Rozprawy doktorskie: „HGP”

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Collares, Favorino José de Freitas. "Expressão gênica e taxas de desenvolvimento de embriões Mus musculus domesticus expostos à pressão gasosa no estágio de 8-células e submetidos à crioconservação no estágio de blastocisto". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/108173.

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Os objetivos dos experimentos foram primeiro determinar as taxas de desenvolvimento in vitro de embriões murinos no estágio de 8-células expostos a 15.7 MPa de N2 durante 2 ou 4 horas. Segundo, determinar as taxas de sobrevivência embrionária à crioconservação dos blastocistos originados a partir do cultivo dos embriões de 8-células após a indução do estresse subletal celular com o auxílio da pressão gasosa. Terceiro, determinar a expressão dos genes BAX, Bcl2, GLUT1, GLUT3, IGF1, IGF2, IGF1-R, IGF2-R, SOD2, HSP70.1, AQP3 e PPIA nas seguintes etapas experimentais: no estágio de 8-células imediatamente após a coleta dos embriões; no estágio de blastocisto antes e após o congelamento. Nas seis replicações realizadas foram utilizados 14 machos e 60 fêmeas Mus musculus domesticus. Na primeira etapa dos experimentos, das fêmeas superovuladas, 38 produziram 1092 embriões viáveis no estágio de 8-células que foram, de forma aleatória, divididos em quatro grupos experimentais: Grupo P1 – os embriões foram expostos a 15.7 MPa de N2 gasoso durante 2 horas e após cultivados in vitro até alcançar o estádio de blastocisto; Grupo P2 – os embriões foram tratados de maneira idêntica aos do Grupo P1, sendo expostos aos 15.7 MPa de N2 gasoso durante 4 horas; Grupo controle CE - os embriões foram submetidos ao cultivo in vitro imediatamente após a coleta; Grupo controle CB: os embriões foram mantidos em temperatura ambiente (22 ºC) durante 4 horas e após colocados na estufa para o cultivo in vitro. Na segunda etapa, amostras dos embriões dos quatro grupos experimentais tiveram a expressão gênica determinada com auxílio da amplificação e determinação quantitativa do mRNA (“Real Time PCR”). Os resultados do desenvolvimento embrionário ao estágio de blastocisto na primeira etapa foram os seguintes: Grupo P1 – 96,4% (245/253); Grupo P2 – 94,0% (253/269); Grupo CE – 95,0% (249/262) e Grupo CB – 95,4 (249/261). Na segunda etapa dos experimentos os resultados de reexpansão dos blastocistos após a criopreservação foram: Grupo P1 – 86,3% (63/73); Grupo P2 – 80,0 (76/95); Grupo CE – 72,8 (67/92); Grupo CB – 83,6 (92/110). A análise da expressão da maioria dos genes não revelou diferenças entre os grupos experimentais, provavelmente devido à variação biológica dos embriões entre os grupos e dentro de um mesmo grupo. A exposição dos embriões no estágio de 8-células a 15.7 MPa de N2 gasoso não comprometeu a viabilidade in vitro para desenvolverem-se ao estágio de blastocisto. As taxas de sobrevivência dos blastocistos à criopreservação diferiram somente entre os grupos de embriões expostos à HGP durante 2 horas (P1) no estágio de 8-células (86,3%) e o grupo de embriões submetidos ao cultivo in vitro (CE) (72,8%). Os resultados dos experimentos revelaram que a HGP pode ser empregada na indução de estresse celular subletal em embriões murinos.
The first objective of the experiments was to determine the development rates of mouse embryos exposed to high gaseous pressure (HGP – 15.7 MPa gaseous N2) at 8-cell stage for 2 or 4 hours. Second, determine the blastocyst re-expansion rates after cryopreservation. Third, determine the relative expression of BAX, Bcl2, GLUT1, GLUT3, IGF1, IGF2, IGF1-R, IGF2-R, SOD2, HSP70.1, AQP3 and PPIA in the following experimental steps: immediately after collection of 8-cell stage embryos, at the blastocyst stage before and after freezing. Fourteen males and 60 females Mus musculus domesticus were used in six experiment replications. Thirty-eight (63%) from the 60 superovulated, females produced 1092 viable embryos. These 8-cell stage embryos were then randomly divided into four experimental groups: P1 group – embryos were first exposed to 15.7 MPa of gaseous N2 for 2 hours and after cultured in vitro until the blastocyst stage; P2 group - embryos were treated identically to the P1 group, but were exposed to 15.7 MPa of gaseous N2 for 4 hours; CE control group - embryos were submitted to in vitro culture immediately after collection; CB control group - embryos were maintained at room temperature (22ºC) for 4 hours and after cultured in vitro. The results of embryo in vitro development to the blastocyst stage were: P1 Group- 96.4% (245/253); P2 group- 94.0% (253/269); CE group- 95.0% (249/262) and CB- 95.4 (249/261). After cryopreservation the blastocyst re-expansion rates were: P1 group- 86.3 % (63/73); P2 group- 80.0 (76/95); CE group – 72.8 (67/92), CB group- 83.6 (92/110). No major differences in gene expression were observed among treatment groups for most genes analyzed in this study, likely due to the biological variability in groups of embryos within each group. Exposure of embryos at 8-cells stage to 15.7 MPa of gaseous N2 did not compromise in vitro embryo viability to reach the blastocyst stage. The survival rates of blastocysts to cryopreservation differ only among the embryos that were exposed to the HGP during 2 hours at 8-cell stage (86,3 %) and the 8-cell stage embryos that were submitted to the in vitro culture immediately after collection (72,8 %). The experimental results showed that HGP can be used to induce sublethal cell stress in murine embryos.

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Adão, Sandra Regina. "Movimento hip hop". Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/88959.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação. Programa de Pós-Graduação em Educação
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A presente pesquisa é um convite ao leitor a navegar no que foi vivido por mim, no papel de pesquisadora ao buscar o movimento cultural juvenil hip hop na Escola de Educação Básica Lucia do Livramento Mayvorne, no Morro do Monte Serrat em Florianópolis. Em todo processo investigativo procurei ter um olhar para este movimento cultural juvenil e para os adolescentes aqui chamados por: Margarida, Rosa, Violeta, Cravo, Dália, Jasmim, Girassol, Bromélia, Lírio e Cacto que trouxeram suas experiências desta cultura dando corpo à pesquisa. Entendi que os gestos, movimentos corporais e o estilo de seu vestuário vinham imbuídos da identidade negra, com suas tranças e seu gingado corporal. O conceito de identidade diz respeito ao pertencimento social, cultural, étnico e de gênero, pertencimento que se constrói na família, nos ambientes sociais e institucionais, por meio de comparações e contrastes nas inter-relações socioculturais. Vi em meu corpo e no prazer pela dança uma cumplicidade para a pesquisa. Compõem esta pesquisa as falas dos adolescentes, do professor de educação física, da professora de arte-educação e da diretora da escola, em relação ao corpo e dança que é o principal objeto deste estudo, onde busquei minhas reflexões, tendo como base o referencial-teórico metodológico dos estudos culturais. Na experiência da dança e do corpo os adolescentes mostraram sua importância fotografando as coreografias do movimento cultural juvenil hip hop. Fica, para a leitura do trabalho completo, a reflexão desta cultura na fala dos adolescentes negros/as pesquisados. The current research is an invitation to the reader to sail into what has been lived for me, as a researcher, reaching the hip-hop young cultural movement in the Lucia do Livramento Mayvorne´s elementary school, in the Monte Serrat hill in Florianópolis. Through the whole investigative process, I tried to have a look on this young cultural movement and on the adolescents here called: Daisy, Rose, Violet, Clove, Dahlia, jasmine, sunflower, Bromeliad, Lily and Cactus that brought their experiences of this culture giving substance to the Research. I understood that gestures, corporal motion and vestry style came imbued with the black identity, marked by their braid hairs and body swaying. The concept of identity says about the social, cultural, ethnic and gender belonging, which is constructed in family, social and institutional atmospheres, over comparisons and assays in the socio-cultural inter-relations. I have seen in my body and in the pleasure for dance complicity for the research. This research is composed by the discourse of the adolescents, physical education teachers, arts teacher and the school principal, in connection to the body and dance, which are the main object of this research, where I searched for my reflections, having the theoretical-methodological allusion of the cultural researches as support. On the dance and body experience, the adolescents manifested their importance by photographing the choreographies of the hip-hop young cultural movement. Stays for the reading of the complete research, the reflection of this culture on the discourse of black adolescents that were here investigated.

