vii, 41 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The purpose of this study was to identify and define the essential characteristics of hip hop dance. Hip hop dance has taken many forms throughout its four decades of existence. This research shows that regardless of the form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study of each of these characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. Defining these vital characteristics in the vernacular context should help dancers, scholars, and educators to develop a better understanding of hip hop dance. / Committee in Charge: Jenifer P. Craig Ph.D., Chair; Steven Chatfield Ph.D.; Christian B. Cherry MM

Quan, Xixi. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.

Proponho uma reflexão sobre a prática coreográfica em dança com uma comunidade específica: os alunos do Ensino Médio do Colégio Estadual Júlio de Castilhos, de Porto Alegre – RS. Investigando um contexto institucional, público e de ensino, meu objeto de estudo centra-se no corpo como inscrição social e dançante, articulando procedimentos coreográficos com grandes grupos. Busco compreender a coreografia, sobretudo, como ato político e como teorização de identidade – corporal, individual e social (FOSTER, 2011) –, além de compreendê-la como possível catalisador na proposta de indicar o corpo social como corpo dançante, e vice-versa. Para este projeto prático, escolho procedimentos ligados às danças urbanas, e especialmente a Hip Hop Dance, mantendo como principais referências estudos nacionais, Rodrigues (2006), Ribeiro e Cardoso (2011), e estudos estrangeiros, Faure Marie-Carmen Garcia (2002, 2003, 2005). Aspectos da etnografia, como o recurso fotográfico, são pensados como método de observação sobre o corpo e o gesto dos alunos, tendo como suportes os conceitos de capital, habitus e campo (BOURDIEU, 1994). A transposição de conceitos sociológicos para o âmbito da dança contemporânea é experimentada a fim de alimentar as reflexões que compreendem o corpo e suas relações sociais de poder e pertencimentos. Como referência disso, aponto autores como Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) e Suzane Weber da Silva (2010). Como método de pesquisa, opto pela teoria enraizada (STRAUSS; CORBIN, 1990; PAILLÉ 1994). Os resultados desse processo conduziram uma criação coreográfica em larga escala com um grupo de jovens do Colégio, acompanhada por esse memorial reflexivo-crítico de criação. / I propose a reflection about the choreographic practice in dance with a specific community: the secondary school students from Colégio Estadual Júlio de Castilhos, Porto Alegre – RS. Investigating an institutional, public and scholar context, my study object focuses on the body as social and dancing inscription, studying and articulating choreographic procedures with large groups. I try to understand the choreography especially as a political act and as theorization of identity - corporeal, individual, and social (FOSTER, 2011), as well as understand it as a possible catalyst in the proposal for imagine the social body as dancing body, and vice versa. For this practical project, I choose procedures related to urban dances, and especially the Hip Hop Dance by keeping as main references national studies, Rodrigues (2006), Ribeiro and Cardoso (2011), and foreign studies, Faure Marie-Carmen Garcia (2002, 2003, 2005). Ethnographic aspects, as the photographic resource, are thought of as observation method over the body and gesture of the students, taking as supports the concepts of capital, habitus and field (Bourdieu, 1994). The transposition of sociological concepts to the field of contemporary dance has been tried to feed the reflections that understand the body and its social power relations and belongings. I point out as reference authors like Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) and Suzane Weber da Silva (2010). As a research method I choose the grounded theory (STRAUSS; CORBIN, 1990; PAILLÉ 1994). The results of this process have led a choreographic creation on a large scale with a group of young students of the College, accompanied by this reflective-critical memorial of creation.

