/epar.594.0036.

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Simmonds, Kevin. "Hip Hop Nation." Callaloo 29, no. 3 (2006): 823. http://dx.doi.org/10.1353/cal.2006.0155.

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Lenz, Michael. "Hip-Hop Landscapes." Journal of Popular Music Studies 13, no. 2 (September 2001): 245–48. http://dx.doi.org/10.1111/j.1533-1598.2001.tb00028.x.

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Gadet, Steve. "Hip-hop Culture." Caribbean Quarterly 61, no. 1 (March 2015): 75–97. http://dx.doi.org/10.1080/00086495.2015.11672549.

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Dimitriadis, Greg. "Framing Hip Hop." Urban Education 50, no. 1 (December 10, 2014): 31–51. http://dx.doi.org/10.1177/0042085914563185.

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Williams, Olajide, Alexandra DeSorbo, Vanessa Sawyer, Donald Apakama, Michele Shaffer, William Gerin, and James Noble. "Hip Hop HEALS." Health Education & Behavior 43, no. 1 (August 13, 2015): 68–75. http://dx.doi.org/10.1177/1090198115596733.

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Williams, Olajide, and James M. Noble. "‘Hip-Hop’ Stroke." Stroke 39, no. 10 (October 2008): 2809–16. http://dx.doi.org/10.1161/strokeaha.107.513143.

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Healey, Josh. "Invincible Hip-Hop." Tikkun 25, no. 3 (May 2010): 47–50. http://dx.doi.org/10.1215/08879982-2010-3016.

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Maher, George Ciccariello. "Brechtian Hip-Hop." Journal of Black Studies 36, no. 1 (September 2005): 129–60. http://dx.doi.org/10.1177/0021934704271175.

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Hayes, Brian. "Hip-Hop Physics." American Scientist 97, no. 6 (2009): 438. http://dx.doi.org/10.1511/2009.81.438.

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Kruse, Adam J. "Being Hip-Hop." General Music Today 30, no. 1 (July 24, 2016): 53–58. http://dx.doi.org/10.1177/1048371316658931.

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Djakouane, Aurélien, and Louis Jesu. "Générations hip-hop." L'Année sociologique Vol. 74, no. 1 (March 5, 2024): 57–84. http://dx.doi.org/10.3917/anso.241.0057.

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Si comme le rappelle Eliot Freidson (1986), les professions artistiques posent un défi à l’analyse sociologique, c’est encore plus vrai des milieux peu institutionnalisés, issus des cultures populaires, comme la danse hip-hop. L’observation de l’évolution des identités professionnelles des danseurs de hip-hop offre donc une perspective intéressante pour comprendre les mutations à l’œuvre dans cet univers artistique : démultiplication de l’activité, voisinage du public et du privé, évolution des formes de transmission et de collaboration artistiques, métamorphoses des lieux de pratique ordinaire et effacement des liens avec les quartiers populaires (Jésu, 2016). Le propos de cet article est d’analyser les déterminants qui pèsent sur la manière dont on se revendique danseur de hip-hop au fil des générations et d’éclairer les différentes dimensions qui participent à construire cette identité artistique. Ce faisant, il s’agira, par cet exemple, d’illustrer les processus d’institutionnalisation des arts populaires et les enjeux pour la survie des artistes qui en sont issus, tout comme l’émergence d’un nouveau rapport au travail.

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Rice, Jeff. "The 1963 Hip-Hop Machine: Hip-Hop Pedagogy as Composition." College Composition and Communication 54, no. 3 (February 2003): 453. http://dx.doi.org/10.2307/3594173.

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Rice, Jeff. "The 1963 Hip-Hop Machine: Hip–Hop Pedagogy As Composition." College Composition & Communication 54, no. 3 (February 1, 2003): 453–71. http://dx.doi.org/10.58680/ccc20031491.

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This essay proposes an alternative invention strategy for research–based argumentative writing. By investigating the coincidental usage of the term “whatever” in hip–hop, theory, and composition studies, the essay proposes a whatever-pedagogy identified as “hip–hop pedagogy,” a writing practice that models itself after digital sampling’s rhetorical strategy of juxtaposition.

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Pardue, Derek. "Brazil." Global Hip Hop Studies 3, no. 1 (December 1, 2022): 33–39. http://dx.doi.org/10.1386/ghhs_00065_1.

