scholarly journals Showing Out

2021 ◽  
Vol 4 (2) ◽  
pp. 43-64
Author(s):  
Toby S Jenkins ◽  
Gloria Boutte ◽  
Kamania Wynter-Hoyte
Keyword(s):  
Hip Hop ◽  
Cultural Experience ◽  
Hip Hop Culture ◽  
Freedom Of Movement ◽  
Educational Spaces ◽  
Cultural Praxis ◽  
Cultural Legacies

In this essay, we center hip-hop culture and Black cultural legacies.  We envision and offer a two-fold framework which illuminates the intersection between the two. We explore ways that the Black cultural experience (or better yet Black cultural praxis) has always brilliantly and organically demonstrated the shape and form of a scholarship of consequence.  Black cultural praxis, or reflective action with a Black emancipatory influence, has always allowed freedom of movement, freedom of body, freedom of tongue, and freedom of voice. We translate what this cultural praxis teaches and urges regarding the transformation, unbinding, and freeing of both educators and educational spaces. We demonstrate how the intersection of hip-hop culture and Black cultural legacies can be instructive and transformative to educators. We invite educators to reimagine their classroom spaces by not only focusing on learning about hip hop but from it as well.

Hip hop education = informed artist citizens

2019 ◽  
Vol 3 (2) ◽  
pp. 359-362 ◽  
Author(s):  
Patrick K. Cooper
Keyword(s):  
Music Education ◽  
Doctoral Students ◽  
Hip Hop ◽  
White Privilege ◽  
Spoken Word ◽  
Hip Hop Culture ◽  
Person Perspective ◽  
Art Form ◽  
Educational Spaces ◽  
Hip Hop Education

What follows is a spoken word piece delivered at the Suncoast Music Education Research Symposium in February of 2019 to a group of higher education faculty and doctoral students. It is the intersection of hip hop lyrics and my white privilege, effectively composed as an artistic response to demonstrate the deep knowledge contained within hip hop lyrics and the value gleaned from their critical analyses. The impetus for this piece was my desire to show the conference attendees an alternative to perpetuated and damaging stereotypes about hip hop, a problem which I perceive as the prevalent understanding of hip hop culture and the dominant critique used to oppress this beautiful art form in educational spaces. A caveat about how I chose to sample some of the lyrics is worth mentioning. In some cases, the first-person perspective of the artists, embodied by their use of ‘I’ or ‘we’ in a song, was not appropriate and lyrics were altered to ‘they’ or ‘them’. This choice was to show internal reflection rather than to imply a lived or even co-opted experience by the author. It is important to stress ‘they’ have informed ‘me’. Jvaust as listening to a piece of music would likely be more powerful than studying the score, this piece may best be received by watching the performance.

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.

IMAGINING A BETTER WORLD:

2018 ◽  
Vol 15 (02) ◽  
pp. 353-385
Author(s):  
Lakeyta M. Bonnette-Bailey ◽  
Ray Block ◽  
Harwood K. McClerking
Keyword(s):  
African Americans ◽  
Civic Engagement ◽  
Political Participation ◽  
Hip Hop ◽  
Youth Culture ◽  
Black Youth ◽  
Black Music ◽  
Hip Hop Culture ◽  
Negative Messages ◽  
Mass Level

AbstractDespite a recent increase in research on its sociopolitical implications, many questions regarding rap music’s influence on mass-level participation remain unanswered. We consider the possibility that “imagining a better world” (measured here as the degree to which young African Americans are critical of the music’s negative messages) can correlate with a desire to “build a better world” (operationalized as an individual’s level of political participation). Evidence from the Black Youth Project (BYP)’s Youth Culture Survey (Cohen 2005) demonstrates that rap critique exerts a conditional impact on non-voting forms of activism. Rap critique enhances heavy consumers’ civic engagement, but this relationship does not occur among Blacks who consume the music infrequently. By demonstrating rap’s politicizing power and contradicting certain criticisms of Hip Hop culture, our research celebrates the possibilities of Black youth and Black music.

Promoting Academic Literacy with Urban Youth through Engaging Hip-Hop Culture

2002 ◽  
Vol 91 (6) ◽  
pp. 88 ◽  
Author(s):  
Ernest Morrell ◽  
Jeffrey M. R. Duncan-Andrade
Keyword(s):  
Urban Youth ◽  
Hip Hop ◽  
Academic Literacy ◽  
Hip Hop Culture

Policing in a Largely Minority Jurisdiction: The Influence of Appearance Characteristics Associated with Contemporary Hip-Hop Culture on Police Decision-Making

2017 ◽  
Vol 34 (7) ◽  
pp. 1310-1338 ◽  
Author(s):  
Dean A. Dabney ◽  
Brent Teasdale ◽  
Glen A. Ishoy ◽  
Taylor Gann ◽  
Bonnie Berry
Keyword(s):  
Decision Making ◽  
Hip Hop ◽  
Hip Hop Culture ◽  
Police Decision Making

Preserving hip hop culture

2004 ◽  
Vol 18 (2) ◽  
pp. 207-214 ◽  
Author(s):  
Marcyliena Morgan
Keyword(s):  
Hip Hop ◽  
Hip Hop Culture

Movimiento Hip Hop en Ciudad de Punta Arenas. / Hip Hop Culture in Punta Arenas

2014 ◽  
Vol 3 (06) ◽  
pp. 67-81
Author(s):  
Pablo Tascón España
Keyword(s):  
Social Sciences ◽  
Young People ◽  
Social Structure ◽  
Cultural Change ◽  
Hip Hop ◽  
Hip Hop Culture ◽  
Current Action ◽  
The Social ◽  
Historical Root ◽  
The City

El presente estudio busca comprender bajo un enfoque naturalista cómo en un periodo denominado por autores de las Ciencias Sociales ( Bajoit, 2009; Sandoval, 2010) de “cambio cultural”, emerge el movimiento Hip Hop y su particular forma de expresión en la ciudad de Punta Arenas. La investigación tiene un objetivo central y busca interpretar la relación entre la expresión contracultural y los jóvenes que son parte de tal, como así también sus significados respecto al ser actores del mismo. La investigación pretende identificar, entonces, la lógica de acción actual de los jóvenes y a su vez dilucidar si existe relación o no con la raíz histórica del movimiento Hip Hop, es decir una expresión de disidencia en razón de la estructura social establecida y las contradicciones que afloran de la misma. The following study aims to understand under the naturalist approach how in a period called for authors of the social sciences (Bajoit, 2009; Sandoval, 2010) of “cultural change”, emerges the Hip Hop movement and its particular form of expression in the city of Punta Arenas. The research has a main objective and seeks to interpret the relation between the expression counterculture and the young people that are part of it, likewise the meaning concerning to be actors of it. The research pretends to identify the logic of current action of the youngsters and at the same time elucidate if there is a relation or not with the historical root of the movement “Hip Hop”, i.e. an expression of dissent aiming with the social structure established and the contradictions that came out from itself.

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