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Süß, Heidi. "Hip-Hop-Feminismus". Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

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Süß, Heidi. "Hip-Hop-Feminismus". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

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Pavicic, Christine. "Hip hop dancing bodies : eine interkulturelle Studie der Hip-Hop-Kultur /". Hamburg : Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-2754-6.htm.

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Pavicic, Christine. "Hip hop dancing bodies eine interkulturelle Studie der Hip-Hop-Kultur". Hamburg Kovač, 2006. http://www.verlagdrkovac.de/978-3-8300-2754-6.htm.

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Del, Hierro Marcos Julian. "It's Bigger and hip-hop Richard Wright, hip-hop, and masculinity /". To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Isoke, Saidah K. "“Thank God for Hip-hop”: Black Female Masculinity in Hip-hop Culture". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492775852958055.

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Freire, Rebeca Sobral. "Hip Hop Feminista? convenções de gênero e feminismos no movimento Hip Hop soteropolitano". reponame:Repositório Institucional da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/6303.

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Esta dissertação discute questões em torno das convenções de gênero e feminismo no Hip Hop em Salvador a partir da perspectiva das jovens militantes. Busca-se analisar a possibilidade de um hip hop feminista soteropolitano, com vistas à compreensão do feminismo na sua pluralidade como movimento social. Para tanto, considera-se as formas de apropriação dos discursos feministas e o engajamento em suas bandeiras na militância das interlocutoras da pesquisa. Ressalta-se a atenção à articulação entre os marcadores sociais de gênero, sexualidade e raça na prática política investigada. Assumindo o método qualitativo de pesquisa, esta investigação de cunho etnográfico utilizou-se de entrevistas semiestruturadas realizadas junto às hip hoppers, bem como da observação participante oriunda da convivência junto ao grupo estudado, sob o aporte interdisciplinar dos estudos de gênero e feministas.
Salvador

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Haery, Todd Cameron. "(Pro-) Socially conscious hip hop: Empathy and attitude, prosocial effects of hip hop". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587747399137313.

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Jenkins, Derrick J. Sr. "Hip Hop Activism in Education: The Historical Efforts of Hip Hop Congress to Advance Critical Hip Hop Pedagogy through the Urban Teachers Network". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1338905792.

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Correa, Cristina, Karla Henríquez, Rodrigo Hidalgo i Juan Pablo Olavarría. "El hip hop en Chile". Tesis, Universidad de Chile, 1999. http://repositorio.uchile.cl/handle/2250/138741.

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Seminario para optar al grado de Magister en Comunicación Social
El autor no autoriza el acceso a texto completo de su documento
¿Qué es el hip hop? ¿Una tendencia musical, el rap? ¿Una gráfica que comprende murales, graffitis y firmas (tags)? ¿Una danza, el break dance? ¿Una moda? No es tan simple. Este múltiple canal de expresión al que adscriben cada vez más jóvenes chilenos presenta características propias que complejizan esta primera definición. Al estudiarlo pretendemos develar los elementos ideológicos presentes en él, sus alcances sociales, sus significados psicológicos, su ethos. Este trabajo es entonces un estudio descriptivo que aborda la producción de sujetos, identidades y circuitos sociales en el movimiento cultural llamado hip hop. En primera instancia, abordaremos las caracterizaciones del hip hop en el contexto de la cultura global imperante. Es decir, cuáles son sus propiedades dentro de la industria cultural y como funciona su especificidad en tanto fenómeno cultural en un contexto global en América Latina. En este sentido será necesario explorar la cosmovisión que opera en su textualidad, qué ideologías se hallan presentes en su estructura de funcionamiento, volcadas a la cotidianidad, en las áreas de producción, distribución y consumo. Dado que el hip hop en su origen aparece como un movimiento underground, que dispara desde los márgenes del sistema, y que como expresión cultural tiene su raíz primera en los getthos neoyorquinos; cabe entonces ver qué elementos de este hip hop originario se hallan presentes en el modo en que se da en nuestro territorio. Una vez establecidas sus características, deberemos analizar los mecanismos de identificación que genera en los jóvenes chilenos. Es decir, profundizar en la resignificación identitaria de que es objeto el fenómeno al insertarse en nuestra especificidad histórica, social y cultural. Por qué es que los jóvenes chilenos hallan en el hip hop un lugar donde “ser ellos”, y “cómo es que lo son”. Cómo es que la especificidad estética del hip hop juega un rol preponderante en el acercamiento del joven que busca su identidad, a una cosmovisión. En un mundo donde la preponderancia de lo cotidiano crece en detrimento de los grandes relatos, la conformación de una identidad propia vuelve la vista a los subgrupos. La realización del sujeto se da en la comunidad inmediata, que comparte la cotidianidad del sentido común y una determinada forma de producción cultural. Ahora bien, la cultura como universo simbólico nos remite a un imaginario del individuo en un proceso de constante flujo textual, en un permanente reenvío de significados (semas). Así, la semiótica y el psicoanálisis nos proveerán las herramientas científicas para analizar las distintas manifestaciones artísticas del sujeto, y cómo opera a nivel de conciencia e identidad los entrecruzamientos de lo imaginario y lo simbólico. Si se mira bien, a poco andar parece existir una tensión basamental. El hip hop nace de la marginalidad, es una reacción subversiva encarnada en el ícono de la pandilla, del que vive en gethos. El hip hop al llegar a nuestro país, y al poco a poco desmenuzar el cómo se va consumiendo, distribuyendo y produciendo, incorporándose al modus vivendis del joven chileno, cambia su marginalidad esencial. Es un fenómeno de masas marginal. Esta paradoja crece cuando el adscribir al hip hop es un gesto entendido como rebelde, aún asumiendo que el hip hop en sí no lo sea. Dicho de otro modo: en sus principios (valóricos y temporales) el hip hop es subversivo, “es” desde la ilegalidad, pero llegado a nuestro país, esta subversividad se trastoca en múltiples y contradictorias formas. Nuestra labor es establecer la dirección de estas mutaciones, y comprobar entonces cuál es el efecto real del hip hop en la juventud chilena: porqué adscriben a él, qué elementos presenta, dónde radica su fortaleza pulsional. Con ello no sólo se satisface un legítimo interrogante meramente intelectual, académico: conocer qué contenidos transmiten y cómo operan los dispositivos utilizados por la juventud chilena; si no que se pretende explotar -en el sentido de agotar- la ideología que subsume toda la cultura actual en el marco del mundo globalizado, denunciando así, su caducidad en términos de forma y contenido.

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Johnson, Casey Michelle. "Virginia Hip Hop and Place". Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/35313.

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Despite its continued importance in the maintenance of black identity, hip hop has become a global phenomena popular among all races. In this age of mass cultural exchange, hip hop culture itself endures glocalization, that is it serves the global market, but becomes customized to suit the local culture. Where hip hop was orginally confined to specfic boroughs In New York, hip hop artists are now composing from their own local thresholds in regions all over the United States and worldwide. Virginia USA is a region that is increasingly thriving in regards to hip hop artists, fan base, and lifestyles. The hip hop identities found in Virginia are a product of Virginia's situatedness in the broader hip hop landscape. This study will shed light on the connections among music, place, and identity and specfically delve into Virginia's situatedness between the East Coast and Southern rap sub genres as they relate to Virginia's place based identity.
Master of Science

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Turner, Patrick. "Hip hop versus rap : an ethnography of the cultural politics of new hip hop practices". Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4745/.

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Using field observations, interview narratives, and lyrical analysis, this thesis argues that the increasing presence of hip hop arts in social spheres not popularly associated with hip hop such as community activism, school-based education and theatre is traceable to an intra cultural political struggle I term ‘hip hop versus rap’. Hip hop versus rap opposes the notion of a temporally prior, authentic hip hop culture to its degeneration into commercial and ‘anti-social’ rap music. As a redemptive discourse hip hop versus rap seeks to annex a socially responsible hip hop culture from its popular caricature by culturally exogenous interests. As part of a progressive grassroots, hip hop’s extension into new educational and artistic domains thus marks, at one level, a continuation of longstanding black diaspora struggles around race and cultural cooptation. Correspondingly, a hallmark of its pedagogic practices on the ground is a continuous reflexive commentary on the progressive uses to which hip hop can and should be put. These new hip hop practices, moreover, are philosophically and politically heterogeneous with respect to their sources, motives, and output. Hip hop versus rap can equally serve racial absolutism and mysticism, on the one hand, and, on the other, an avowed commitment to artistic and pedagogic innovation troubling fixed cultural and ethnic borders. Of equal significance, however, hip hop’s ‘communitarian’ ‘grassroots’ turn is also related to emerging forms of municipal and state sponsorship. In conditions of social risk and individualisation youth and educational services are seen as needing as far as possible to be fashioned around the cultural dispositions and preferences of their ‘at-risk’ users - or consumers. This means that another signal feature of hip hop versus rap – particularly as an educational project – is the way in which it marks a convergent point of vernacular cultural politics and histories and historically novel approaches by the state to the support, control and regulation of problem youth.