Proponho uma reflexão sobre a prática coreográfica em dança com uma comunidade específica: os alunos do Ensino Médio do Colégio Estadual Júlio de Castilhos, de Porto Alegre – RS. Investigando um contexto institucional, público e de ensino, meu objeto de estudo centra-se no corpo como inscrição social e dançante, articulando procedimentos coreográficos com grandes grupos. Busco compreender a coreografia, sobretudo, como ato político e como teorização de identidade – corporal, individual e social (FOSTER, 2011) –, além de compreendê-la como possível catalisador na proposta de indicar o corpo social como corpo dançante, e vice-versa. Para este projeto prático, escolho procedimentos ligados às danças urbanas, e especialmente a Hip Hop Dance, mantendo como principais referências estudos nacionais, Rodrigues (2006), Ribeiro e Cardoso (2011), e estudos estrangeiros, Faure Marie-Carmen Garcia (2002, 2003, 2005). Aspectos da etnografia, como o recurso fotográfico, são pensados como método de observação sobre o corpo e o gesto dos alunos, tendo como suportes os conceitos de capital, habitus e campo (BOURDIEU, 1994). A transposição de conceitos sociológicos para o âmbito da dança contemporânea é experimentada a fim de alimentar as reflexões que compreendem o corpo e suas relações sociais de poder e pertencimentos. Como referência disso, aponto autores como Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) e Suzane Weber da Silva (2010). Como método de pesquisa, opto pela teoria enraizada (STRAUSS; CORBIN, 1990; PAILLÉ 1994). Os resultados desse processo conduziram uma criação coreográfica em larga escala com um grupo de jovens do Colégio, acompanhada por esse memorial reflexivo-crítico de criação. / I propose a reflection about the choreographic practice in dance with a specific community: the secondary school students from Colégio Estadual Júlio de Castilhos, Porto Alegre – RS. Investigating an institutional, public and scholar context, my study object focuses on the body as social and dancing inscription, studying and articulating choreographic procedures with large groups. I try to understand the choreography especially as a political act and as theorization of identity - corporeal, individual, and social (FOSTER, 2011), as well as understand it as a possible catalyst in the proposal for imagine the social body as dancing body, and vice versa. For this practical project, I choose procedures related to urban dances, and especially the Hip Hop Dance by keeping as main references national studies, Rodrigues (2006), Ribeiro and Cardoso (2011), and foreign studies, Faure Marie-Carmen Garcia (2002, 2003, 2005). Ethnographic aspects, as the photographic resource, are thought of as observation method over the body and gesture of the students, taking as supports the concepts of capital, habitus and field (Bourdieu, 1994). The transposition of sociological concepts to the field of contemporary dance has been tried to feed the reflections that understand the body and its social power relations and belongings. I point out as reference authors like Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) and Suzane Weber da Silva (2010). As a research method I choose the grounded theory (STRAUSS; CORBIN, 1990; PAILLÉ 1994). The results of this process have led a choreographic creation on a large scale with a group of young students of the College, accompanied by this reflective-critical memorial of creation.

