Law Wai Sing. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2002-2003, design report." / Chapter 00 --- INSPIRATION --- p.1 / Chapter 01 --- SYNOPSIS --- p.2 / Chapter 1.1 --- HIP HOP'S ORIGIN --- p.2 / Chapter 1.2 --- HIP HOP IN HONG KONG --- p.3 / Chapter 1.3 --- ANALYSIS - 4 RELATIONS --- p.5 / Chapter 1.4 --- ANALYSIS - HIP HOP SPACE --- p.6 / Chapter 1.5 --- INTERVIEWS --- p.7 / Chapter 02 --- SITE --- p.12 / Chapter 2.1 --- MONGKOK --- p.12 / Chapter 2.2 --- SITE --- p.13 / Chapter 03 --- PROGRAMME --- p.22 / Chapter 3.1 --- PUBLIC PERFORMANCE SQUARE / Chapter 3.2 --- USERS' RELATIONS / Chapter 3.3 --- PROGRAMME LIST / Chapter 04 --- DESIGN CONCEPT --- p.23 / Chapter 05 --- PROPOSAL --- p.29 / Chapter 5.1 --- PLAN --- p.29 / Chapter 5.2 --- ELEVATION --- p.34 / Chapter 5.3 --- SECTION --- p.35 / Chapter 5.4 --- EXTERIOR PERSPECTIVE --- p.36 / Chapter 5.5 --- INTERIOR PERSPECTIVE --- p.41

O presente trabalho tem o intuito de dissertar sobre as desigualdades territoriais paulistanas e as resistências nos lugares a partir dessa condição. Entre paisagens de abundância e escassez, encontramos usos pelo Hip Hop que revelam a atual formação corporativa e fragmentada de São Paulo, cidade informacional. Entre os usos informacionais e corporativos de São Paulo e suas fragmentações engendra-se, desde a década de 80, o Movimento Hip Hop, o qual traz à tona novos usos dos objetos e ações que configuram São Paulo. Ao mesmo tempo em que a formação de São Paulo foi lugar para a modernização de projetos hegemônicos, os usos do território nos revelam que, no cotidiano das ações, cada local vive o encontro dessas racionalidades e, ao mesmo tempo, produz a contra-racionalidade pelas práticas da cultura. Por meio dos usos contemporâneos do território pelo movimento Hip Hop encontramos a razão dos lugares que conformam e são conformados pela prática dos Dj, Mc, Break e Grafitti. Mesmo com o acesso restrito às novas tecnologias da informação, o processo de criação em seus lugares é duplamente criativo pois, além da produção de suas atividades, cria meios à comunicação das suas práticas, sendo a comunicação territorial um importante instrumento do processo de produção e continuidade do Hip Hop. Assim, as investigações aqui apresentadas buscam compreender como um território cada vez mais preparado às ações de interesses capitalistas abriga e fortalece a prática do movimento Hip Hop. Este movimento funde relações territoriais corporativas à escassez produzida em seus locais, valorizando e veiculando a consciência dos usos do território pelo lugar e pela cultura. / The present work aims to understand the inequalities that take place in the paulistano territory and every resistance that arise against them. Among landscapes that range from abundance to shortage, we found that territory usage by the Hip Hop movement reveals the actual corporative and unequal configuration of the informational city, São Paulo. Among the informational and corporative uses of São Paulo city and also its fragmentations, the Hip Hop movement emerged in 1980s brings new possibilities of using objects and actions that form the São Paulo city. At the same time in which the São Paulo city formation was characterized by the modernization of big projects, the territory usage actually reveal us that in the daily actions each place lives its own rationality creating at the same time the counter rationality by the culture practice. By the contemporaneous usages of the territory by the Hip Hop movement we found the reason created by the practices of the Dj, Mc, Break e Grafitt. Even whit restrict access to new informational technologies, the creative process in those places are doubly creative since they produce their own activities and create a way to communicate their practices, revealing the territorial communication as an important instrument to the production and even continuity of the Hip Hop. Therefore, in the scrutiny here presented we sought to comprehend how a territory prepared to the capitalist interests hold and strengthen the emergence of movements such as the Hip Hop that favors the fusion of territorial corporative relationships to the shortage produced in those places, valuating and casting the conscience of using the territory by the place and culture.

