With the rise of First Nations owned and created television content at the turn of the century, came a demand to see an accurate representation of Aboriginality that could look at Aboriginals as both here and modern. From 2003-2006, the first Aboriginal made and produced television series entitled Moccasin Flats, I argue, used modern day hip-hop discourse to both engage and dissect a host of complex issues facing modern day urban Aboriginal society. This research project mobilizes multiple methodologies; including: 1.) Eco’s code and sign function semiotic analysis, which operates to identify various hip-hop codes in the text; 2.)Hall’s method of articulation to look at how meaning is fixed in the discourse surrounding the show; and finally 3) Deleuze’s rhizomic approach to identity to see how the shows main characters are constructed in a way to highlight the paradoxical and undercut certain flirtations with essentialization. This three-tiered methodological process paints a picture of a new complex use of discourse to accentuate different facets of aboriginality that had previously been the sole product of dominant hegemonic institutions which relied on racist stereotypes. By dissecting how identity is formed on Moccasin Flats, I will show how aboriginal filmmakers construct a self-reflexive space where the character is perpetually in the process of ‘becoming’ and identity is always a site of negotiation.

M.Tech. / Purpose: To compare the effectiveness of sacroiliac joint adjustments and the combination of sacroiliac and hip joint adjustments in the treatment of sacroiliac syndrome. Method: Thirty participants were randomly divided into two groups with fifteen participants in each group. Group A received sacroiliac joint adjustments and Group B received a combination of sacroiliac and hip joint adjustments. The trial consisted of seven visits over a treatment period of three weeks, of which the first six visits the participants received treatment and the seventh visit served the purpose of getting the final data. The data were gathered on the first, fourth and seventh visits. The data was always gathered before the treatment was performed. Objective data consisted of measuring lumbar range of motion by using the digital inclinometer, and internal and external rotation of the hip joint range of motion, using the goniometer. Subjective data was obtained by using the Numerical Pain Rating Scale (NPRS) and the Oswestry Pain and Disability Index. Results: Objectively, Group B showed statistical significance in right hip internal rotation (p = 0.002), left hip internal rotation (p = 0.001), right hip external rotation (p = 0.002) and left hip external rotation (p = 0.005). Group B hip joint range of motion increased more than Group A. Subjectively, both groups showed a statistically significant decrease in their subjective measurements of pain and its effect on the daily living, as perceived by the participant. There was no statistically significant difference between the groups in the NPRS, but there was a statistically significant difference (p = 0.003) between the groups in the Oswestry Pain and Disability Index. Both the groups showed effectiveness in decreasing the pain over the treatment period. Conclusion: The study showed that the combination of sacroiliac and hip joint adjustments was more effective in treating sacroiliac syndrome. The profession needs to look at the joint surrounding the effected joint as well as the muscular and ligamentous structures.

ABSTRACT A group of 133 hips with developmental dysplasia of the hip (DDH) are reviewed in the form of a clinical audit. The aim of the study is to determine the relevance of measuring the ossific nucleus centre edge angle (ONCEA) to determine if this measurement can be used to predict the final outcome and the need for a secondary procedure at an earlier age than currently determined. The ONCEA is defined as an approximation of the lowest centre edge angle within six months of removal of the Batchelor POP, following reduction (mean age 24.1 months). It is measured earlier than the centre edge angle (CEA), which is generally used from the age of five years. The ONCEA was divided into three groups: - Reduced (>=10°) – Group A - Mild subluxation (-9° to 9°) – Group B - Severe subluxation (<=-10°) – Group C The significance of the ONCEA was confirmed using the ONCEA/AI ratio, which was also divided into three groups: - Reduced (>0.5) – Group A - Mild subluxation (0 to 0.5) – Group B - Severe subluxation (<0) – Group C Outcome was assessed radiologically by way of the Severin score: In group C there were only 1/13 hips (8%) with an excellent result, in group B there were 20/44 hips (45%) with an excellent result and in group A there were 39/76 hips (51%) with an excellent result. Using Fisher’s exact test, a statistically significant association was shown between each group and subsequent outcome (p=0.001). A significant result was also shown in a comparison of the three ONCEA groups using the McKay classification (a clinical outcome measurement). The ONCEA/AI ratio was also used to include the degree of acetabular coverage. It had similar statistically significant results as described for the above ONCEA results, thus confirming the findings. In conclusion, the ONCEA or ONCEA/AI ratio can be used at an early age (within six months following removal of POP after reduction, at a mean of 18 months of age) for two purposes: 1. To prognosticate the medium and long-term outcome of the patient. 2. To enable the clinician to determine whether a secondary procedure should be performed at an earlier age than usual. A prospective study will be necessary to confirm this.