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The story of hip hop in Brazil is one of empowerment among primarily disenfranchised youth of African and mixed racial heritage. Hip hop’s conquest is less a story of ghetto superstars and much more about overall recognition – hip hop as Brazilian culture. Over the years hip hop has grown to embrace ever-widening demographics and identities, mixing styles and (sub)urban geographies across the country. What is perhaps most impressive is the general pride among fans and artists that hip hop is a culture (and not just music) and thus a source of education, belonging and identity. Following legends, such as KRS-One, Afrika Bambaataa and local icons, Nelsão Triunfo and King Nino Brown, upstarts and veterans continue to shout ‘I am hip hop’ as their mantra. This article is a brief overview of historical and contemporary themes in Brazilian hip hop informed by over twenty-five years of anthropological fieldwork in the city of São Paulo, the indisputable centre of hip hop cultural production of Brazil.

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Söderman, Johan. "The formation of ‘Hip-Hop Academicus’ – how American scholars talk about the academisation of hip-hop." British Journal of Music Education 30, no. 3 (April 30, 2013): 369–81. http://dx.doi.org/10.1017/s0265051713000089.

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Social activism and education have been associated with hip-hop since it emerged in New York City 38 years ago. Therefore, it might not be surprising that universities have become interested in hip-hop. This article aims to highlight this ‘hip-hop academisation’ and analyse the discursive mechanisms that manifest in these academisation processes. The guiding research question explores how hip-hop scholars talk about this academisation. The theoretical framework is informed by the scholarship of sociologist Pierre Bourdieu. Hip-hop scholars were interviewed in New York City during 2010. The results demonstrate themes of hip-hop as an attractive label, a door opener, a form of ‘low-culture’, a trap and an educational tool.

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Clark, Msia Kibona. "Ghana." Global Hip Hop Studies 3, no. 1 (December 1, 2022): 65–72. http://dx.doi.org/10.1386/ghhs_00049_1.

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Among African countries where hip hop has a strong presence, Ghana is an interesting case study in the relationship between hip hop and afrobeats. Ghana has benefitted from the popularity of afrobeats, with several Ghanaian artists releasing collaborations with international artists. Many Ghanaian hip hop artists have also been helped by the relationship between Ghana and the African diaspora and leveraged that relationship into a successful rap career. An examination of hip hop in Ghana requires a consideration of genre classification in a music scene where hip hop and afrobeats often intersect. It also requires a consideration of the historical relationship between Ghana and the African diaspora, which has been strengthened in the wake of the 2019 Year of Return. Ghana’s relationship to the African diaspora has influenced the development of music genres in the country. The arrival of hip hop in Ghana especially influenced the development of hiplife and then afrobeats. Ghanaian hip hop maintains its own identity, while at the same time sharing an identity with hiplife and afrobeats. Ghana is not the only country where hip hop and pop music share a close relationship, but one cannot study Ghanaian hip hop without also studying Ghanaian hiplife or afrobeats. Because of the close relationship between hip hop, hiplife and afrobeats, this contribution includes a discussion of the latter two, along with a discussion of the roles that genres play, both from a music standpoint and from a marketing standpoint.

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Koutsougera, Natalia A. "“Out in the Streets”." Meridians 22, no. 1 (April 1, 2023): 204–28. http://dx.doi.org/10.1215/15366936-10220557.

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Abstract This article provides a socio-anthropological portrayal of the hip-hop narrational mosaics in Greece through the intertemporal exploration of two hip-hop scenes: the rap scene and the hip-hop dance scene. It explores the gray and contested zones of a local hip-hop culture—which reflect on global hip-hop imageries, norms, and antinomies–through permutations and manifestations of difference, hybridization and subcultural capital, and their subversive intersections with race, class, gender, and affective states in contemporary Greece in landscapes of crisis. Drawing on content analysis of rap lyrics and ethnographic fieldwork on rap and hip-hop dance performativities, resonating contemporary Greek society’s precarities, traumas, and ethics, this article explains why hip-hop and street cultures are so popular today in Greece. Furthermore, it highlights their global dynamics and their present and future potential as an empowering and emancipatory space for young generations.

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Emdin, Christopher, and Okhee Lee. "Hip-Hop, the “Obama Effect,” and Urban Science Education." Teachers College Record: The Voice of Scholarship in Education 114, no. 2 (February 2012): 1–24. http://dx.doi.org/10.1177/016146811211400205.

