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.

Orientador: Laymert Garcia dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T15:40:01Z (GMT). No. of bitstreams: 1 Sawaya_SilvioRicardo_M.pdf: 1004171 bytes, checksum: d1056768c80b8a466d3db6970bc0e089 (MD5) Previous issue date: 2011 / Resumo: Com o desmoronamento do socialismo real no final do século XX - cujos principais marcos foram a queda do Muro de Berlim e a débâcle soviética -, o mundo parece ter tomado novos rumos. Neste período, Francis Fukuyama e Robert Kurz desafiaram a esquerda mundial em seus livros O fim da história e o último homem e O colapso da Modernização, respectivamente, com a seguinte provocação: existe vida possível além da economia de mercado e da democracia liberal que não leve o mundo a uma derrocada catastrófica tal como a sofrida quando da existência do socialismo real? Muito mais do que um apressado "sim, de fato, existe", esta questão ainda está em aberto vinte anos após sua formulação. É neste contexto que esta pesquisa procura tratar de pensar o hip-hop como uma forma de construir o que Donna Haraway chama de postura de oposição, e isto tanto no que diz respeito aos seus militantes e intelectuais orgânicos quanto aos intelectuais acadêmicos das ciências humanas que sobre ele se debruçam. Esta mesma postura de oposição, se não traz uma resposta ao desafio lançado por Fukuyama e por Kurz, ao menos propõe encará-lo de frente, tendo-se, para isso, de levar bastante em consideração o que é essa união entre economia de mercado e democracia liberal e qual é o preço a ser pago ao se assumir a postura de confrontá-la / Abstract: After the collapse of real socialism at the end of the 20th century - whose main landmarks were the fall of the Berlin Wall and the soviet dèbâcle -, the world seems to have taken new directions. In this period, Francis Fukuyama and Robert Kurz have defied the World Left in their books The end of History and the last man and The collapse of Modernization, respectively, with the following provocation: is there possible life beyond the market economy and liberal democracy that doesn't take the world to a catastrophic collapse like that suffered during the existence of real socialism? Much more than a hasty "yes, in fact, there are", this issue is still open twenty years after its formulation. In this context, this research aims to deal with thinking about the hip-hop as a way to build what Donna Haraway points as oppositional posture, and this regards both to their militants and their organic intellectuals as to social scientists that study and work about hip-hop themes. This same oppositional posture, if does not brings a response to the challenge posed by Fukuyama and Kurz, the least proposes face it straightforward, and it having, for this reason, to take a long account of what is this union between the market economy and liberal democracy and what is the price to be paid for taking the position of confronting it / Mestrado / Sociologia / Mestre em Sociologia

The aim of this diploma thesis, entitled "The Linguistic Picture of Warsaw in Lyrics of Polish Songs", is to reconstruct the image of the Polish capital by analyzing songs by Warsaw hip hop performers. The diploma thesis is divided into theoretical and practical part. The theoretical part consists of three chapters focusing on the linguistic picture of the world, hip hop subculture both in the world and in Poland and the language of hip hop. The main goal of the practical part is to reconstruct the image of Warsaw as perceived by the Warsaw hip hop subculture. There are analyzed phrases with terms such as city, Warsaw, place, concrete, block of flats or people. Key words linguistic picture of the world, picure of the city, song, Warsaw, music, hip hop, rap

Detta är ett fenomenografiskt arbete som har undersökt hur musiklärare som undervisar i årskurs 7-9 på grundskolor i Stockholm upplever hip-hop som ett kulturellt fenomen. Data har samlats in genom fyra semistrukturerade intervjuer med fokus på följdfrågor för att fånga upp så många unika och spontana beskrivningar som möjligt. Deltagarna är alla högskoleutbildade musiklärare i 30-50-årsåldern. Arbetets resultat består av framträdande sätt att uppleva fenomenet hip-hop på, som rubriceras i kapitel 5 under olika beskrivningskategorier. Dessa sammanfattas i det utfallsrum som tilldelas namnet Hip-hop: Kulturens oslipade diamant. Arbetets resultat visar att hip-hop upplevs som ett fenomen som har en tydlig utgångspunkt i “orten”, vilket i en hip-hopkontext syftar på till exempel utsatta områden som förorter där det bland annat förekommer utanförskap och utbredd grov kriminell verksamhet som ofta skildras i hip-hopmusiken. Dessa områden agerar som en slags “tryckkokare” där rå talang, oberoende av traditionella musikaliska förkunskaper och formell undervisning, koncentreras till de oslipade diamanter till artister vars autentiska och stötande uttryck formar en oemotståndligt lockande konstform för ungdomar som antingen delar samma erfarenheter av utanförskap, eller ungdomar som söker att ventilera det tabubelagda i ett allt mer “politiskt korrekt” samhälleligt samtalsklimat. / This is a phenomenographic study which aim was to study how music teachers who teach grades 7-9 at elementary schools in Stockholm, Sweden experience hip-hop as a cultural phenomenon. Data has been collected through four semi-structured interviews with a focus on follow-up questions to capture as many unique and spontaneous descriptions as possible. The participants are all university-educated music teachers aged between approximately 30-50. The results of the study consist of prominent ways that the teachers experience the phenomenon of hip-hop, which are labeled in chapter 5. These are then summarised under the label Hip-hop: Kulturens oslipade diamant (Hip-hop: Culture's diamond in the rough). In summary, the study's results show that hip-hop is experienced as a phenomenon which is heavily rooted i what is known as “orten”(Swedish slang for “the suburbs”), which in a hip-hop context refers to areas where there is segregation and widespread criminal activity that is often depicted in hip-hop music. These areas act as a kind of "pressure cooker" where raw talent, independent of traditional musical knowledge and formal education, is concentrated into diamonds in the rough. Artists whose authentic and offensive expression constitutes an irresistible art form for youth who either share the same experiences of segregation, or youth who simply seek to vent what is deemed taboo in an increasingly "politically correct" social climate.