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Jordan, Augustus W. III. "Ideological and narrative structures of Hip-Hop music: A study of selected Hip-Hop artists". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2009. http://digitalcommons.auctr.edu/dissertations/64.

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This study examined the discourse of selected Hip-Hop artists and the biographical aspects of the works. The study was based on the structuralist theory of Roland Barthes which claims that many times a performer’s life experiences with class struggle are directly reflected in his artistic works. Since rap music is a counter-culture invention which was started by minorities in the South Bronx borough of New York over dissatisfaction with their community, it is a cultural phenomenon that fits into the category of economic and political class struggle. The study recorded and interpreted the lyrics of New York artists Shawn Carter (Jay Z), Nasir Jones (Nas), and southern artists Clifford Harris II (T.I.) and Wesley Weston (Lii’ Flip). The artists were selected on the basis of geographical spread and diversity. Although Hip-Hop was again founded in New York City, it has now spread to other parts of the United States and worldwide. The study investigated the biography of the artists to illuminate their struggles with poverty, family dysfunction, aggression, and intimidation. The artists were found to engage in lyrical battles; therefore, their competitive discourses were analyzed in specific Hip-Hop selections to investigate their claims of authorship, imitation, and authenticity, including their use of sexual discourse and artistic rivalry, to gain competitive advantage. The conclusions drawn from the findings suggest that although Hip-Hop lyricism was originally established as an alternative to physical violence, social and psychological factors such as competition, masculinity, class struggle and ideology often lead to conflict and hostility. In addition, the artists’ economic successes were not necessarily tied to their educational background, but were based on their assumed role as representatives of the oppressed. This representation enables its conveyer to serve as a voice for the voiceless through his/her artistic expression. Discourse in Hip-Hop (whether musical or cultural) is an area of African- American culture in which further study would be valuable in order to fully appreciate the valuable artistic contributions of inner-city youths. Unfortunately, these new artists are often misunderstood. Unlike famous mainstream artists such as Toni Morrison, Richard Wright, James Baldwin and Langston Hughes, Hip-Hop artists are agents of cultural productivity who are less appreciated simply because they operate in the arena of popular culture.

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AMARAL, E. S. "Com Lincença Hip-hop: Mapeamento dos Grupos de Hip-hop na Grande Vitória, Espírito Santo". Universidade Federal do Espírito Santo, 2009. http://repositorio.ufes.br/handle/10/2879.

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Made available in DSpace on 2016-08-29T14:09:41Z (GMT). No. of bitstreams: 1 tese_3761_ELIZABETH DE SOUZA AMARAL.pdf: 4440570 bytes, checksum: 804280ce0b373d1419eab27b8a1d59ab (MD5) Previous issue date: 2009-09-11
RESUMO Essa dissertação objetiva traçar um mapeamento dos grupos de Hiphop, na Grande Vitória, Espírito Santo. Conserva o nome dos participantes como um recurso metodológico para viabilizar a narração de histórias dos personagens que tecem o Hip-hop. Procede a análises a partir da noção de poder, resistência e biopoder proposta por Foucault. Apresenta também o entrecruzamento de algumas concepções recolhidas em Deleuze, Guattari, Rolnik, Benevides. Discute as movimentações sociais efetuadas no Brasil nos anos de 1970 e 1980 e destaca a emergência de movimentações sociais, tais como o Hip-hop, ao final dos anos de 1980, como uma forma diversa de expressão das ações coletivas e a emergência de outros modos de viver na sociedade, apontando os exercícios de resistência e o embate de forças experimentado no biopoder. Apresenta, em relação ao Hip-hop, um panorama geral de sua história no mundo, no Brasil e na Grande Vitória, Espírito Santo. Por se tratar de grupos compostos em sua maioria por jovens, traz alguns destaques acerca da juventude no Brasil e no estado do Espírito Santo, visando a desnaturalizar a juventude como natureza e fase da vida. Metodologicamente, toma, principalmente, as entrevistas e as letras das músicas, para traçar as temáticas analisadoras que colocam em análise as práticas e processos que tecem o Hip-hop na Grande Vitória, Espírito Santo. Palavras-chave: Movimento Hip-hop. Juventude. Subjetividade. Participação Social.

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Evans, Derek. ""It's bigger that hip hop" popular rap music and the politics of the hip hop generation /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5034.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 25, 2008) Includes bibliographical references.

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Gao, Fei. "A Comprehensive Investigation of Ambient Mercury in the Ohio River Valley: Source-Receptor Relationship and Meteorological Impact". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194624797.

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Branch, William. "Theological implications of hip-hop culture". Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Branch, William. "Thelogical implications of hip-hop culture". Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Acker, Tristan D. "CONFESSIONS OF A HIP-HOP HIPPIE". CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/60.

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This Statement of Purpose does not give a history of hip-hop or hip-hop poetry but rather how this particular poet fits into the current phase of hip-hop and performance poetry. In it, I discuss and explain the new pro-working class hip-hop performance poetic. This includes extensive discussion of how rap poetry conveys meaning through sound. Also discussed is the socioeconomic context for the suburban southwestern topics found in the manuscript. This statement is a parallel piece to the manuscript itself in that it explains a brown kid from San Bernardino’s journey of connecting words and music for purposes of personal expression and potentially the betterment of his community. This statement also discusses my aesthetic beliefs and preferences as a sound poet with a background in performance and music.

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Wermuth, Mir. "No sell out : de popularisering van een subcultuur /". Amsterdam : Aksant, 2002. http://catalogue.bnf.fr/ark:/12148/cb39078174t.

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Markarian, Dania. "Hiphop : Kunskap, språkutveckling och ett lustfyllt lärande". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18382.

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The purpose of this study is to investigate the educational opportunities that exist within hip hop music, i.e. to highlight the possible strengths and opportunities in informal learning. The aim was to answer the following questions: In what way do young people acquire knowledge through music? How can hip hop music affect language learning / vocabulary? How can hip hop motivate and support young people in school? The study was based on qualitative semi-structured interviews with six youths, three hip hop directors and a well-known researcher who has investigated that Hip Hop pedagogy. The results show that there are many benefits of learning that takes place in the context of hip hop music; from my informants’ statements one can accordingly see the role of hip hop music plays in the absorption of knowledge. The conclusion is that hip hop music can lead to alternative learning about politics and society, as the music often deals with various social conditions and policy issues. This I have been able to deduce from my informants' statements where they through hip hop creation gain knowledge, partly by listening to hip hop music and partly by writing hip hop lyrics which in its turn developed their political thinking. I have also come to the conclusion that young people through hip hop creation expand their vocabulary, developing their ability to express themselves in different ways during the composition of hip hop lyrics. It also shows that young people become motivated for school work. This is because hip hop stimulate young people in becoming more interested in the Swedish language, given that many write their hip hop lyrics in Swedish.

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Eason, Keri. "Reppin' and Rice: How AAPI Hip-Hop Fans Negotiate Their Racial Identities in the US Hip-Hop Community". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595847077716551.

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Åkerstedt, Olof. "Figuras retóricas en el hip-hop español". Thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94371.

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The present study is a delving in the rhetoric of Spanish hip hop with focus on five songs of some of the most prominent artists in the genre in Spain. The aim is a study of the rhetorical figures present in these songs and which function they have in the context of the songs and of hip-hop. The analysis is based on previous studies in the same field as well as different dictionaries and handbooks of rhetorical figures but many conclusions also derive from the investigators own interpretations . The underlying purpose of this study is to locate tendencies in the rhetorical expression used in these songs; the result will be a suggestion of what possibly could be representative for this genre in Spain.
El presente estudio es una indagación en la retórica del hip hop español, enfocado en cinco canciones de algunos de los artistas más prominentes del género en España. El propósito es estudiar las figuras retóricas halladas en las canciones seleccionadas y sus funciones en el contexto de las canciones y de hip-hop. El análisis se basa en investigaciones previas en el mismo ámbito así como en distintos manuales y diccionarios de figuras retóricas, si bien muchas de las conclusiones derivan también de las interpretaciones del investigador. La intención última de este estudio es localizar posibles tendencias de la expresión retórica en las canciones analizadas; el resultado es una propuesta de lo que según el análisis del presente corpus parece ser representativo de este género en España.