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Background/Context With the ever increasing diversity of schools, and the persistent need to develop teaching strategies for the students who attend today's urban schools, hip-hop culture has been proposed to be a means through which urban youth can find success in school. As a result, studies of the role of hip-hop in urban education have grown in visibility. Research targeted toward understanding the involvement of urban youth in hip-hop and finding ways to connect them to school often rest primarily on the role of rap lyrics and focus exclusively on language arts and social studies classes. Purpose of the Study The purpose of this article is to move beyond the existing research on science education by utilizing an ongoing study to interrogate hip-hop culture, its relation to the “Obama effect,” and the role of hip-hop culture in creating new possibilities for urban youth in science. The discussion of hip-hop in urban schooling is grounded in the concept of social capital to explain what makes hip-hop youth who they are and how this knowledge can become a tool for supporting their academic success. Specifically, the discussion is based on theoretical constructs related to hip-hop in urban settings, including social networks, identity, and realness and emotional energy. Research Design To explore the complexities of hip-hop and the impact of the artifacts it generates on urban science education, we examined qualitative data illustrating the enactment of hip-hopness or a hip-hop identity in urban science classrooms. Specifically, we examined the “Obama effect” and its connection to hip-hop and science education. Findings The findings indicate that when teachers bring hip-hop into their science instruction, certain markers of interest and involvement that were previously absent from science classrooms become visible. Especially, the examples of the Obama effect in urban high school science classrooms in this article illustrate that science educators can strengthen hip-hop youth's connections to school and science by consistently using the science-related decisions President Obama is making as opportunities to teach science. Conclusions By engaging in a concerted focus on hip-hop culture, science educators can connect urban youth to science in ways that generate a genuine recognition of who they are, an appreciation of their motivation for academic success, and an understanding of how to capitalize on hip-hop culture for their identities as science learners. Such efforts can eventually lead urban youth to become “the best and brightest” in the science classroom and pursue careers in science-related fields.

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Durham, Aisha S. "Behind Beats and Rhymes: Working Class from a Hampton Roads Hip Hop Homeplace." Policy Futures in Education 7, no. 2 (January 1, 2009): 217–29. http://dx.doi.org/10.2304/pfie.2009.7.2.217.

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The film documentary titled Hip Hop: beyond beats and rhymes captures ongoing conversations among scholars, cultural critics, and hip hop insiders about the state of African Americans by interrogating distinct expressive forms associated with hip hop culture. Durham draws from two scenes to describe her memories as the researched underclass and as the graduate researcher returning to her childhood public housing community to explore the shifting discursive terrain of hip hop as a struggle over meaning waged through class performances. Class is articulated through taste values and notions of respectability. Durham connects the hip hop mantra emphasizing lived, embodied culture with bell hooks' description of a homeplace to recount her researcher/ed self during the Virginia Beach Greekfest race riots and her visit home where she talks about hip hop feminism with a group of African American women from the Norfolk public housing community. By recalling autoethnographic encounters of hip hop at home, Durham calls attention to the politics of class that echoes behind beats and rhymes.

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Leigh Kelly, Lauren. "“I am not Jasmine; I am Aladdin”: How Youth Challenge Structural Inequity through Critical Hip Hop Literacies." International Journal of Critical Media Literacy 2, no. 1 (September 7, 2020): 9–30. http://dx.doi.org/10.1163/25900110-00201002.

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Abstract Previous research on Hip Hop Education has advocated for the inclusion of critical media literacy in schools and for the recognition of Hip Hop music and culture as a central component of young people’s literate and social identities (e.g. Hall, 2017; Kelly, 2020; McArthur, 2016). This article places critical Hip Hop literacy at the intersections of media education, social justice education, and culturally sustaining pedagogies by discussing the role of Hip Hop literature and culture as a form of text that can foster young people’s critical consciousness development in the secondary classroom. Through analysis of data collected in a high school Hip Hop Literature and Culture class, this qualitative case study examines how critical Hip Hop literacy practices can support youth sociopolitical development in racially diverse classrooms and schools. The results of this study reveal the need for schools to support students in identifying, analyzing, and challenging structures of oppression through the development of critical Hip Hop literacies.

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Kim, Tae-Ryong. "The succession and change of Korean hip-hop expressed through <Show Me the Money>." K-Culture·Story Contents Reasearch Institute 1 (July 31, 2022): 89–107. http://dx.doi.org/10.56659/kdps.2022.7.1.89.

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The purpose of this paper is to examine the aspects of desire and resistance inherent in Korean hip-hop. And to understand the current socio-cultural function and position of Korean hip-hop. For this purpose, <Show Me the Money> was selected as a sample of Korean hip-hop. And all the songs released from season 3 to season 10 were analyzed. Through this, I tried to understand the desire and resistance inherent in today's Korean hip-hop. And compared with the past from the point of view of 'inheritance and change', and examined what it means. As a result, today's Korean hip-hop has the following socio-cultural meaning. First, underground hip-hop in Korea has been handed down as an ‘attitude’, claiming an independent identity and pursuing self-realization. Second, Korean hip-hop has changed from a means for public discourse to a means for personal discourse. Third, capitalism and materialism have shifted from the object of resistance to the object of pursuit. I hope that this thesis can contribute to the formation of a progressive discourse related to Korean hip-hop.

