scholarly journals "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

2021 ◽  
Author(s):  
Christopher Joseph Cachia
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Self Presentation ◽  
Self Identity ◽  
Hip Hop Culture ◽  
Cultural Artifact ◽  
Musical Production ◽  
Hip Hop Music ◽  
Artistic Self ◽  
Specific Concern

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.

scholarly journals "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

2021 ◽  
Author(s):  
Christopher Joseph Cachia
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Self Presentation ◽  
Self Identity ◽  
Hip Hop Culture ◽  
Cultural Artifact ◽  
Musical Production ◽  
Hip Hop Music ◽  
Artistic Self ◽  
Specific Concern

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.

Affective Gestures

2017 ◽  
Author(s):  
Miles White
Keyword(s):  
Material Culture ◽  
Community Of Practice ◽  
Hip Hop ◽  
The Body ◽  
Individual Identity ◽  
Historical Evolution ◽  
Hip Hop Culture ◽  
Hip Hop Music

This chapter looks at the ways in which the body, aesthetic features of hip-hop music, and the material culture that surrounds it are deployed to construct affect and help delineate between what is meant by hard and hardcore, both as music and as masculine performance. In hip-hop culture, uniqueness and the expression of individual identity are prioritized through behavior, modes of dress, language, and other ways. Those who adopt these styles of behavior in mannerism, dress, speech, or attitude become part of a community of practice that is able to persist because the expressive codes associated with the culture have the power to invoke it through any number of performative texts. The chapter also traces the historical evolution of hip-hop culture from a largely benign music to something more malevolent.

Investigating Cultural Collision: Educators’ Perceptions of Hip-Hop Culture

2013 ◽  
Vol 8 (2) ◽  
Author(s):  
Floyd D. Beachum
Keyword(s):  
Hip Hop ◽  
Energy Drinks ◽  
Hip Hop Culture ◽  
Television Programming ◽  
Hip Hop Music ◽  
The Media

AbstractHip-hop music has been embraced worldwide by youth, pummeled in the media for supposedly increasing social misery and hailed as a significant musical breakthrough. Hip-hop culture has transcended musical boundaries and now impacts speech, clothing, mannerisms, movies, websites, television programming, magazines, and energy drinks (

Introduction

Renegades ◽  
2021 ◽  
pp. 1-19
Author(s):  
Trevor Boffone
Keyword(s):  
Social Media ◽  
Identity Formation ◽  
Hip Hop ◽  
Pop Culture ◽  
Entry Point ◽  
Hip Hop Culture ◽  
Extant Literature ◽  
Digital Communities ◽  
Youth Identity ◽  
Digital Spaces

The Introduction begins with an overview of the Renegade dance’s popularity and the major players who made the dance challenge go viral—namely, TikTok sensation Charli D’Amelio who is the app’s most-followed account, and Georgia teen Jalaiah Harmon who created the dance but wasn’t given any credit for it until the Dubsmash community mobilized around her. The story of the Renegade dance challenge, D’Amelio, and Harmon serves as an entry point into a conversation about the teen artists of color in this book, whom the book labels “Renegades.” Riffing off the viral “Renegade” dance to K-Camp’s “Lottery,” the book reappropriates the term to embody the nuanced ways that Dubsmash users, or self-professed Dubsmashers, use digital hip hop culture and platforms to push again the pervasive Whiteness in mainstream US pop culture, as evidenced on apps such as TikTok. Renegades take up visual and sonic space on social media apps to self-fashion identity, form supportive digital communities, and exert agency to take up space that is often denied to them in other facets of their lives. The Introduction continues with a review of extant literature in social media and youth identity formation, with a particular focus on how Black teens engage with digital spaces. From there, it lays the groundwork for a theory of “Renegades.”

Hip-Hop and Haring: Pop Culture and Interdisciplinary Learning for the General Music Classroom

2020 ◽  
Vol 34 (1) ◽  
pp. 6-13
Author(s):  
Martina Vasil
Keyword(s):  
Popular Culture ◽  
Hip Hop ◽  
High Stakes Testing ◽  
General Music ◽  
High Stakes ◽  
Hip Hop Culture ◽  
Interdisciplinary Learning ◽  
Music Classroom ◽  
Hip Hop Music ◽  
Interdisciplinary Projects

Teachers are searching for accessible, relevant, and engaging lessons for students as elementary classrooms grow more diverse and high-stakes testing constrict curricula and recess time. General music teachers may consider implementing lessons that blend popular culture with collaborative, interdisciplinary projects. Artist Keith Haring was inspired by 1980s hip-hop music and drew break dancing figures in much of his artwork. Both Haring’s artwork and hip-hop culture have broad appeal and are accessible to students. The purpose of this article is to share an exploratory series of lessons that used hip-hop music and dance in conjunction with the artwork of Haring. The author provides a brief background on 1980s hip-hop music and break dancing and the artwork of Haring, then delves into the details of the collaborative art and music project completed with grades K–5. Tips for bringing popular culture into the general music classroom are offered.