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Sewell, Amanda. "A typology of sampling in hip-hop". Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3587662.

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Hip-hop producers rely on several specific formulas to create sample-based hip-hop. Developed with a combination of analysis and ethnography, this typology of sampling is a systematic terminological and conceptual approach to this repertoire. There are three main types of samples: structural samples, surface samples, and lyric samples. Each of these types has a distinct function in a sample-based track: structural samples create the rhythmic foundation, surface samples overlay or decorate the foundation, and lyric samples provide words or phrases of text.

The typology offers a consistent approach to identifying the sounds in sample-based music, allowing recognition of historical trends and generalization about musical style. For example, hip-hop producers have sampled lyrics from Public Enemy's 1987 "Bring the Noise" over 100 times, and those samples show striking similarities both in the material sampled (Flavor Flav's "yeah, boy" and Chuck D's "bass" are favorites) and how the sampled sounds are treated in new tracks. The typology is a way to differentiate producers' treatments of sampled sounds. Additionally, the typology is a tool for distinguishing the musical styles of artists. Released within a year of each other, Public Enemy's Fear of a Black Planet and the Beastie Boys' Paul's Boutique each contain over 100 samples. The typology offers a way to describe the groups' sampling styles. Further, while hip-hop artists and scholars agree that sampling changed after the 1991 lawsuit involving Biz Markie's "Alone Again," until now, there has been no way to quantify these changes. The typology is a concrete way to demonstrate how hip-hop groups such as The Beastie Boys, De La Soul, Public Enemy, Salt 'n' Pepa, and A Tribe Called Quest modified their approaches to sampling when samples became difficult to license. Ultimately, a typology is a systematic analytical approach to the genre of sample-based hip-hop.

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Tinajero, Roberto Jose. "Hip hop rhetoric relandscaping the rhetorical tradition /". To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Matsunaga, Priscila Saemi. "Mulheres no hip hop : identidades e representações". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252714.

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Orientador: Salvador Antonio Mireles Sandoval
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-06T08:45:07Z (GMT). No. of bitstreams: 1 Matsunaga_PriscilaSaemi_M.pdf: 1191778 bytes, checksum: 0992fd55ad09dc1363a82db685e0e132 (MD5) Previous issue date: 2006
Resumo: A pesquisa busca refletir sobre a participação de mulheres no movimento hip hop, bem como analisar as representações sociais da mulher construídas pelo movimento. As análises propostas são baseadas nas considerações teóricas sobre identidade, identidade coletiva e representações sociais. Os dados utilizados no estudo foram coletados por meio de entrevistas abertas roteirizadas com mulheres que participam do movimento (nas cidades de Piracicaba e São Paulo) e de letras de rap (elemento artístico do movimento hip hop). Compreendemos que o movimento hip hop se constitui como uma possibilidade de identificação para mulheres que buscam um agir coletivo, seja este orientado para a reivindicação feminista ou para a reivindicação dos direitos daqueles que vivem em condições de exclusão social e econômica, utilizando manifestações artísticas como veículo/instrumento de relato e protesto destas condições. O hip hop, porém, por meio de seu principal elemento, a música rap, propaga representações sociais tradicionais referentes à mulher. Assim, grupos femininos começam a questionar o posicionamento inferior que lhes é atribuído, reivindicando outros papéis e visibilidade cultural e política
Abstract: The research aims to think over the women participation in hip hop movement, and to analyze the women social representation built by the movement as well. The proposed analyses are based upon the theoretical grounds on the identity, collective identity and social representations. The data used in this study were gathered through open oriented interviews made with women who participate in the movement (in the cities of Piracicaba and São Paulo), and through the lyrics of rap (an artistic element of the hip hop movement). We understand that the hip hop movement is constituted as a possibility of identification for those women who search for a collective action, whether be directed for feminist demand or be directed for demanding the rights of those who live in social and economical exclusion conditions, using artistic manifestations as a mean/ instrument of reporting and protesting of such conditions. However, the hip hop, by its principal element, the rap music, spreads the traditional social representation related to woman. Therefore, feminine groups begin to question the inferior position to whom it is attributed, and they are claiming other roles and political and cultural visibility
Mestrado
Educação, Sociedade, Politica e Cultura
Mestre em Educação

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Zibordi, Marcos Antonio. "Hip hop paulistano, narrativa de narrativas culturais". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-29062015-144403/.

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Orientada, sobretudo, por noções de complexidade epistemológica, esta tese desenvolve proposta de abordagem transdisciplinar integrando as quatro manifestações artísticas e o discurso da chamada \"cultura hip hop\" na cidade de São Paulo. Apesar da tendência às pesquisas mutiladoras dessa tradição compósita, este trabalho propõe uma visão integrada dos seus elementos, a saber: a dança (break), a produção de imagens (nesta tese, grafites e pichações), o canto de longos poemas (rap) sobre bases sonoras criadas por manipuladores de discos e outros recursos tecnológicos (DJs). Há ainda o \"quinto elemento\" - o \"conhecimento\" - ou os enunciados ligados aos referenciais culturais dos adeptos do hip hop. As manifestações corpóreas, pictóricas, rimadas e musicais são tomadas como narrativas e o discurso, como religioso. As narrativas, em geral, são líricas e poéticas nas imagens, épicas nas letras de rap, dramáticas na dança e paródicas nas mãos dos DJs. O conhecimento orienta a postura de praticantes e admiradores fomentando uma comunidade cultural sectária e dogmática similar às religiões de salvação. Para realizar esse percurso, o cruzamento teórico envolveu certos ramos da teoria da Literatura, da Filosofia, da Semiótica e da Sociologia.
This thesis seeks a transdisciplinary approach of the so-called \"hip hop culture\" in the city of Sao Paulo, aiming to comprise its four artistic manifestations and its discourse, chiefly based on notions of epistemological complexity. Granted, there is a mutilative proclivity on researching such a composite tradition. Nonetheless, this paper offers an integrated point of view of the said elements. That is, dance (break), imagery production (graffitti, in the context of this thesis), the chanting of long poems (rapping) over sonic bases produced by records and other technological resources manipulators (DJs). There is also a fifth element: knowledge, or the cultural statements of the hip hop suporters. Its bodily, pictorial, rhyming, and musical manifestations are taken as narratives, and its discourse, as a religious text. These narratives generally have lyrical and poetical imagery, and comprise the epic rap lyrics, the dramatic dance moves and the parodical creations of the DJs. This knowledge guides the hip hop followers\' and admirer\'s attitude, leading to a sectarian and dogmatic cultural community, much similar to those formed by the believers of salvation religious denominations. In order to achieve this goal, the author has assembled a theoretical cross-over with certain realms of Literary Theory, Philosophy, Semiotics, and Sociology.

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Silva, Roberta Grangel da [UNESP]. "Experimentações juvenis: nas trilhas do Hip Hop". Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/97541.

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Made available in DSpace on 2014-06-11T19:29:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-04Bitstream added on 2014-06-13T19:37:42Z : No. of bitstreams: 1 silva_rg_me_assis.pdf: 552705 bytes, checksum: 325bcffbf6adf0368b933b0b34164de6 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esse trabalho teve como objetivo cartografar a Cultura Hip Hop, tendo como foco o Breaking. Nossa prática foi de um exercício de nomadismo na tentativa de acompanhar as linhas que foram tecidas ao longo dos encontros com a literatura, com os grupos que se agenciam com a Cultura Hip Hop, dando visibilidade aos modos de subjetivação, de singularização, aos afetos que escaparam de determinados territórios capturados pela cultura de massa e de estratégias de controle. Nesse processo, afetamos e fomos afetados pela história do Hip Hop que nos foi sendo percebida como narrativas de processos criadores. Tais processos foram sustentados por corpos vibráteis cujas intensidades dispararam movimentos de resistência com linhas de fuga que possibilitaram a produção de modos de existência singulares em relação aqueles produzidos pelos fluxos capitalísticos. Cartografar o movimento do desejo na vontade de expandir a vida através do agenciamento corpo-cidade-ruptura, significou entender que o devir não se repete e que sempre há algo no outro que nos transforma.
The present paper has the object of mapping the Hip Hop culture, being Breaking the focus study. Our practice was an exercise of nomadism in an attempt of following the lines drawn throughout the encounters with the literature with the groups that are influenced by the Hip Hop Culture, giving visibility to the modes of subjectivity, singularity and affections that escaped from certain territories captured by mass culture and control strategies. In this process, we affected and were affected by the history of Hip Hop that was being perceived as narratives of creative processes. Such processes were sustained by vibrating bodies whose intensities shoot resistance movements with lines of escape that allow the creation of particulars ways of existence related to those created by the capitalistic flows.. To map the movement of desire in the will of expanding life through the managing of body-city-breaking meant understand that the change does not repeat and that there is always something in the other that transforms one.

