Some people might regard the language of hip-hop as being crude, sexist and inappropriate. Nevertheless, hip-hop culture can also be considered as one of the underground sources of word-formation and language change in mainstream English. Young people have always been a source of language variation and lexical innovation whether we like it or not. This essay is focusing on three words frequently used in hip-hop lyrics, namely pimp, queer and chick. The aim of the study is to analyse the semantic change on these words as they are used in hip-hop music and find out whether hip-hop culture has had an influence on the mainstream usage of these words. The method used was to study the usage and frequency of these words in hip-hop lyrics and analyse whether there was a similar use in a large diachronic newspaper corpus of American English. The material was predominately found in The Original Hip-hop Lyrics Archive (ohhla.com) and The TIME Magazine Corpus (corpus.byu.edu). The results of this study show examples of semantic change in both hip-hop lyrics and mainstream American English and it is concluded that hip-hop culture has an influence on mainstream language above all among the youth.

The aim of this study is to gain insight into Swedish hiphop culture and some important values connected to the culture. This essay will strictly focus on the kind of values Swedish rappers describe in their lyrics regarding the streets, the suburbans and their neighborhood. My analysis is built upon eight rap albums by different rappers originating from a few of the bigger cities of Sweden. I use Laclau & Mouffe’s discourse theory to analyse the material which exposed a hiphop ideal regarding a tough background, a factor that seems to be highly valued and put above the basic four elements of the culture. I also found that Swedish rappers romanticize the former Swedish prime minister Olof Palme and his era, which is a unique spin in comparison with a lot of different countries’ national hiphop discourses, which often lack a particular time to idolize. The aim of this study is to gain insight into Swedish hiphop culture and some important values connected to the culture. This essay will strictly focus on the kind of values Swedish rappers describe in their lyrics regarding the streets, the suburbans and their neighborhood. My analysis is built upon eight rap albums by different rappers originating from a few of the bigger cities of Sweden. I use Laclau & Mouffe’s discourse theory to analyse the material which exposed a hiphop ideal regarding a tough background, a factor that seems to be highly valued and put above the basic four elements of the culture. I also found that Swedish rappers romanticize the former Swedish prime minister Olof Palme and his era, which is a unique spin in comparison with a lot of different countries’ national hiphop discourses, which often lack a particular time to idolize.

Ottawa’s Capital Slam poetry scene has transformed over the past decade, marking a shift in the identities, discourses and performance styles of local poets. This thesis investigates these changes and trends within the time periods of 2008-2010 and 2012- 2014. This thesis demonstrates the shift from male poets of colour in 2008-2010 to female voices in 2012-2014 at Capital Slam, through an examination of Ottawa’s history and a multimodal critical discourse analysis of online performances. In particular, the creation of local alternative poetry shows over the past five years has increased the representation of female poets and transformed the racial dynamics of the scene. During the period 2008-2010 and 2012-2014, poets used key historical elements of slam poetry such as storytelling and speaking through personal experiences to effectively demonstrate how marginalized individuals can speak counter-narratives to dominant culture. The use of storytelling allowed these poets to engage, connect and dialogue with the audience, as well as demonstrate their different identities, discourses and performance styles.

Este es un estudio que tiene como primer objetivo destacar el papel y la vulnerabilidad de las mujeres en Venezuela a través del análisis de tres canciones de la artista de hip hop Mestiza. Seguidamente, valorar  la posibilidad de su aplicación didáctica en la enseñanza del español como lengua extranjera, previamente trabajados los textos teniendo en cuenta la edad y el nivel de los alumnos.  Para realizar el estudio utilizamos tres canciones cuyo tema principal es el rol que desempeña la mujer en la sociedad actual de Venezuela, y con ayuda de la teoría de interseccionalidad enfocamos en los aspectos: sexo, sexualidad y poder. Los resultados muestran la notable dependencia de la mujer hacia el hombre, sobre todo limitada en la esfera laboral, estatus social y económico, lo que en consecuencia obliga a las mujeres a valerse de su aspecto para atraer a hombres con poder y así subir en la escala social.

Hip-Hop music is bigger than ever, a development that some states watch with Argus eyes. The latter is especially the case when the content that hip-hop artists produce is critical towards the circumstances in their country. In various cases, regimes subsequently attempt to repress and silence these critical hip-hop performances and artists. It is that phenomenon that this study explores, trying to find an answer to the conundrum of why some regimes employ hard repressive measures to silence critical hip-hop whereas other states use soft repression. The lens of questioning what regime type a country has, will be used in order to try to uncover the answer. Due to regime type specific characteristics, it is expected that autocratic and democratic regimes use soft repressive measures, while hybrid regimes employ hard repression. This hypothesis is tested by using the method of Structured Focused Comparison and scrutinising the cases of Spain, Russia and China. Repression of critical hip-hop seems to vary a lot between cases and is rather haphazard. Hence, regime type does not seem to be the catalyst behind a certain form of repressive behaviour towards hip-hop. Instead, a variety of country specific factors seems to determine the course of repression.

No description available.