Neste texto estão os resultados de pesquisa sobre a participação e as identidades de mulheres nas culturas juvenis do funk e do hip hop em São Paulo, a partir da perspectiva dos marcadores sociais da diferença. Ao fazer uma breve e interessada retomada histórica de como as duas expressões culturais se desenvolveram no Brasil, falo sobre a participação das mulheres nestas cenas, comumente tratadas como masculinizadas. Em seguida, são abordados temas recorrentes entre as mulheres de quem estive próxima, como a identidade periférica, a relação com diferentes ativismos de mulheres e feminismos, o modo como pensam a sexualidade e o erotismo enquanto mulheres, em sua maioria, negras, e o modo como abordam as relações de gênero e afetivo-sexuais em suas performances artísticas e também no dia-a-dia. Ao longo do texto, são destacadas semelhanças e diferenças entre os dois grupos, e nossas experiências conjuntas são situadas em uma discussão mais ampla sobre feminismos, relações de gênero e de sexualidade que vêm ganhando visibilidade. / This text presents the results of the research on participation and women\'s identities in funk and hip hop youth cultures in São Paulo, from the perspective of the social markers of difference. While making a brief and interested historical recovery of how the two cultural expressions developed in Brazil, I talk about the participation of women in these scenes, commonly treated as masculine. Then, recurring themes among women who\'ve been close to are addressed issues, as peripheral identity, the relationship with different womens activism and feminisms, the way they think about sexuality and eroticism as women, mostly black women, and how they address gender and sexual-affective relations in their artistic performances and also on their daily lives. Throughout the text, similarities and differences are highlighted between the two groups, and our joint experiences are situated in a broader discussion about feminisms, gender relations and sexuality that are gaining visibility.

Esta dissertação de mestrado é uma reflexão sobre uma pesquisa educacional de campo que contemplou o hip-hop como cultura juvenil e cujo objetivo era construir fazeres educacionais que se valem do hip-hop. O texto discute a experiência educacional que teve lugar na organização não governamental Casa do Zezinho, no extremo sul da cidade de São Paulo. A instituição oferecia oficinas de hip-hop a jovens de ambos os sexos, entre 13 e 17 anos e regularmente matriculados na rede pública, e minha intervenção se deu nesse contexto, em parceria com a professora de hip-hop. Descrevo o itinerário da pesquisa contemplando aspectos institucionais, subjetivos e de articulação do projeto durante sua realização. Minha intervenção consistiu em exercícios e atividades de natureza cultural como a produção de textos, grafitti e coreografias matizados pela motivação e pelo despertar de uma consciência crítica, artística e, principalmente, de pertença à ancestralidade africana, arrancada de suas raízes pelo processo histórico escravagista colonial cujos resquícios perduram até hoje, em parceria com a professora de hip-hop da Instituição. Os exercícios visavam sobretudo conectar esses jovens com sua ancestralidade perdida, pois pensamos o hip-hop como cultura juvenil legítima e procuramos valorizá-lo como percurso educacional, inclusive a jornada heroica que se narra em suas letras, análoga à dos jovens em seu cotidiano e à minha própria como pesquisador. No processo de construção das oficinas, consubstanciou-se a presença da religiosidade africana, de sua arte e de seu pensamento, traduzidos e atualizados pela cultura hip-hop. O resultado foi um percurso formativo que se valeu de uma cultura juvenil praticada principalmente por jovens pobres das periferias do Brasil e, compartilhando essa experiência, procurou-se resgatar a autoestima desses jovens e favorecer a integração social e geracional de membros das comunidades. / This master dissertation is a reflection of an educational research in the field that faced hip hop as a youth culture, which goal was to build educational procedures from hip hop. The text discusses the experience that took place at the Non-Governmental Organization Casa do Zezinho, in the far south of São Paulo City. The institution offered hip-hop workshops for young people of both sexes, between 13 and 17 years old, who were officially enrolled at the schools of the public system, and my intervention took place in this context, in partnership with the teacher of hip-hop. I shall narrate the itinerary of the research, considering institutional, subjective and articulatory aspects of it, along its making. My intervention consisted of exercises and cultural activities such as the production of texts, graffiti and choreography tinted by motivation and the awakening of a critical conscience, artistic awareness and especially the feeling of belonging to African ancestry, torn from its roots through the historic slave process which colonial remnants linger to the present days. The exercises were aimed, above of all, to connect these young people to their lost ancestry, because we believed hip hop as a legitimate youth culture and we struggle to value it as an educational route, including the heroic journey that is described in its lyrics, analogous to the youth struggles in their everyday life, and my own as a researcher. It was embodied into the workshops the process of construction to reveal the presence of African religiosity, its art and its thinking, translated and updated by the hip hop culture. As a result, I developed a training path that drew upon a youth culture mainly practiced by poor young people from the outskirts of Brazil and when sharing this experience, we tried to rescue the self-esteem of these young people and promote social and generational integration of community members.