Contesting Meanings in the Postmodern Age

Matatu ◽  
2016 ◽  
Vol 48 (2) ◽  
pp. 335-362 ◽  
Author(s):  
Michael Tosin Gbogi
Keyword(s):  
Hip Hop ◽  
Youth Culture ◽  
Hip Hop Culture ◽  
Under Five ◽  
Production And Consumption ◽  
Hip Hop Music

Recent years have seen an explosion in the production and consumption of hip hop music in Nigeria. From the MTV Africa Music Awards to the BET Awards, Nigerian hip hop heads have continued to push the boundaries of their music on the international front, linking it, in the process, to a sort of global Hip Wide Web. Yet, despite these breakthroughs, the general perception of the discursive landscape of this music is not altogether positive in Nigeria itself. In particular, the message(s) of the music’s lyrics has been severally described as a venture that has no meaning beyond its noisy character. This is especially the case when the music is being evaluated by older generations of Nigerian critics who do not share in, and are almost averse to, the hip hop culture that has newly ascended as the dominant youth culture. Problematizing these evaluations under five paradigms—crossing, multilingualism, and styling, repetition, inversion of order, meaninglessness, and pornography—this essay contends that what appears as meaninglessness in Nigerian hip hop music inscribes a masked matrix of meanings in the postmodern age. It argues that the elements of the lyrical gamut that are often perceived as meaningless are in fact meaningful and valuable resources that the artists, and by extension their audience members, harness to perform their generational ingroupness and multiplex postmodern identities.

Queer Hip Hop

2018 ◽  
Author(s):  
Shanté Paradigm Smalls
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
Music Industry ◽  
Hip Hop Culture ◽  
Hip Hop Music ◽  
Bisexual And Transgender ◽  
History Of

This chapter explores the relatively long history of the queer presence inside of hip hop cultural production. Starting in the late 1970s and ending in the current moment, this historiography argues that queer and/or lesbian, gay, bisexual, and transgender (LGBT) artists in hip hop music have chartered and navigated perilous landscapes—in the music industry, in hip hop culture, and in the broader US pop terrain. The discussion details the notable queer artists, some known and some forgotten, who have made possible the seeming ease with which queer and queer-friendly artists emerging in the 2000s and afterward have captured audiences in multiple mainstream areas.

Promiscuous πόρναι, Bad Bitches, and Misogynistic Masculinities: A Queer, Imperial-Critical Analysis of Revelation and Rap

2019 ◽  
Vol 27 (1) ◽  
pp. 130-149
Author(s):  
O’neil Van Horn
Keyword(s):  
Hip Hop ◽  
Critical Analysis ◽  
Gender And Sexuality ◽  
Book Of Revelation ◽  
Hip Hop Culture ◽  
First Order ◽  
Resistance Literature ◽  
Hip Hop Music ◽  
Drag Kings ◽  
The Relationship

Abstract If the Book of Revelation is anti-imperial resistance literature of the first order, hip-hop music is its contemporary equivalent – with Kendrick Lamar as one of its most politically sensitized “prophets.” I will explore the intersections, commonalities, and divergences between Revelation 17-18 and rapper Kendrick’s “For Sale? (Interlude),” especially regarding notions of empire, gender, and sexuality. I will draw connections between the characters of “For Sale” – Kendrick and Lucy – and those of Revelation 17-18 – John of Patmos and Babylon. This analysis will reveal the relationship between anti-imperial rhetoric and the troubling “effemination” of empire. I contend that Babylon and Lucy are both figures “in drag,” dis/closing the prevailing imperial and misogynistic forces of their respective cultures. This queer interpretation, playing off Catherine Keller’s and Stephen D. Moore’s reading of the text and J. Jack Halberstam’s study of drag kings, seeks to unveil the hypermasculine performances in both Revelation and contemporary hip-hop culture.

Introduction

2011 ◽  
Vol 40 (3) ◽  
pp. 1-3
Author(s):  
Christopher Driscoll
Keyword(s):  
African American ◽  
American Academy ◽  
Annual Meeting ◽  
Hip Hop ◽  
Religious Studies ◽  
Hip Hop Culture

At the 2010 annual meeting of the American Academy of Religion held in Atlanta, GA, a group of young scholars organized a wildcard session titled “What’s This ‘Religious’ in Hip Hop Culture?” The central questions under investigation by the panel were 1) what about hip hop culture is religious? and 2) how are issues of theory and method within African American religious studies challenged and/or rethought because of the recent turn to hip hop as both subject of study and cultural hermeneutic. Though some panelists challenged this “religious” in hip hop, all agreed that hip hop is of theoretical and methodological import for African American religious studies and religious studies in general. This collection of essays brings together in print many findings from that session and points out the implications of hip hop's influence on religious scholars' theoretical and methodological concerns.

Sign in / Sign up

Export Citation Format

Share Document