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Johnson, Adeerya. "Hella Bars: The Cultural Inclusion of Black Women’s Rap in Insecure." Open Cultural Studies 6, no. 1 (January 1, 2022): 76–87. http://dx.doi.org/10.1515/culture-2022-0144.

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Abstract The musical supervision of HBO’s insecure sonically maps various representations of Black women’s connections to hip-hop music as a site of autonomy, agency, and authenticity. Importantly, the variety of Black female rappers who are featured in seasons 1–3 of insecure connects nuanced and contemporary representations of Black millennial women’s understanding of Black womanhood, sex, friendship, love, and relationships. I argue that the influence of Issa Rae’s perception and connections to hip-hop and the placement of songs in insecure supports a soundtrack that takes on a hip-hop feminist approach to Black popular culture. I explore contemporary female hip-hop artist as an emerging group of rappers who support nuanced narratives and identities of Black millennial women. Furthermore, this article highlights the connectedness of Black popular culture and hip-hop feminism as an important site of representation for Black women who use hip-hop as a signifier to culture, self-expression, and identity. I recognize the importance of insecure’s soundtrack and usage of Black women in hip-hop to underline the ways hip-hop sits at the intersections of race, sexuality, and gender for Black women’s everyday lives.

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Johnson, Ariyan. "The overlooked contributions of African American women hip hop dancers to breaking and hip hop culture." Global Hip Hop Studies 4, no. 1 (June 1, 2023): 57–62. http://dx.doi.org/10.1386/ghhs_00076_1.

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In the late 1980s through 1990s shifts within the aesthetic of hip hop culture helped the sustainability of breaking. When the discussion of hip hop and its major contributors are mentioned, seldom is there any acknowledgement of African American women. Like many art forms, hip hop is male-dominated, which can eclipse narratives about African American women in early hip hop dance circles. African American women practitioners are rarely called upon to moderate panels, write or are acknowledged as true pioneers of the field. Many times, throughout hip hop, African American women kept the dance alive with their resiliency, becoming the catalyst from the streets that help preserve and continue its legacy. The question I ask is: How have these African American women impacted global hip hop culture and why are they unknown to us? The article will examine performance qualities within interdisciplinary practices that forged ahead hip hop culture with these under-represented New York hip hop female dancers. Insights about the experience of these African American female pioneers bring into light historical concerns of exploitation and representation right in time for the introduction of breaking in the 2024 Olympics.

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Bernard Hall, H. "Forum: Deeper than Rap: Expanding Conceptions of Hip-hop Culture and Pedagogy in the English Language Arts Classroom." Research in the Teaching of English 51, no. 3 (February 1, 2017): 341–50. http://dx.doi.org/10.58680/rte201728979.

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Since the early 1990s, language and literacy scholars have explored the pedagogical potential of hip-hop culture in the English language arts classroom. Despite more than 25 years’ worth of peer-reviewed research documenting its effectiveness, hip-hop pedagogies continue to be relegated to the margins of English education policy and practice. In this essay, I argue that the future of “hip-hop based education” (HHBE) research in English education demands moving beyond making a case for hip-hop’s pedagogical merits and toward helping teachers and teacher educators put theories of HHBE into practice, given their various identities and institutional contexts. Thus, I begin by addressing practical and philosophical dilemmas regarding the role, purpose, and function of hip-hop-based curricular interventions in this current era of the Common Core State Standards. As the title of this Forum piece suggests, hip-hop culture and pedagogy are more than just rap music and textual analysis. Therefore, I seek to shift the conversation from pedagogies with hip-hop texts to a more complex unit of analysis known as “pedagogies with hip-hop aesthetics.” With a broader and deeper understanding of hip-hop cultural knowledge, as well as the tensions and contradictions contributing to the shortcomings of HHBE research, I conclude with a call for additional studies that “show and prove” the possibilities (and pitfalls) of hip-hop pedagogies in English language arts and English education classrooms.

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Rolsky, L. Benjamin. "Hip-Hop and the Study of Religion." Method & Theory in the Study of Religion 27, no. 2 (June 9, 2015): 175–81. http://dx.doi.org/10.1163/15700682-12341286.