M.A.(Media Studies), Faculty of Humanities, University of the Witwatersrand, 2009 / This research will critically analyse “conscious” hip-hop music and the way in which it contests media and mainstream ideas in the media. Conscious hip-hop refers to rap music that critically engages with hegemonic discourses and popular culture. It is framed and named in this manner by both the performers/ artists themselves as well as by leading hip-hop scholars within South Africa and globally. This research uses the music of Godessa and Brasse Vannie Kaap to interrogate representations of Black identities and gender in society.

Thesis advisor: Juliet Schor / There is an emerging pairing between the grassroot hip hop movement and urban sustainability initiatives that I call hip hop ecology. The synergy between hip hop and environmentalism defies stereotypes of the whiteness of the environmental movement and the forms of discourse that are used to raise awareness of the ecological crisis. This dissertation builds from my work in the Boston Public Schools, where for four years, I have taught environmental science using environmentally-themed (green) hip hop. In these classes I have asked students to express their learning in their own creative verse. I present three studies that situate the connection between hip hop and environmentalism in social and educational contexts. The first is a comparative content analysis of environmental science textbooks and green hip hop tracks that will help define the sociotextual scene of the urban environmental classrooms where I worked. The second research site is the community, where I interviewed "hip hop ecologists," activists and emcees who work directly on urban sustainability and environmental justice while producing hip hop with green themes. The second study provides an in-depth look at how these young environmental activists of color navigate the racial dynamics of the movement and try to sustain their careers as leaders and artists. The third study is an ethnography where I synthesize four years of classroom teaching and analyze the various cases where constructs of race and nature intersected, deconstructing both the social interactions in the classroom as well as the green hip hop lyrics written by the students. The implications of a hip hop ecology are that we as environmental practitioners actively rethink what counts as an environmental text and what part of our own creativity we tap as educators who endeavor to promote a more racially diverse and powerful movement for sustainability. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Sociology.

A pesquisa objetiva analisar em que medida as expressões estéticas do hip-hop, em especial a dança breaking, coadunam-se com a ideia de Béthune (2003) de telescopia histórica, de acordo com a qual tais manifestações tenderiam a atualizar a tradição cultural afro-americana e afro-brasileira por meio de um olhar estético contemporâneo, como estratégia de luta e de fortalecimento sociocultural para a juventude negra e periférica. Desse modo, considerando as necessidades da educação pública brasileira, pretende-se propor estratégias didáticas para preparar essa juventude para o futuro, garantindo-lhe uma educação justa. A proposta é priorizar o desenvolvimento de habilidades e de competências necessárias para o desenvolvimento da juventude periférica, concebidas neste trabalho como letramento de reexistência. Ou seja, que propicie uma leitura crítica do mundo com base em uma interpretação do corpo negro que se abre para uma afromemória. Nesse sentido, esta pesquisa repensa o corpo do (a) jovem negro (a), como portador de uma afromemória, cujos sentidos são ressignificados por meio da dança breaking, relacionando-a com a herança cultural trazida dos (as) africanos (as) escravizados (as), por meio do diálogo entre as experiências estéticas ancestrais e contemporâneas. Dessa maneira, pretende contribuir para a reinvenção de uma educação afrocentrada. As reflexões apresentadas priorizam as leituras da filosofia do campo negro apresentadas por Molefi Asante (1988, 2003), Achille Mbembe (2014) e Frantz Fanon (1968, 2008) e, especificamente, do hiphop, tomou-se como base os trabalhos de Ana Lúcia Souza (2011) e Marc Lamont Hill (2014). Tais leituras foram feitas no sentido de orientar a pesquisa de campo realizada na ONG Casa do Zezinho, situada no Capão Redondo e em algumas escolas municipais de São Paulo, como parte de dois projetos de políticas públicas realizadas pelo grupo de pesquisa, O Hip-Hop e as Culturas afro-brasileiras, do qual faz parte esta dissertação, sob coordenação da orientadora, cujo objetivo foi propiciar a formação de professores (as) das redes públicas de ensino, a título de contribuição para a efetivação de políticas públicas amparadas pela lei 10.639/03, e, desse modo, contribuir para a decolonização do currículo. / The research aims to analyze to what extent aesthetic expressions of hip-hop, especially breaking dance, are consistent with the idea of \"historical telescopy\" developed by Béthune (2003), according to which such manifestations would tend to update the Afro-American and Afro-Brazilian cultural traditions through a contemporary aesthetic view, as a strategy of struggle and socio-cultural strengthening for black and peripheral youth. Thus, considering the needs of Brazilian public education, the research intends to propose didactic strategies to prepare these youth for the future, guaranteeing a fair education. The idea is to prioritize the development of skills and of competences necessary for the development of the peripheral youth, conceived in this work as \"literacy of reexistence\". That is, to provide a critical reading of the world based on an interpretation of the black body that opens for an afromemory. In this sense, this work rethinks the young black\'s body as a carrier of an afromemory, whose meanings are resignified through breaking dance, relating it to the cultural inheritance brought by enslaved Africans, through the dialogue between ancestral aesthetic experiences and contemporary art. In this way, it intends to contribute to the reinvention of an Afro-centered education. The reflections presented prioritized the readings of the black field philosophy presented by Molefi Asante (1988, 2003), Achille Mbembe (2014) and Frantz Fanon (1968, 2008) and specifically of hip-hop. Ana Lúcia Souza (2011), Marc Lamont Hill (2014). These readings were done in order to guide the field research carried out at the Casa do Zezinho NGO, located in Capão Redondo and some municipal schools in São Paulo, as part of two public policy researches carried out by the research group Hip Hop and the Afro-Brazilian Cultures, in which this current research is inserted. Under the coordination of the research tutor, the objective of the research group was to provide training for teachers in public education systems, as a contribution to the implementation of public policies covered by Law 10.639 / 03, and thus contribute to the decolonization of the curriculum.