Proponho uma reflexão sobre a prática coreográfica em dança com uma comunidade específica: os alunos do Ensino Médio do Colégio Estadual Júlio de Castilhos, de Porto Alegre – RS. Investigando um contexto institucional, público e de ensino, meu objeto de estudo centra-se no corpo como inscrição social e dançante, articulando procedimentos coreográficos com grandes grupos. Busco compreender a coreografia, sobretudo, como ato político e como teorização de identidade – corporal, individual e social (FOSTER, 2011) –, além de compreendê-la como possível catalisador na proposta de indicar o corpo social como corpo dançante, e vice-versa. Para este projeto prático, escolho procedimentos ligados às danças urbanas, e especialmente a Hip Hop Dance, mantendo como principais referências estudos nacionais, Rodrigues (2006), Ribeiro e Cardoso (2011), e estudos estrangeiros, Faure Marie-Carmen Garcia (2002, 2003, 2005). Aspectos da etnografia, como o recurso fotográfico, são pensados como método de observação sobre o corpo e o gesto dos alunos, tendo como suportes os conceitos de capital, habitus e campo (BOURDIEU, 1994). A transposição de conceitos sociológicos para o âmbito da dança contemporânea é experimentada a fim de alimentar as reflexões que compreendem o corpo e suas relações sociais de poder e pertencimentos. Como referência disso, aponto autores como Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) e Suzane Weber da Silva (2010). Como método de pesquisa, opto pela teoria enraizada (STRAUSS; CORBIN, 1990; PAILLÉ 1994). Os resultados desse processo conduziram uma criação coreográfica em larga escala com um grupo de jovens do Colégio, acompanhada por esse memorial reflexivo-crítico de criação. / I propose a reflection about the choreographic practice in dance with a specific community: the secondary school students from Colégio Estadual Júlio de Castilhos, Porto Alegre – RS. Investigating an institutional, public and scholar context, my study object focuses on the body as social and dancing inscription, studying and articulating choreographic procedures with large groups. I try to understand the choreography especially as a political act and as theorization of identity - corporeal, individual, and social (FOSTER, 2011), as well as understand it as a possible catalyst in the proposal for imagine the social body as dancing body, and vice versa. For this practical project, I choose procedures related to urban dances, and especially the Hip Hop Dance by keeping as main references national studies, Rodrigues (2006), Ribeiro and Cardoso (2011), and foreign studies, Faure Marie-Carmen Garcia (2002, 2003, 2005). Ethnographic aspects, as the photographic resource, are thought of as observation method over the body and gesture of the students, taking as supports the concepts of capital, habitus and field (Bourdieu, 1994). The transposition of sociological concepts to the field of contemporary dance has been tried to feed the reflections that understand the body and its social power relations and belongings. I point out as reference authors like Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) and Suzane Weber da Silva (2010). As a research method I choose the grounded theory (STRAUSS; CORBIN, 1990; PAILLÉ 1994). The results of this process have led a choreographic creation on a large scale with a group of young students of the College, accompanied by this reflective-critical memorial of creation.

Cette thèse retrace la formation de deux mondes professionnels de la danse hip hop française, du soutien à sa reconnaissance artistique par des institutions et des politiques publiques au milieu des années 1980 à sa dualisation au sein de deux réseaux de production distincts observés au début des années 2000. Cette étude s’appuie sur l’analyse des carrières de plusieurs représentants des deux premières générations de danseurs hip hop français. Elle repose sur le recueil de documents d’archives, d’interviews de professionnels de la danse hip hop, sur l’analyse d’un corpus d’évènements diffusés en région parisienne de 2007 à 2012, sur des séances d’observations menées au cours de ces représentations et sur l’examen des chaînes de coopérations contribuant à leur réalisation. Ces données mettent en évidence les processus conduisant à la formation de deux modèles de professionnalisation et de reconnaissance du genre, défendant des conceptions différentes de la discipline : l’une fondée sur une danse hip hop de création bénéficiant d’une reconnaissance artistique institutionnelle, l’autre se référant à une danse hip hop de compétition se développant en marge des mondes de l’art et de toute reconnaissance officielle. Ces deux mondes se caractérisent dans leur capacité à incarner des voies d’insertion professionnelle pour les artistes et pour l’ensemble des individus dédiant leur activité à la production du genre. / This thesis explores the development of two professional worlds of French hip hop dance, from its initial public support and artistic recognition in the 1980s to its split into two distinct production networks in the 2000s. This study focuses on the analysis of the careers of the first two generations French hip hop dancers in order to understand how these two dance types were established. It is also based on a collection of archives and interviews of various hip hop professionals. Finally, this thesis also analyzes the development of various hip hop events in the Parisian region between 2007 and 2012, the collaboration required to produce them and several observations during these performances. The information thus acquired shows the processes leading to the formation of two models of professional French hip hop dance genres, and their recognition by distinct networks. These two types of French hip hop dance differ mainly in the aspect of the genre that they primarily based on: the first is a creative type of hip hop dance, recognized by the artistic community; the second is a competitive type of hip hop dance, developing behind the scenes of the art world, without any official recognition. These two worlds of French hip hop dance can therefore coexist, and provide professional opportunities for various artists and others who are active in the dance community.

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