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This book review essay examines the practices and unconscious tendencies in the study of religion and hip-hop through a critical investigation of Monica Miller’s Religion and Hip-Hop. Miller’s work both analyzes the problematic analytics associated with the “religion as a source” method in the study of religion and illuminates alternative approaches for re-describing “the religious” in the study of hip-hop through a postmodern vocabulary. While Miller’s book makes a significant contribution to the study of religion through her study of hip-hop, it falls short of making an equally powerful contribution to the study of hip-hop generally considered.

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Haupt, Adam. "South Africa (Mzansi)." Global Hip Hop Studies 3, no. 1 (December 1, 2022): 107–13. http://dx.doi.org/10.1386/ghhs_00055_1.

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This article offers a snapshot of South African hip hop by focusing largely on the uptake of ‘conscious’ hip hop in the 1980s and 1990s. It argues that especially Cape Town activists made meaningful contributions to advancing Black multilingual expression and, thereby, validating negated Black identities as the country was beginning to make the transition from apartheid to a democratic, post-apartheid South Africa. Ultimately, it questions whether the binary opposition between ‘conscious’ and commercial hip hop or Cape Town vs. Joburg hip hop is helpful in understanding the nuances of South African hip hop by pointing to examples that complicate such binaries.

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Pichler, Pia, and Nathanael Williams. "Hipsters in the hood: Authenticating indexicalities in young men's hip-hop talk." Language in Society 45, no. 4 (July 22, 2016): 557–81. http://dx.doi.org/10.1017/s0047404516000427.

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AbstractIn this article we explore the relationship between authentication and identification in the spontaneous hip-hop talk of four young London men from multi-ethnic working-class backgrounds. Whereas sociolinguistic studies of authentication and/or hip hop have frequently focused on the linguistic style of hip hoppers, this article explores hip-hop talk with a specific interest in ‘cultural concepts’ (Silverstein 2004). This focus allows us to discuss how the young men authenticate themselves in relation to a range of other identity performances they discuss, including the ‘white posh girl's’ appropriation of ‘world star’ hip-hop culture or the local South London gang's display of violent gangsta personas. These cultural concepts not only index various aspects of hip-hop culture but also need to be understood in relation to various aspects of larger-scale discourses, practices, and structures. (Hip hop, authentication, indexicalities, cultural concepts)*

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de Paor-Evans, Adam. "The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture." Arts 7, no. 4 (November 16, 2018): 80. http://dx.doi.org/10.3390/arts7040080.

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Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.

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Kruse, Adam J. "“He didn’t know what he was doin’”: Student perspectives of a White teacher’s Hip-Hop class." International Journal of Music Education 38, no. 4 (May 25, 2020): 495–512. http://dx.doi.org/10.1177/0255761420924316.

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In this article, I share findings from a research study about a high school Hip-Hop course in the United States and offer considerations toward informing culturally responsive teaching and decentering Whiteness in music education. I explored the experiences and perceptions of majority students of color in a Hip-Hop course taught by a White music educator who was largely inexperienced with Hip-Hop. I was curious to understand how the students saw their teacher, what they experienced as strengths and weaknesses of the course, and what they felt they took away from the experience. I designed the qualitative study employing elements of Hip-Hop musical practices (sampling and remixing), analyzed data informed by Hip-Hop vocal techniques (doubling and ad-libbing), and structured findings based on Hip-Hop aesthetic principles (flow and rupture). Overall, students appreciated the teacher’s acknowledgment of his lack of Hip-Hop experience and his ability to prioritize their perspectives and voices. They reported gaining valuable musical experiences in the course as well as developing cross-cultural competence to better understand their fellow students.

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Ng, Jason. "Thailand (ประเทศไทย)." Global Hip Hop Studies 3, no. 1 (December 1, 2022): 115–21. http://dx.doi.org/10.1386/ghhs_00048_1.

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Thailand’s hip hop culture has developed at a very different pace to other prominent early adopters in the Asia-Pacific. Given its late adoption of hip hop in the 1990s through popular music labels (Kita Music, GMM Grammy, Bakery Music, RS Promotion), local DJs, MCs, aerosol artists and breakers negotiated hip hop in a relatively short period – pressurized under local market conditions and influenced by multidirectional flows of hip hop that extended across the region and beyond. Hip hop in Thailand now draws on local traditional cultural influences while also being inspired by an immense flow of expat workers, tourists and transient visitors annually. It is not surprising that immanently polycultural music cultures like hip hop manifest in a number of ways in the Thai context, stratified by degrees of appreciation of international aesthetics and reverence for local Thai cultural history and customs. While hip hop exists across the country, with prominent communities in Chiang Mai, Chon Buri and Udon Thani, it is most notably diverse and concentrated in Bangkok – the place it began and where many pioneers have created their legacy.

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Journal articles on the topic 'Hip hop'

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