Este trabajo de investigación, mediante el uso de un profundo análisis histórico y musical, pretende determinar el papel del hip hop dentro de la música popular norteamericana. Para esto, se estudiará la historia del hip hop desde su surgimiento durante los años setenta, siguiendo su evolución y analizando a sus principales representantes, con el objetivo de descubrir cuál era la forma de trabajo de cada uno de ellos, pudiendo así, rescatar técnicas importantes que son fundamentales para el desarrollo del género, para finalmente, generar un concepto general de lo que significa el hip hop, musicalmente hablando. Posteriormente, se realizará un estudio similar con el mainstream pop norteamericano, centrándose especialmente en el aspecto musical, tomando como punto de partida sus influencias principales. A partir de los conceptos adquiridos durante este proceso, también se creará un concepto general, que envuelva, no solo los aspectos formales/musicales, sino también, los criterios estéticos que puedan ser útiles para finalmente comparar al mainstream pop con el hip hop. El resultado de esta investigación, revelará de la forma más profunda posible, la relación entre la música pop y el hip hop, una forma musical que durante mucho tiempo fue considerada de ghetto. Evidenciando, no solo la constante evolución de la música popular en el tiempo, sino la trascendencia de la música urbana afroamericana en la cultura popular de Estados Unidos y el mundo occidental. / This investigation, via the use of deep historical and musical analysis, has the objective of deciding the role of hip hop in today’s north american popular music. For this matter, we will study hip hop’s history, since it’s first appearance during the 70’s, following it’s evolution and getting to know it’s main representatives, attempting to discover their workflows, whilst rescuing fundamental techniques for the gender’s developement, finally coming to a general concept that wraps up everything hip hop means, musically speaking. Afterwards, an equally thourough studie will be made for mainstream pop, focusing specially on the musical side of it; taking its roots and influences as the main starting point. By these means, we will attempt to create a general concept that wraps up, not only the musical/formal aspects, but the aesthetic criteria that we may find useful to make a final comparison between hip hop and masintream pop. The result of this investigation will reveal in the thougroughest way posible, the relationship between north american popular music with a musical form that for a long time was considered “of the ghettos”. Proving, not only the constant evolution of the USA’s popular culture, but the transcendence of urban afro-american music in North America’s and all western world’s popular culture. / Trabajo de investigación

El presente estudio se centra en el proceso de investigación de la interrelación corporal entre bailarines de Hip Hop y la técnica Flying low, a través de un laboratorio práctico. Con este objetivo se busca diseñar una metodología que plantee vías eficientes y saludables para ingresar al suelo desde la apropiación de principios del Flying low por bailarines de Hip Hop. Asimismo, se propone un diálogo recíproco entre ambos lenguajes de movimiento para un intercambio equitativo, integrando patrones del Hip Hop en la técnica Flying low. Finalmente, se comparte reflexiones con base a los descubrimientos en el proceso y a su tentativa por aportar al bien común de la danza nacional. / The present study focuses on the research process about the corporal interrelationship between Hip Hop dancers and the Flying low technique, passing trought a practical laboratory. With this objective, it seeks to design a methodology that proposes efficient and healthy ways to enter into the ground from the appropriation of the Flying low principles by Hip Hop dancers. Likewise a reciprocal dialogue between both languages of movement is proposed for an equitable exchange, integranting Hip Hop patterns in the Flying low technique. Finally, reflections are shared base on the discoveries in the process and their attempt to contribute to the common wellness of national dance.

Cardi B and Meg Thee Stallion have no issues telling men how they can satisfy women. While WAP is considered vulgar and crude by some, the overall message is about outspoken intersectional feminism based on sex positivity and empowerment. Unapologetic of women’s sexuality, Cardi B and Meg Thee Stallion promote women’s right to sexuality and pleasure through power. They reject the male gaze and reverse the societal narrative by describing their standards for men’s sexual performance and stature. While the over-sexualization and objectification of women is societally acceptable in the patriarchy, Cardi B and Meg Thee Stallion’s rap in WAP aims to encourage the audience to critically think of how to combat and dismantle the power imbalance between genders in the current societal structure. Presenting women being assertive and demanding as a positive thing, as well as empowering women to own their sexuality places them in a dominant position which is uncommon in popular culture, especially in Hip-Hop. It can be debated that the over-sexualization and objectification of men is just as inhumane as it is for women, but is that not how sympathy is created? By putting oneself in another’s shoes? This tactic has been criticized in the media. Within the patriarchy, it is socially acceptable for men to be open about having their sexual needs met by women. The promotion of women owning their sexuality and therefore, advocating for themselves and their desires so that they can be satisfied by their partner, is actively discouraged. What Cardi B and Meg Thee Stallion are aiming to portray in WAP is the double standards enforced by men within the patriarchy which frames power as a positive in men and a negative in women, and make a point of this by extensively critiquing this in their song. While men are comfortable objectifying women and holding power over them, women making men feel uncomfortable when their power is stolen, is a means by which men can be compelled to increase their emotional intelligence and social awareness. There is no shame in taking power from men when it comes to the lyrics in WAP, and for research purposes, this makes an interesting and unique dynamic to thematically analyze through sexual script theory.

In this multimodal dissertation album, the author utilizes a Hip Hop Research Design framework to explore the youth poetry slam as a site of radical healing that embodies specific Hip Hop aesthetics. The author reflects on his own journey as a poet, musician, and Hip Hop based educator. Part novel, musical album, and collection of poems, this hybrid text employs a multimodal remix poetics. The dissertation extends the current literature on Hip Hop and education by utilizing specific Hip Hop aesthetics and literacies, such as sampling, as a way to critically reimagine Hip Hop pedagogy in K-12 classrooms. The aim of this study is to provide a new methodological framework for doing Hip Hop based research in education while connecting an embodied theory and practice. This innovative methodology is demonstrated through “samples” of personal and educational experiences that are remixed into a narrative exploration of the youth poetry slam as a site where young people practice critical Hip Hop literacies. The retrospective study contains original writing and interviews with four youth poets who participated in local and regional slams while high school students. The data in this study are original music and spoken word compositions created in Ableton Live and Adobe InDesign. This data are derived from poems, interviews, focus groups, field notes, and reflections about the intersections of Hip Hop, spoken word, and critical pedagogy. Finally, through a critical Hip Hop praxis, the author demonstrates how Hip Hop Based Education can be pushed towards a new frontier of activism, healing, and social change. The full multimodal text can be accessed at https://www.brianmooney.com/dissertation