scholarly journals Women’s voices in diaspora: hip hop, spoken word, Islam and web 2.0

2019 ◽  
pp. 231-247
Author(s):  
Cláudia Araújo
Keyword(s):  
Web 2.0 ◽  
Hip Hop ◽  
Life Stories ◽  
Cultural Practices ◽  
Social Activism ◽  
Muslim Women ◽  
Spoken Word ◽  
Women's Voices ◽  
Artistic Production ◽  
Musical Production

This paper focuses on the artistic production of four hip hop and spoken word artists belonging to the Muslim diaspora, Poetic Pilgrimage, Alia Sharrief, Hanouneh and Alia Gabres, aiming to understand if such cultural practices can be understood as forms of political, civic and social activism, with the potential to broaden or create alternative public spheres (Fraser, 1990). It articulates a form of musical production often associated with Islam, hip hop (Alim, 2005; Miah & Kalra, 2008), with spoken word, produced by Muslim women in diaspora, migrants or descendants of migrants, with different backgrounds and different life stories associated with Islam, allowing them effective voice in their self-representation, considered from their online presence (NTI and web 2.0). The diversity of the cultural producers and their forms of expression considered in this paper is understood as an example of the diversity within Islam and also as a denial of any orientalist stereotypes (Saïd, 1979) about Muslim women.

scholarly journals Vozes de mulheres em diáspora: hip hop, spoken word, Islão e web 2.0

2019 ◽  
pp. 213-230
Author(s):  
Cláudia Araújo
Keyword(s):  
Web 2.0 ◽  
Hip Hop ◽  
Spoken Word

Este trabalho foca-se na produção artística de quatro artistas muçulmanas em diáspora – Poetic Pilgrimage, Alia Sharrief, Hanouneh e Alia Gabres – nos géneros hip hop e spoken word, com vista a analisar se as suas práticas culturais podem ser consideradas formas de ativismo político, cívico e social, com o potencial de alargar ou criar esferas públicas alternativas (Fraser, 1990). Articula uma forma de produção musical frequentemente associada ao Islão – o hip hop (Alim, 2005; Miah & Kalra, 2008) –, com uma prática artística de escrita e recitação de poesia, o spoken word, produzidas por mulheres muçulmanas em diáspora, migrantes ou descendentes de migrantes, de diversas proveniências e origens, com diferentes histórias de entrada no Islão, focando a sua agência na sua auto-representação, através tanto da sua produção artística, como da sua presença online (NTI e web 2.0). A diversidade das produtoras culturais e das suas formas de expressão visa ser demonstrativa da diversidade existente no Islão e anular estereótipos orientalistas (Saïd, 1979) que se lhes queiram impor.

Hotep and Hip-Hop: Can Black Muslim Women Be Down with Hip-Hop?

Meridians ◽  
2007 ◽  
Vol 8 (1) ◽  
pp. 74-92
Author(s):  
Anaya McMurray
Keyword(s):  
Hip Hop ◽  
Muslim Women ◽  
Black Muslim

Knowledge of Self: Possibilities for Spoken Word Poetry, Hip Hop Pedagogy, and “Blackout Poetic Transcription” in Critical Qualitative Research

2020 ◽  
Vol 2 (1) ◽  
pp. 56-82
Author(s):  
Anthony Keith ◽  
Crystal Leigh Endsley
Keyword(s):  
Higher Education ◽  
Qualitative Research ◽  
Hip Hop ◽  
Spoken Word ◽  
Spoken Word Poetry ◽  
Critical Methodology ◽  
Critical Qualitative Research ◽  
Hip Hop Pedagogy ◽  
Poetic Transcription ◽  
Alternative Identities

This article traces the development of Blackout Poetic Transcription (BPT) as a critical methodology for artist-scholars engaged with Hip Hop pedagogy in higher education spaces.  We include Keith’s outline of the BPT method and Endsly’s first hand account of implementing the practice in an undergraduate classroom. Together, the authors grapple with mainstream and alternative identities within their Hip Hop praxis as spoken word artists and educators.

Salinas, Raúl

2020 ◽  
Author(s):  
Louis G. Mendoza
Keyword(s):  
Human Rights ◽  
Latin American ◽  
Hip Hop ◽  
Life Writing ◽  
Spoken Word ◽  
Literary Canon ◽  
Free Verse ◽  
Literary Traditions ◽  
Prisoner Rights ◽  
Literary Output

The poetry, memoirs, essays, letters, prison journalism, and other forms of writing by Raúl Salinas (1934–2008) were grounded in his commitments to social justice and human rights. He was an early pioneer of contemporary Chicano pinto (prisoner) poetry whose work was characterized by a vernacular, bilingual, free verse aesthetics. Alongside other notables like Ricardo Sánchez, Luis Talamentez, Judy Lucero, and Jimmy Santiago Baca, Salinas helped make Chicana and Chicano prisoner rights an integral part of the agenda of the Chicana/o Movement through his writing and activism while incarcerated (1959–1972) and following his release. He was also a prolific prose writer in prison, and much of his journalism, reflective life writing, essays, and letters from his archives were published following his release. As important as his literary and political production in prisons was for establishing his literary recognition, it is important to note that the scope of his writing expands well beyond his prison experience. Though his literary and political interventions were important to a still emergent Chicana and Chicano literary, cultural, and political aesthetic, he was influenced by, but was not limited to, American and Latin American literary traditions. Given the scope of his life’s work, his indigenous and internationalist commitments, Salinas’ literary output make him a Xicanindio (indigenous identified Chicano) poet, a Latino internationalist, as well as a spoken word jazz and hip-hop artist whose work engaged, adapted and transformed elements of the American literary canon.

Bucktown vs. 'G' Thang

2018 ◽  
Author(s):  
Andrew McIntosh
Keyword(s):  
20Th Century ◽  
West Coast ◽  
Hip Hop ◽  
Rap Music ◽  
East Coast ◽  
Cultural Practices ◽  
Late 20Th Century ◽  
Sound System ◽  
Recorded Music ◽  
East And West

This chapter explores one of American popular music’s most polarizing moments in the late 20th century, the ideological and aesthetic divide between East and West Coast hip hop cultural practices. In both public press and recorded music of the era, a persistent dialectic emerged, one where East Coast authenticity was contrasted against West Coast artifice. This chapter explores how, by rooting the identity of artists to their location, whether urban or suburban, such gestures served to create a distinction in the growing market for rap music in the 1990s. In addition to examining these professed differences, the chapter investigates underappreciated similarities in the origins of East and West Coast hip hop practices stemming from Jamaican Sound System culture.

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