In this fast-paced, globalized world, certain online sites represent a hybrid personal-public sphere'where like-minded people commune regardless of physical distance, time difference, or lack of synchronicity. Sites that feature chat rooms and forums can offer a deep-rooted sense of community and facilitate the forging of relationships and cultivation of ideologies. This dissertation investigates whether this trend is relevant to web sites concerning hip-hop. This genre is arguably one of the most pervasive and influential global cultural forms, yet it is markedly different from most other forms of globalized culture because it emerged within and is still embedded in a distinct subculture. The notion that the Internet could become a bastion for hip-hop fans is quite paradoxical: hip hop is a cultural form so deeply rooted in the sense of place and so invested in its relationship to spatiality that it could potentially pose a particular challenge to the notion of virtual communities. This research examines the virtual hip-hop experience in the UK in order to assess whether this music and the culture that surrounds it have been adopted in their original American form or whether they have been adapted to make them more relevant to their new locale. In particular, the study probes how the ideology, values, behaviors and attitudes that bestride American hip-hop are represented, consumed, and reproduced on the mediated world of web sites.

Dans le cadre de la présente étude, les bienfaits des ateliers de danse hip hop en centre jeunesse chez les adolescentes âgées de 12 à 18 ans ont été soulevés et analysés. La méthode de recherche qualitative a été appliquée afin de colliger l’ensemble des informations. Les procédures utilisées pour la collecte de données sont l’observation participante (effectuée à l’occasion de six ateliers de danse hip hop), les études de cas (par des entretiens réalisés sur trois participantes et échelonnées sur dix semaines) et l’animation d’ateliers (donnés à quatre reprises et visant l’expression et la reconnaissance des émotions). L’ensemble de ces méthodes ont fourni des résultats révélateurs quant aux bienfaits qu’apportent les ateliers de danse chez les adolescentes hébergées en CJ. Les bilans de cette étude supportent de manière générale les constats de travaux portant sur les bienfaits de la danse, notamment en ce qui a trait à la régulation des émotions (expression, reconnaissance, identification et gestion des émotions), aux habiletés sociales et aux habiletés sur le plan personnel (estime de soi, image de soi, confiance en soi et état de bien- être). Bien que les bénéfices sur les troubles intériorisés et extériorisés chez les adolescentes aient difficilement pu être observés dans les limites de cette étude, les résultats révèlent une diminution du stress et de l’anxiété chez plusieurs participantes. Ainsi, les conclusions de ce travail suggèrent que les ateliers de danse auprès d’adolescentes pourraient servir d’activité complémentaire aux programmes de réhabilitation proposés en CJ. / In this study, the benefits of hip hop dance workshops in youth centers (YC) for adolescent girls aged 12 to 18 were raised and analyzed. All of the information was gathered using the qualitative research method. Data collection procedures included participant observation (conducted at six hip hop dance workshops), in-depth case studies (via interviews conducted with three participants over a ten-week period), and workshop facilitation (four sessions focusing on emotional expression and recognition). All of these methods yielded revealing insights into the benefits of dance classes for adolescent girls living in YCs. The results of this study generally support the research findings on the benefits of dance, particularly with regard to emotion regulation (expression, recognition, identification and management of emotions), social skills and personal skills (self-esteem, self-image, selfconfidence and state of well-being). Although the benefits of internalizing and externalizing disorders in adolescent girls could hardly be observed within the limits of this study, the results indicate a decrease in stress and anxiety in several participants. Thus, the findings suggest that dance workshops with adolescent girls could be used as a complementary activity to the rehabilitation programs offered in YCs.