Total hip replacement (THR) is one of the most successful and most frequently performed operations. For most implants the published rate of revision at 10 years is less than 10%. However the revision rates are higher for younger and more active patients who are likely to outlive their implants. The most frequent cause of THR failure is aseptic loosening, commonly accompanied by bone loss at the implant site. THR revisions give worse functional results and fail sooner than primary THR and are complicated by this loss of bone stock. A resurfacing hip prosthesis replaces the diseased surface layer of bone and cartilage and retains the majority of the femoral head. The stress distribution in the proximal femur is closer to that in an intact hip. A conservative resurfacing prosthesis will present the surgeon with no greater problems at revision than encountered at primary conventional 11-JR. Early designs of resurfacing prosthesis conserved femoral bone stock at the expense of acetabular bone. Revision rates were high and while some failures were caused by avascular necrosis and femoral neck fracture the predominant cause was acetabular loosening. The design of a bone conserving prosthesis requires knowledge of the shape of the bony surfaces of the hip joint. A survey of the morphology of the acetabulum showed a wide variation in shape. While early resurfacing designs had hemispherical acetabular cups the bony surface is less than hemispherical. The morphology and desired range of hip motion constrain prosthesis thickness and shape. A novel resurfacing design using a polyacetal femoral component and an UHMWPE acetabular component is proposed. This bearing combination has a lower volumetric wear rate than an equivalent Co-Cr on UHWMPE bearing. Computer modelling of the resurfacing concept showed that lower moduli materials reduced stress shielding and distributed implant-bone interface stresses more evenly. Mechanical testing of polyacetal following immersion in Ringer's solution showed substantial decreases in Young's modulus while strength was unaffected.

In this thesis, I examine the ways in which a growing number of Indigenous artists in the United States and Canada are using hip hop not only as a form of artistic expression, but also to vent frustration about and to draw attention to contemporary issues affecting their communities. These artists participate in a tradition of politically conscious performance that has influenced and been influenced by Indigenous social movements across North America. Indigenous hip hop serves to affirm and redefine twenty-first century Indigenous identities, disrupting and reinterpreting stereotypical representations of Native Americans in a process which I describe as an “authenticity loop.” By utilizing artistic choices and strategic representations of indigeneity, the artists I examine have firmly established that they along with their communities are not remnants of the past, even as they maintain a continuity between previous generations and the present day.

No description available.

Objetivo dessa tese é trazer uma visão ampla do Hip Hop. Diferentemente do que se têm afirmado em outras pesquisas, no nosso caso interessa tomar o movimento como conjunto, a fim de entender de que maneira, de um lado, existem diversas formas de compreender esse fenômeno e, de outro, como a dicotomia entre política e cultura torna-se central num debate. Antes de reiterar a polaridade nossa meta é mostrar como esses conceitos dialogam, e de uma forma e a um só tempo, tensa e ambígua. Para tanto analisamos o Hip Hop paulistano, sobretudo, a partir da visão de três posses e do gangsta rap. Nesses locais e nesse estilo musical, política e cultura funcionam como verdadeira moeda de troca.