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Silva, Roberta Grangel da. "Experimentações juvenis : nas trilhas do Hip Hop /". Assis : [s.n.], 2009. http://hdl.handle.net/11449/97541.

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Orientador: Soraia Georgina Ferreira de Paiva Cruz
Banca: Helio Rebello Cardoso Junior
Banca: Sonia Regina Vargas Mansano
Resumo: Esse trabalho teve como objetivo cartografar a Cultura Hip Hop, tendo como foco o Breaking. Nossa prática foi de um exercício de nomadismo na tentativa de acompanhar as linhas que foram tecidas ao longo dos encontros com a literatura, com os grupos que se agenciam com a Cultura Hip Hop, dando visibilidade aos modos de subjetivação, de singularização, aos afetos que escaparam de determinados territórios capturados pela cultura de massa e de estratégias de controle. Nesse processo, afetamos e fomos afetados pela história do Hip Hop que nos foi sendo percebida como narrativas de processos criadores. Tais processos foram sustentados por corpos vibráteis cujas intensidades dispararam movimentos de resistência com linhas de fuga que possibilitaram a produção de modos de existência singulares em relação aqueles produzidos pelos fluxos capitalísticos. Cartografar o movimento do desejo na vontade de expandir a vida através do agenciamento corpo-cidade-ruptura, significou entender que o devir não se repete e que sempre há algo no outro que nos transforma.
Abstract: The present paper has the object of mapping the Hip Hop culture, being Breaking the focus study. Our practice was an exercise of nomadism in an attempt of following the lines drawn throughout the encounters with the literature with the groups that are influenced by the Hip Hop Culture, giving visibility to the modes of subjectivity, singularity and affections that escaped from certain territories captured by mass culture and control strategies. In this process, we affected and were affected by the history of Hip Hop that was being perceived as narratives of creative processes. Such processes were sustained by vibrating bodies whose intensities shoot resistance movements with lines of escape that allow the creation of particulars ways of existence related to those created by the capitalistic flows.. To map the movement of desire in the will of expanding life through the managing of body-city-breaking meant understand that the change does not repeat and that there is always something in the other that transforms one.
Mestre

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Gorney, Christopher Cole 1977. "Hip Hop Dance: Performance, Style, and Competition". Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9869.

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vii, 41 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The purpose of this study was to identify and define the essential characteristics of hip hop dance. Hip hop dance has taken many forms throughout its four decades of existence. This research shows that regardless of the form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study of each of these characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. Defining these vital characteristics in the vernacular context should help dancers, scholars, and educators to develop a better understanding of hip hop dance.
Committee in Charge: Jenifer P. Craig Ph.D., Chair; Steven Chatfield Ph.D.; Christian B. Cherry MM

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Sachs, Aaron Dickinson. "The hip-hopsploitation film cycle: representing, articulating, and appropriating hip-hop culture". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/591.

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In this dissertation, I examine the articulation of hip-hop in the mid-1980s as it emerged onto the national stage of American popular culture. Using Articulation Theory, I weave together an argument explaining how and why hip-hop went from being articulated as a set of multicultural and inclusive practices, organized around breaking, graffiti, and DJing, to being articulated to a violent, misogynistic, and homophobic hyper-masculine representation of blackness as essentially rap music culture. In doing so I also argue that there are real political, social, racial, cultural, and ideological implications to this shift in articulation; that something is at stake in defining hip-hop as both black and rap music culture. I put forward this argument by making three distinct steps over the course of this dissertation. First, I identify a change in how hip-hop was represented and thus articulated in popular media. Through an intertextual analysis of the hip-hopsploitation genre films I show that early hip-hop was being represented primarily as a set of cultural practices cohering around breaking, graffiti, and DJing rather than the now dominant articulation as rap music culture. Next I set forth one possible reason for this shift within the limiting conditions set by the available media technologies and means of commodification. The visual nature of hip-hop's early articulation coupled with the economic inaccessibility of consumer home video made breaking and graffiti difficult to commodify compared to rapping as an aural element. Using "technological determinist" theorists like McLuhan, Innis, and Kittler, I argue that understanding how hip-hop as been historically constructed requires analyzing the limiting effect that the material conditions of media technologies have on the production of hip-hop. Finally, I offer a second, racial and cultural reason for this shift in articulation, and begin identifying some of the significance of this shift. A key aspect of the articulation of hip-hop as rap music is the further connection to blackness. This connection may function to maintain white patriarchal hegemony by displacing it on the black body via rap music: a complex dynamic of disidentification and appropriation.

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McLaughlin, David. "Sampling Hip Hop and Making `Noiz': Transcultural Flows, Citizenship, and Identity in the Contestatory Space of Brazilian Hip Hop". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431071301.

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Santos, Maria Aparecida Costa dos. "O universo hip-hop e a fúria dos elementos". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-19042018-155632/.

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O presente estudo tem por objetivo examinar e refletir sobre a natureza, a origem e a construção conceitual do Hip-Hop. Para tanto, recorreu-se à metodologia de abordagem qualitativa, valendo-se da pesquisa de campo realizada por meio de entrevistas semiestruturadas, com representantes e ativistas reconhecidas(os) do HipHop e analisadas à luz da literatura acadêmica e não acadêmica (teses, dissertações, artigos, livros, revistas), além de outros materiais (documentários, filmes, palestras) produzidos sobre o Hip-Hop. Este trabalho problematiza a caracterização clássica desse fenômeno que, tradicionalmente, aponta quatro elementos como dimensões constitutivas do movimento: DJ/MC, Breaking, Graffiti e Rap. Contrapondo-se a essa descrição rígida, a hipótese desta pesquisa afirma que, por demonstrar um caráter dinâmico e recriador, esse fenômeno cultural, em seu processo histórico, gestou outras dimensões, até o momento, invisibilizadas, ou pouco discutidas pela literatura acadêmica. No processo de investigação, foram identificados outros elementos constitutivos do Hip-Hop, como as gírias, os vestuários, o Streetball e a literatura marginalizada que, assim como os demais, carregam, representam e revelam questões identitárias, políticas e ideológicas, como as étnico-raciais e de gênero, que envolvem a juventude das periferias, evidenciando um Universo em contradição, transformação e reconstrução constantes e em estreita relação com a Educação em seu sentido mais amplo. Desta forma, por sua natureza e condição dialéticas, o HipHop constitui-se em processos marcados por tensões entre os avanços das novas tendências e as resistências a esses avanços, razão pela qual o trabalho foi intitulado O Universo Hip-Hop e a fúria dos elementos.
The present study aims to examine and reflect on the nature, origin and conceptual construction of Hip-Hop. To do so, we used the qualitative approach, using field research conducted through semi-structured interviews with representatives and activists recognized by Hip-Hop and analyzed in the light of academic and nonacademic literature (theses, Dissertations, articles, books, magazines), as well as other materials (documentaries, films, lectures) produced on Hip-Hop. This work problematizes the classical characterization of this phenomenon, which traditionally points to four elements as constitutive dimensions of the movement: DJ / MC, Breaking, Graffiti and Rap. Contrary to this rigid description, the hypothesis of this research affirms that, because it demonstrates a dynamic and recreational character, this cultural phenomenon, in its historical process, has spawned other dimensions, so far, invisibilized or little discussed by academic literature. In the process of investigation, other elements of Hip-Hop were identified, such as slang, clothing, streetball and marginalized literature, which, like the others, carry, represent and reveal identity, political and ideological issues, such as ethnic- Racial and gender, involving the youth of the peripheries, showing a Universe in constant contradiction, transformation and reconstruction and in close relation with Education in its broadest sense. In this way, by its dialectical nature and condition, Hip-Hop is constituted by processes marked by tensions between the advances of the new tendencies and resistances to these advances, reason why the work was titled \"The Hip-Hop Universe and the fury of the elements\".

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Vidmar, Hannah Marie. "`Sikia: Hip-Hop and the Politics of Language and Public Space in Dar es Salaam, Tanzania". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587658348774363.