Klassische Analysewerkzeuge stellten lange Zeit den Schwerpunkt der Musikwissenschaft und Musiktheorie bei der Betrachtung von Popularmusik dar. Dass die sogenannten primären Parameter (Melodik, Harmonik, Rhythmik und Form) wenig Aufschluss über die Individualität eines Songs preisgeben, scheint mittlerweile unbestritten. Verweise darauf, dass auch die Interpretation und Tonstudiotechnik Bestandteil der Untersuchung sein sollten, finden sich schon Mitte der 60er Jahre.1 Daraus resultiert eine stärkere Einbeziehung dieser sekundären Klangparameter und damit des Sounds. Den Schwerpunkt dieses Textes bilden das Sampling und das daraus entstehende elementare Klangereignis. Welche Funktionen nimmt das Sampling innerhalb der Musik ein? Und wie kann diese Art von Klangereignis analytisch betrachtet werden? Anhand musikalischer Beispiele soll aufgezeigt werden, wie sich bis heute eine neue Klangästhetik aus den technischen Möglichkeiten entwickelt hat. Die Betrachtung des Songs »Running« von Moderat soll zudem eine mögliche Form der analytischen Auseinandersetzung mit samplebasierter Musik aufzeigen. / For a long time, classical analytical tools represented the focus area of musicology and music theory in researching popular music. It is now known that the primary parameters (melody, harmony, rhythm, and form) do not give enough information about the individuality of a song. From the mid-1960s we can find references to analyses which consider not only the primary parameters but also the performance and the recording technology. As a result, secondary sound parameters and sound in general became more involved. Sampling as an elementary sound event forms the focus of the following text. What function does it have in music? How can this type of sound event be observed in an analytical way? Musical examples show the development of a new sound aesthetics which came along with the development of technical opportunities. The song »Running« by Moderat provides an example of an analytical discussion of sample-based music.

This study is based in my own passion for music theory combined with my experience in practicing of and engaging with hip-hop music and culture. Seeing as the music theory curriculum in Sweden is heavily based on traditional western music this study asks the question: “how does traditional western music theory show itself in hip-hop music?”. The study is due to its smaller scope focused on three musical parameters, these being: rhythm, chords, and form. The study consists of a newly created curriculum based on a number of different hip-hop songs and how they could be used in music theory education followed by a qualitative deductive analysis of said curriculum. Analyzing the music examples through the lens of music didactics showed that the use of hip-hop music in music theory education could serve as bridging a cultural gap between teacher and students; lead to interesting discussions about musical form, as well as engaging students who might not have a previous connection to the culturally traditional music. / Studien grundar sig i min egen passion för musikteori kombinerat med min erfarenhet av att utöva och engagera mig i hiphop både som musikgenre och subkultur. Musikteoriundervisningen i Sverige baseras på traditionell västerländsk musikteori och studien ställer därför frågan: "hur tar sig traditionell västerländsk musikteori uttryck i hiphopmusik?". I och med studiens mindre omfång undersöks endast tre musikaliska parametrar, dessa är: rytm, ackord och form. Studien består av ett nyskapat undervisningsmaterial baserat på ett fåtal låtexempel ur musikgenren hiphop och hur de kan användas i musikteoriundervisning, följt av en kvalitativ, deduktiv analys av tidigare nämnda undervisningsmaterial. Genom att analysera låtexemplen utifrån musikdidaktik som teoretiskt perspektiv visade studien att användningen av hiphopmusik i musikteoriundervisning kan leda till: att minska ett kulturellt gap mellan lärare och elev; intressanta diskussioner kring musikalisk form; samt engagera elever som kanske inte har en tidigare koppling till den kulturellt traditionella musiken.

Viviane Sassen is a Dutch fashion photographer, whose personal work feature people from African descent. Through the employment of the equatorial light, her models’ personal identities and faces are left in the shadow, their dark skin rendered “just” black, depicting the sitters invisible and without personal recognition. In this thesis I offer an alternative to reading her work whose praise always stay on the surface; I examine her work in relation to the historical and geographical location, offer an analysis to the ontology of the shadow in photography, and examine the treatment of the surface of Sassen’s models.

This thesis presents and analyzes the author's original jazz composition "A Hero's Journey," based on the ancient and widespread storytelling pattern that Joseph Campbell called the "monomyth." Using major concepts from the monomyth, the author composed a suite for ten-piece jazz orchestra consisting of six scenes divided into two acts. Although rooted in the jazz tradition, the piece borrows freely from classical music, African music, Indian music, and modern rock and hip-hop to create an adventurous and continually evolving musical experience. This thesis first provides an overview of the entire suite, then discusses its important melodic themes, and finally analyzes the techniques used for harmonic development within the piece. / text