In this thesis I investigate the portrayal of women in Hip Hop as either a sista' or a ho, a dichotomy that mirrors the Freudian Madonna-whore complex prevalent in Western Society. Belittled and disparaged by the sexism implied by this dichotomy, women have become victims of various forms of misogynistic abuse. Queen Latifah stands up against this misogyny, using Hip Hop in the very way it was designed to be used “as a voice for the disenfranchised“ speaking out against the sexism in Hip Hop in the same way African American males use Hip Hop against White mainstream society. She thus challenges the sista'-ho dichotomy and becomes empowered to decry gender discrimination in the same way African American males become empowered to denounce racism through the performance of Hip Hop.

During a major part of modernity the concept of identity was something that in many ways was predetermined for the individual. People in general remained in the same social spheres as the generations before, shared common religions and beliefs and where more or less bound to a geographic area. Identity and lifestyle was something that was adapted quite unreflected from habit and tradition. Though, during the cultural modernisation process that took place in the twentieth century, previous shared patterns of interpretation vanished and became individual.  Finding references, constructing an identity and establishing a self became individual. There was also a shift in the relationship to the objects that surround us. Instead of seeing the objects from a functionalistic view, objects and commercial goods also became representations of ourselves that sent out signals of who we wanted to be as individuals. The globalized media society that we have today gives an opportunity where we can pick up elements from different phenomena in society to create an eclectic blend of references as a way to construct our own lifestyle and unique identity. This essay deals with the question of how jewellery can function as a mark of identity. I have investigated three different jewellery practices to see what possibilities jewellery have as a potential communicator of identity. The jewellery practices that I investigated are Bling Bling jewellery within the Hip-Hop culture, jewellery in the Black Metal community and contemporary jewellery art in Sweden. What I found in common between these, at the surface very different cultural expressions, is that they mix different cultural references in a way similar to collage. By doing that they create new patterns of interpretation and codes that can be read by the ones initiated, which creates a sense of belonging and identity. Another aspect of jewellery within these practices is that the wearer or the maker charges the artefact with a meaning. To state either by making or wearing a piece of jewellery that this object stands for or talks about this and then communicate that to the surrounding. And if others accept these values it creates a common code of identity. / <p>Upphovsrättsskyddat bildmaterial har tagits bort från orginalet.</p>

This thesis interrogates gangsta hip-hop for the unique attention it plays to the drug trade. I read theories of hypervisibility/invisibility and Louis Althusser’s theory of interpellation alongside hip-hop feminist theory to examine the Black female criminal subjectivity that operates within hip-hop. Using methods of discourse analysis, I question the constructions of gangster femininity in rap lyrics as well as the absences of girlhood on Season 4 of HBO’s television drama The Wire. In doing so, I argue that the discursive construction of Black female subjectivity within gangsta hip-hop provides a hypervisibility that portrays Black women as violent while simultaneously erasing the broader social processes that impact the lives of Black women and girls. Hip-hop feminism allows the cultural formations of hip-hop to be read against the politics that structure the lives of women of color in order to provide a lens for analyzing how their criminality is constructed through media.

Thesis (Ph.D.)--Ohio University, November, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Charles Bolton; submitted to the Dept. of History. Title from PDF t.p. (viewed Aug. 12, 2009). Includes bibliographical references (p. 70-74).

Thesis (M.A. in English)--Vanderbilt University, Aug. 2007. / Title from title screen. Includes bibliographical references.