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Larsson, Ronja. "Hip-Hop Don't Die, We Multiply: Repetitiva troper i tidig hip-hop-film : Enhet och kreativitet som budskap och utväg". Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-161647.

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Denna studie behandlar tidig hip-hop-film från 80-talet och dess kreativa uttryck genom hip-hop- kulturens fyra grundelement, där en slutsats är att graffiti, breakdance, DJ-ing och rap är av yttersta vikt i bildspråket, och audiellt. Att elementen inleder filmerna visar vilken betydelse dessa har och vidare samverkar de på varierande vis, vilket förstärker den enhet som finns med i filmernas budskap. Enhet och kreativitet är centralt i filmerna och budskap om att möjligheter, framgång och framtid ligger i dem är tydliga. En annan slutsats är att elementen och diverse troper repeteras och sprids vilket stärker hip-hop och hip-hop-film som varumärke.

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Kaya, Ayhan. "Constructing diasporas Turkish hip-hop youth in Berlin /". Thesis, Online version, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.242078.

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Mansfield, John. "Hip-hop pathology and the commodification of culture /". Title page and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arm287.pdf.

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Kline, Christopher (Kip). "Represent Hip-hop and the self-aesthetic relation /". [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3255510.

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Thesis (Ph.D.)--Indiana University, Dept. of Leadership and Policy Studies, 2007.
Title from PDF t.p. (viewed Nov. 20, 2008). Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0926. Adviser: Phil F. Carspecken.

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Mashiyi, Sikelelwa Anita. "Spaza Hip hop in the townships of Khayelitsha". University of the Western Cape, 2019. http://hdl.handle.net/11394/6966.

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Masters of Art
Since the arrival of hip-hop in Cape Town and indeed South Africa in the 1980s, a diverse and vibrant range of hip-hop sub-genres has developed in Cape Town. Scholarship, however, have approached hip-hop mainly through a linguistical angle focusing mostly on Cipha hiphop in the Cape Flats. This ethnographic work looks at performances and practices of Spaza hip-hop. It explores the musical genre of Spaza hip-hop in the township of Khayelitsha, discussing ideas advanced by scholarship almost ten years ago and re-assessing issues of language, citizenship and ethnicity from today’s perspective. It looks at Spaza hip-hop not only as a musical genre, as it explores questions of identity, ethnicity, race, and gender. My research discusses how Spaza hip-hop music is consumed today, how it is produced and how it circulates. Across two years of fieldwork, I followed park sessions, open mic sessions and events; I have interviewed artists, producers and audiences. I argue that Spaza hip-hop in 2018 had changed drastically from its first apparition. Not only most of the artists are now older, but also the Spaza hip-hop scene is now invaded by trap hip-hop artists. Across my research I explore issues of gender in hip hop which is generally perceived as a “masculine” music. I illustrate how female artists constantly challenge norms and negotiate a space of their own, paradoxically transforming Spaza hip hop in a space for freedom.

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Summers, Epiphany. "Black Women as Listeners of Hip-Hop Music". Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10149611.

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This thesis investigates what Black undergraduate women understand and take away from Hip-Hop music. Highlighting their matrix of domination and recognizing their intersecting identities, this thesis shows how identity and music work together in the listening experience of Black women, thus emphasizing how they invest this music with social value. The following questions are answered in this research: What does Hip-Hop mean to Black female students at an elite university? How do these Black female students experience and perceive Hip-Hop music? A basic interpretive design with focus groups was used to execute this study. Three focus groups consisting of six to seven participants per group, totaling 19 participants, were conducted. Findings included that the background of each participant influenced what Hip-Hop means to them. Overall, Hip-Hop music was valued by participants and listened to for many reasons of sociological relevance, including its influence of political consciousness and colorism. Future studies should explore the how different demographic groups experience and perceive Hip-Hop, including how diverse educational backgrounds may influence perception.

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Isidoro, Filho Constantino. "Demorô! : investigações sobre a teatralidade no hip hop". reponame:Repositório Institucional da UnB, 2011. http://repositorio.unb.br/handle/10482/8980.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2011.
Texto parcialmente liberado pelo autor. Conteúdo: Considerações Iniciais, Considerações Finais, Referências Bibliográficas.
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Esta dissertação tem como objetivo investigar a ocorrência da teatralidade na estrutura criativa e organizativa do hip hop. Essa arte se constitui como um movimento sócio-artísticocultural formado por quatro elementos principais: o grafite, a dança do Bboy, a discotecagem dos DJ e o canto dos MC. Na pesquisa realizada identificamos nos quatro elementos a utilização consciente de procedimentos técnicos que visam produzir um tipo particular de experiência estética, na qual a realidade social é índice que anima a produção artística. Ao mesmo tempo em que serve de material poético, a realidade vivida fornece o contexto que identifica os atores envolvidos na prática cultural. Há na sua materialização uma postura de protagonismo ambivalente e polifônico, cujo acento ora reside no artista, ora no público. Com a mesma contundência, a perspectiva expressiva que canta, dança, desenha e sonoriza o espaço social com a visão íntima, sensível e feroz dos excluídos postula e provoca nos envolvidos uma atitude concreta de atuação na realidade social, forjando uma estética intimamente vinculada a uma ética, que se reflete tanto na produção artística quanto na postura cidadã do ativista deste movimento. Dessa forma, hip hop configura-se como um modo de vida com a sua própria língua, estilo de música, vestimentas e de mentalidade. Esse modo próprio de vida procura construir no espaço social de marginalização um novo patamar para a qualidade de vida desses excluídos. É justamente no controle exercido para a articulação dessa estética hip hop com as outras dimensões de sentido da sociedade que verificamos a forte presença da teatralidade como dispositivo capaz de atuar tanto na dimensão artística, quanto no campo social do cotidiano. Essa inteligência simbólica e criativa é para nossa pesquisa um dispositivo teatral de alto valor para a produção das artes cênicas na contemporaneidade. _________________________________________________________________________________ ABSTRACT
This thesis aims to investigate the occurrence of theatricality in the creative and organizational structure of hip hop. This art is constituted as a socio-cultural-artistic movement consisting of four main elements: graffiti, dancing Bboy, the disco rithms of the DG’s and the MC’s way of sing the songs. In the survey we identified on all four elements the conscious use of technical procedures that aim to produce a particular kind of aesthetic experience, in which social reality is the content that drives the artistic production. While serving as poetic material, the lived reality provides the context that identifies the actors involved in the cultural practice. Due to its materialization there is a polyphonic and ambivalent protagonism posture whose enphasys laiys sometimes on the artist, sometimes in the public. With the same forcefulness, the expressive prospect that sings, dances, draws and sonorizes the social space with the inner vision, sensitive and fierce by the excluded postulates and causes on the involved a concrete attitude of action in the social reality, forging an aesthetic closely linked to an ethics, which is reflected both in the artistic production as a citizen activist posture of the movement. That way hip hop is configured as a way of life with its own language, style of music, clothing and mindset. This particular way of life seeks to build in the social marginalization a new bar for the quality of life of those excluded. It is precisely in control and exercised to this articulation of this hip hop aesthetic with the other dimensions of meaning in society, we find that the strong presence of theatricality as a device capable of acting both in the artistic dimension, as in the social sphere of everyday life. This symbolic and creative intelligence is for our research a theatrical device of high value to the production of performing arts in contemporary society.

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Gustsack, Felipe. "Hip-Hop : educabilidades e traços culturais em movimento". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2003. http://hdl.handle.net/10183/6454.

