6: Hip-Hop and Other Revolutions
- Page ID
- 292823
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 6.1: Introduction - Hip-Hop and Other Revolutions
- This page examines the origins and evolution of hip-hop dance and culture from the 1970s Bronx, rooted in African poetic traditions. It covers key elements like breakdancing, music, graffiti, and the contributions of DJs and MCs, highlighting hip-hop as a means of social identity and rebellion. The chapter also addresses hip-hop's global expansion and its mixed effects on contemporary culture, portraying it as a vibrant community practice that encourages expression and transformation.
- 6.2: The Birth of Hip-Hop
- This page details the emergence of breakdancing in 1970s New York's ghettos, initiated by DJ Kool Herc during block parties, which led to the terms "b-boy" and "b-girl." Afrika Bambaataa later coined "hip-hop" to channel artistic expression for reducing street violence. The culture, characterized by rhythmic beats, dance, MCs' rhymes, and graffiti, evolved globally, transcending its roots and becoming a powerful expression for youth worldwide by the 21st century.
- 6.3: Hip-Hop Coast to Coast
- This page outlines the evolution of hip-hop dance from its New York origins to California by 1973, highlighting key developments like Don "Campbellock" codifying dance moves, the rise of popping by the Electric Boogaloos in the late 1970s, and the mainstream popularity brought by groups like the Rock Steady Crew and MC Hammer in the 1980s. The emergence of krumping in the early 2000s emphasized emotional expression, while the cypher exemplified a communal appreciation of individual talent.
- 6.4: The Rhythm of Graffiti
- This page discusses the importance of graffiti in hip-hop culture, tracing its roots to the 1970s as an urban art form often created illegally. It serves as a medium for territorial claims by street gangs and expresses the voices of marginalized communities worldwide through political messages. Notable artists like Banksy are mentioned for their social commentary.
- 6.5: Corporate Sponsorship of Hip-Hop
- This page discusses the evolution of hip-hop, particularly focusing on Run-DMC's 1986 song "My Adidas," which initiated corporate endorsements in the genre. Contemporary artists now embrace brand partnerships that were once deemed 'selling out.' While rappers may mention brands for sponsorship deals, this shift raises questions about hip-hop's integrity.
- 6.6: Crossing Cultural Boundaries
- This page discusses the global influence of hip-hop, highlighting its cultural adaptability. It illustrates how various countries, including Germany, New Zealand, Brazil, France, and South Korea, have integrated local traditions with hip-hop, creating unique genres. Examples include Fehlfarben's "Militürk" in Germany, "Poi E" in New Zealand, and Brazil's fusion of rap and samba.
- 6.7: Why is Hip-Hop Important?
- This page discusses hip-hop as a controversial art form that, despite its glorification of violence and negative themes, serves as a vital means of expression and cultural unity. It highlights the positive aspects of hip-hop dance for youth and the potential of rap music to address social issues, respect, and familial values. Additionally, some artists advocate for peace and political stability, exemplified by the Black Daps' performance in Niger.
- 6.8: Hip-Hop is Revolution
- This page highlights the role of hip-hop as a voice for the oppressed during the Arab Spring, showcasing artists like El General and Abdulla Darrat who inspired activism against oppressive regimes. Egyptian and Algerian hip-hop similarly expressed dissatisfaction with governments, while Syrian-American artist Omar Offendum focused on human suffering in conflict, addressing his privilege and responsibilities as an artist in the U.S.
- 6.9: Communities of Practice- Hip-Hop’s Collective Responsibility
- This page discusses the importance of communities of practice in hip-hop, examining its cultural, historical, and political facets. It outlines hip-hop's evolution from New York's block parties to its worldwide influence, especially in North Africa. The text emphasizes hip-hop as a medium for intercultural dialogue, civic engagement, and social change, urging artists to focus on advocacy for marginalized voices instead of succumbing to commercial pressures.
- 6.10: References
- This page presents a collection of references and articles examining hip-hop culture and its intersections with other art forms like dance. Key authors explore hip-hop's history, cultural significance, and global influence, alongside discussions on product placement in rap, Caribbean music's role in Black culture, and the development of dance education amid cultural nationalism. The summaries emphasize the richness and diverse contributions of hip-hop and related cultural movements.
Thumbnail: Breakdancing. (Unsplash license; Zac Ong via Unsplash)