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Este é um estudo dos elementos e das atividades culturais do Movimento Hip-hop tomadas como saberes e como processos de aprendizagens trans-escolares, enquanto ações sociais potencializadoras de outras educabilidades e traços culturais. É um estudo de outros conhecimentos e modos de ser humanos que se fazem com, a partir e para além dos espaçostempos tradicionalmente conhecidos como pedagógicos e que se constituem dentro de um movimento constante dos seus sujeitos em busca de saberes. Na medida que foi possível perceber e vivenciar alguns fluxos de sentidos nesta rede de educabilidades, eu procurei compreendê-las como produções dialógicas de saberes e organizá-las, segundo sua natureza e tendências evolutivas, dentro de três campos complexos. A estes campos, construídos a partir de uma reflexão aberta, resolvi dar o nome de expressivo-identitário, ético-estético e sóciopolítico. Esta abordagem facilitou a organização dos registros desta pesquisa e vem se construindo como um instrumento flexível, não definitivo, mas bastante próprio à leitura, à análise e à compreensão de vários traços e elementos culturais que constituem o Movimento Hip-hop. Além disso, ajuda a pensar aspectos diversos de um dos principais objetivos deste estudo que é a revelação de outros sentidos destas educabilidades, elevando-as a um patamar de maior importância enquanto ações sociais formadoras e transformadoras dos jovens e das suas realidades localizadas em diferentes periferias urbanas, especialmente de Santa Cruz do Sul - RS. A realização deste trabalho vem fazendo parte da minha trajetória de educador por diferentes inserções diretas em espaços-tempos de expressão da cultura hip-hop, bem como pelo diálogo possível com diferentes grupos e sujeitos que nesta cultura descobrem, problematizam, recriam e assumem suas identidades. O desejo mais forte, a vontade mais latente nesta ação investigativa é construir referências para novos caminhos de ensinoaprendizagem no contexto social mais amplo e complexo, como é o caso do Movimento Hiphop. Em outras palavras, trato de apresentar alguns passos possíveis para uma observação educativa que não deixa de estar vinculada à busca de sentidos em torno de alguns aspectos dos elementos culturais do Movimento Hip-hop, trazendo um pouco da sua história e das suas metodologias constitutivas como caminhos possíveis e como novas perturbações e desafios para a academia. Para tanto, procuro repensar estes modos de ser e de fazer da cultura que forma e que informa o hip-hop no contexto social aberto, como instâncias e ferramentas que ampliam o nosso esforço de educadoras e educadores em reorganizar a escola – seus sujeitos, processos e estruturas do ensino-aprendizagem formais. Assim, as perspectivas e desafios decorrentes deste estudo apontam para algumas metodologias de construção e para certas características dos diferentes sujeitos e práticas culturais que integram o Movimento Hip-hop – mutabilidades, recursividades, dialogicidades, vivências, midiaticidades, autopoiesis, perturbações, transitoriedades, apropriações, territorialidades – como principais contribuições ao nosso trabalho coletivo, feliz-doloroso e inevitável de reconstruir a escola e a educação que vivemos hoje.

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Ferreira, Tania Maria Ximenes. "Hip hop e educação : mesma linguagem, multiplas falas". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252771.

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Orientador: Aurea Maria Guimarães
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente dissertação foi desenvolvida na área ¿Ensino, Avaliação e Formação de Professores¿, com a contribuição de estudos realizados junto ao grupo de pesquisa VIOLAR ¿ Laboratório de Estudos sobre Violência, Imaginário, Práticas Sócio-Culturais e Formação de Professores ¿ da Faculdade de Educação da UNICAMP. A pesquisa teve como interesse o estudo do hip hop que se constitui como um movimento sócio-cultural e reúne três manifestações artísticas: o rap, o break e o graffiti. Foram abordados os conflitos e as ambigüidades que permeiam o hip hop em sua trajetória, entrecruzando o ontem e o hoje, a partir do seu surgimento em Campinas (SP), há, aproximadamente, vinte anos. As relações tecidas entre o hip hop e a educação no processo de sua construção no município de Campinas foram igualmente consideradas
Abstract: The present work was developed in the area ¿Teaching, Evaluation and Formation of Professors¿, with the contribution of studies performed with the research group VIOLAR ¿ Laboratory of Studies on Violence, Imaginary, Socio-Cultural Practices and Formation of Professors ¿ Education School ¿ UNICAMP. The objective of this research was the study of the Hip Hop, which is considered as a socio-cultural movement that gathers three artistic manifestations: rap, break and graffiti. The conflicts and ambiguities that involve the Hip Hop in its trajectory were approached, including yesterday and today since its emergence in the city of Campinas (SP), about 20 year ago. The relationships verified between Hip Hop and education in the process of its construction in the city of Campinas were equally considered.
Mestrado
Ensino, Avaliação e Formação de Professores
Mestre em Educação

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Felix, João Batista de Jesus. ""Hip Hop: cultura e política no contexto paulistano"". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-01052006-181824/.

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Objetivo dessa tese é trazer uma visão ampla do Hip Hop. Diferentemente do que se têm afirmado em outras pesquisas, no nosso caso interessa tomar o movimento como conjunto, a fim de entender de que maneira, de um lado, existem diversas formas de compreender esse fenômeno e, de outro, como a dicotomia entre política e cultura torna-se central num debate. Antes de reiterar a polaridade nossa meta é mostrar como esses conceitos dialogam, e de uma forma e a um só tempo, tensa e ambígua. Para tanto analisamos o Hip Hop paulistano, sobretudo, a partir da visão de três posses e do gangsta rap. Nesses locais e nesse estilo musical, política e cultura funcionam como verdadeira moeda de troca.

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Gomes, Carin Carrer. "O uso do território paulistano pelo Hip Hop". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-01062012-154048/.

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O presente trabalho tem o intuito de dissertar sobre as desigualdades territoriais paulistanas e as resistências nos lugares a partir dessa condição. Entre paisagens de abundância e escassez, encontramos usos pelo Hip Hop que revelam a atual formação corporativa e fragmentada de São Paulo, cidade informacional. Entre os usos informacionais e corporativos de São Paulo e suas fragmentações engendra-se, desde a década de 80, o Movimento Hip Hop, o qual traz à tona novos usos dos objetos e ações que configuram São Paulo. Ao mesmo tempo em que a formação de São Paulo foi lugar para a modernização de projetos hegemônicos, os usos do território nos revelam que, no cotidiano das ações, cada local vive o encontro dessas racionalidades e, ao mesmo tempo, produz a contra-racionalidade pelas práticas da cultura. Por meio dos usos contemporâneos do território pelo movimento Hip Hop encontramos a razão dos lugares que conformam e são conformados pela prática dos Dj, Mc, Break e Grafitti. Mesmo com o acesso restrito às novas tecnologias da informação, o processo de criação em seus lugares é duplamente criativo pois, além da produção de suas atividades, cria meios à comunicação das suas práticas, sendo a comunicação territorial um importante instrumento do processo de produção e continuidade do Hip Hop. Assim, as investigações aqui apresentadas buscam compreender como um território cada vez mais preparado às ações de interesses capitalistas abriga e fortalece a prática do movimento Hip Hop. Este movimento funde relações territoriais corporativas à escassez produzida em seus locais, valorizando e veiculando a consciência dos usos do território pelo lugar e pela cultura.
The present work aims to understand the inequalities that take place in the paulistano territory and every resistance that arise against them. Among landscapes that range from abundance to shortage, we found that territory usage by the Hip Hop movement reveals the actual corporative and unequal configuration of the informational city, São Paulo. Among the informational and corporative uses of São Paulo city and also its fragmentations, the Hip Hop movement emerged in 1980s brings new possibilities of using objects and actions that form the São Paulo city. At the same time in which the São Paulo city formation was characterized by the modernization of big projects, the territory usage actually reveal us that in the daily actions each place lives its own rationality creating at the same time the counter rationality by the culture practice. By the contemporaneous usages of the territory by the Hip Hop movement we found the reason created by the practices of the Dj, Mc, Break e Grafitt. Even whit restrict access to new informational technologies, the creative process in those places are doubly creative since they produce their own activities and create a way to communicate their practices, revealing the territorial communication as an important instrument to the production and even continuity of the Hip Hop. Therefore, in the scrutiny here presented we sought to comprehend how a territory prepared to the capitalist interests hold and strengthen the emergence of movements such as the Hip Hop that favors the fusion of territorial corporative relationships to the shortage produced in those places, valuating and casting the conscience of using the territory by the place and culture.

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Machado, Carlos Geovani Ramos. "O Ensino de geografia e o Hip Hop". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/56237.

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A pesquisa, na qual trilhamos esta caminhada acadêmica fundamenta-se na análise e interpretação sobre o Movimento Hip Hop e a sua relação com o ensino da Geografia. Ao longo deste estudo foram trabalhados conceitos geográficos que subsidiaram nossos argumentos, tais como: espaço, lugar, território e paisagem. Ainda dialogamos com alguns conceitos secundários porém, não menos importantes tais como: cultura, identidade, cidade, representações sociais, espaço-escola e comunicação. Ao mergulharmos nossas inquietações no movimento hip hop, buscamos verificar se é possível a lugarização do sujeito a partir de sua metalinguagem, facilitando, ou não a construção do conhecimento geográfico. Refinamos nossas argumentações transitando pela Teoria do Pensamento Complexo, de Edgar Morin que nos levou a interpolações questionadoras sobre as contradições do cotidiano dos Sujeitos rappers, avaliando sua cultura originária das ruas, guetos e da periferia, buscando a compreensão destas relações com o universo escolar e a aprendizagem; examinando suas ações e sua busca pela superação dos problemas sociais, preconceitos e abandono, tendo no conhecimento um objetivo importante em suas trajetórias. O estudo realizado teve como ferramenta a pesquisa qualitativa que nos possibilitou entrevistas semiabertas, buscando fugir das simplificações, dialogando, duvidando ou reafirmando, provisoriamente os conceitos sociais e geográficos. O espaço urbano, especialmente a periferia, foi o pano de fundo deste cenário pesquisado, lugar onde ocorrem as diferentes manifestações protagonizadas pelos Sujeitos jovens da cultura hip hop.
This research, in which we have walked this academic path, is based on the analysis and interpretation of the Hip-hop Movement and its relationship with the teaching of geography. Throughout this study some geographical concepts were used and subsided our arguments, such as space, place, territory and landscape. We will also dialogue with some secondary concepts – which nonetheless are not less important by this fact such as culture, identity, social representations, city, scholar space, and communication. As we plunge our concerns into the hip-hop movement, we wish to verify whether or not it is possible for the subject to find their geographical identity from its metalanguage, thus facilitating the construction of geographical knowledge. We immersed our arguments through Edgar Morin’s Complex Thinking Theory, which allowed us to interpolate questions to the contradictions of the rappers’ subject in everyday life, evaluating their culture, which comes from the streets, the ghettos, the suburbs, seeking to understand these relations with the school universe and with the learning process, examining their actions and their struggle to overcome their social problems as well as prejudice and neglection, having the knowledge as an important goal in their trajectories. This research used qualitative research as its main tool, allowing us to do semi-open interviews, attempting to avoid simplifications, dialoguing, questioning or reaffirming, in a provisional way, the social and geographical concepts. Urban space, its suburbs particularly, were the background for this research, the place where different actions occurs starred by these young subjects of hip hop culture.

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Cogoy, Carlos Alberto Jardim. "Hip Hop pelotense: saberes educativos desafiando a opressão". Universidade Federal de Pelotas, 2015. http://repositorio.ufpel.edu.br:8080/handle/prefix/2899.

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Esta dissertação enfoca o movimento Hip Hop de Pelotas. Através de quatro entrevistas e material jornalístico, propõe-se a identificar aspectos da história, saberes educativos e a perspectiva como movimento social. Como metodologia, a investigação com aplicação de questionários. As declarações dialogaram com a bibliografia e documentos. No desenvolvimento, reflexões sobre o tema com conceitos da filosofia e educação. O pensamento de Karl Marx e Paulo Freire, em referências como práxis e opressão, balizam a reflexão. Também são abordados os conceitos de indústria cultural e multiculturalismo. A base teórica contrasta com o empírico. Cada entrevistado representa um dos quatro elementos que constituem o Hip Hop. Nas declarações, história pessoal, descoberta e envolvimento com o Hip Hop. Também a manifestação popular como fonte de aprendizado. Experiências em escolas, com oficinas e palestras. Educação não formal e o Hip Hop escolar.Movimento como espaço político de denúncia, reivindicação e ações coletivas. Abordagens sobre a questão étnico-racial. Preconceito, discriminação e racismo. Nos relatos a cultura da periferia. Movimento que resgata diante da realidade de drogadição e violência. A pesquisa também perpassa conceitos como capitalismo e pós-modernidade. Como resultado da pesquisa, movimento Hip Hop que apresenta ambiguidades. Mas também Hip Hop pelotense com potencial crítico, educativo e de mobilização coletiva.
This dissertation focuses on the Hip Hop movement in Pelotas. Through four interviews and journalistic material, it is proposed to identify aspects of the history, educational knowledge and perspective as a social movement. The methodology research will be through questionnaires. The statements are interconnect with bibliografy and documents. In the development, reflections on the topic concepts of philosophy and education. The thoughts of Karl Marx and Paulo Freire, references as praxis and oppression, mark out the reflection. Will be also presented the cultural industry concepts and multiculturalism aspects. Theoretical concepts contrasting with the empirical basics. Each enterviewed person represents that make up the Hip Hop in each statements, personal history, discovery and involvement with Hip Hop that is also a popular manifestation as a source of learning experiments in schools, workshops and lectures. Informal education and Hip Hop School. Movement as a political complaint, as claim and collective actions. Approaches to ethnic-racial issue. Prejudice, discrimination and racism. In the reports the culture of the suburbs. Movement that rescues before the reality of drug addiction and violence. The survey also permeates concepts as capitalism and postmodernity. But also Pelotas’ hip hop as a critical and educational component, with potential collective mobilization as potential.

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Morris, David Z. "Minzoku madness: hip hop and Japanese national subjectivity". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/558.

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Japan is currently undergoing a subtle but pervasive social upheaval, a period of broad structural reform and soul-searching triggered by the rigors of the collapse of the hyperinflated "Bubble Economy" of the late 1980s. As the nation confronts the irretrievable loss of that economic mass delusion, it is turning instead to the reclamation of a quality of life sacrificed for much of the 20th century to national ambition for first military, and then economic pre-eminence. Historian Jeff Kingston has claimed that the ongoing changes, ranging from the reduction of working hours to the institution of freedom of information laws, have been equal in magnitude to those following the Meiji Restoration and Japan's defeat in World War II. Arguably, they represent the long-delayed fruition of postwar democratizing reforms. This dissertation examines the role of American popular music, and particularly hip hop, in reflecting and shaping these changes. Starting with the 1920s and 1930s, when jazz-loving "modern girls" stood for the alluring and threatening decadence of urbanization, the influence of American music on Japan has been strong for decades. This influence came to full flower during and after Japan's surrender and subsequent occupation, as exemplified by successive trends for everything from rockabilly to country and western to folk. Though obviously the condition of occupation enhanced the exchange of musical texts, and did exercise particularly economic pressure on Japanese musicians to adopt American styles, it is not simply a case of cultural adaptation motivated by domination of force. The central testament to this is the eventual role African-American music - not just jazz, but rock, funk, and soul - took on as the 'music of resistance,' initially in connection with the student protests that marked Japan in the 1960's. Such an articulation shows the powerful role of Japanese desire, particularly on the part of youth, for the America represented by popular music. Most recently, hip hop has shown the continued attraction African-American music holds for Japanese people, and youth in particular. Hip hop reached Japan in the early 1980s and entered the mainstream with East End X Yuri's million-selling pop-rap singles of the mid-1990s. Its prominence continues to this day, in many cases embodied in Japanese artists who imitate African-American styles and sounds wholesale. Such imitation has been roundly criticized by international critics and commentators, condemned as contextless cultural theft and a testament to Japanese insensitivity on matters of race. In my study I examine a cadre of contemporary musicians who, while equally dedicated to hip hop, firmly resist such uncritical imitation of blackness, instead emphasizing their own unique musical and cultural innovations. I argue that this transition from imitation to innovation mirrors a broader cultural shift away from widespread deference to authority and towards a greater openness to innovation and change, and is just one way that the work of Japan's underground hip hop artists resonates with the ongoing 'quiet revolution.' Hip hop has encountered a few particularly important ongoing social changes: that from a lifetime employment system to one increasingly characterized by temporary and part-time labor; from a self-declared homogenous society to a multicultural one; and, more generally, from one defined by elite emphasis on social compliance and loyalty to a wider acceptance of iconoclasm and individuality. It is tempting to classify this as the transition from an 'oppressive' system to a 'free' one - from bad to good. But there are complexities and ambivalence inherent in the emergent situation. For example, while the new employment model provides much greater flexibility for individuals and frees them from the past tyranny of the corporate system, it also exposes them to much greater financial uncertainty. The rising sense of self-worth among minorities, for which hip hop is an important channel, simultaneously threatens to transform these identities into objectified fetishes. Individuality is not without its costs. Meanwhile, hip hop is also being deployed in ways that reinforce the old model of deference and authoritarianism, particularly by artists who promote revisionist histories and the revival of militarism. The significance of hip hop for social change derives from a long history of interaction between Japanese and African-American culture. This history resurfaces in hip hop recordings, as well as in the lifestyle of urban musicians and fans. This dissertation follows the daily lives and viewpoints of hip hop artists in Tokyo and throughout Japan, from some of its most successful to those just starting their careers. It tracks their music-making processes and their practices of cultural adaptation, and places them within the larger context of Japanese society. It ultimately describes how an art form derided as imitative and derivative has come to reflect the very unique contours of the new soil to which it has been transplanted.

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