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`Sikia: Hip-Hop and the Politics of Language and Public Space in Dar es Salaam, TanzaniaVidmar, Hannah Marie 02 September 2020 (has links)
No description available.
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AS ANASTÁCIAS DO QUILOMBO: Uma análise da participação e representação da mulher no hip-hop maranhense / EL QUILOMBO ANASTÁCIAS: Un análisis de la participación y representación de las mujeres en el hip-hop Maranhão. / THE QUILOMBO ANASTÁCIAS: An analysis of the participation and representation of women in the maranhão hip-hopDURANS, Claudimar Alves 10 December 2014 (has links)
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Previous issue date: 2014-12-10 / FAPEMA / This work aims to understand the participation and the social representations of the
woman built by hip-hop Maranhão, in particular by the Group of women of
Hip Hop movement – "black Anastasia", part of the hip-hop Movement Organized
of Maranhão "Quilombo Urbano". You want to analyze, as the political-cultural movement,
bringing together three artistic events: rap, break and graphite have treated gender relations
in your interior, represented women and developing activities in order to build
the ethnic-racial identity and gender to women who participate in it. To do so,
We understand the hip-hop as a resistance movement and protest from its origins
in American black ghettos has been formed by people whose identities are
stigmatized, but have (re) and (re) built their ethnic and racial identities and
gender, Deconstructing and subverting the dominant patterns of ethnic belonging and
masculinity. While methodology, the study was conducted by the combination of
bibliographical research, documentary and empirical, which led to the insertion of the researcher
researched group. The analyses are based on theoretical considerations about HipHop, identity, gender relations and representation of women. The data reflected
were collected through semi-structured interviews, participant observation, as well as
the acquisition of documents, letters, pamphlets, newspapers and various other materials
used and produced by hip-hop, in particular. We understand that hiphop is, despite all its contradictions, in a possibility for women
seeking a collective action questioning the slighted positioning that is assigned to
These, from a feminist claim building paths to greater
cultural and political visibility. / Este trabajo tiene como objetivo comprender la participación y las representaciones sociales de la
mujer construida por Maranhão hip-hop, particularmente por el grupo de mujeres de
Hip Hop parte de movimiento – "Anastasia negro", del movimiento hip-hop organizado
de Maranhão "Quilombo Urbano". Desea analizar, como el movimiento político y cultural,
reunir a tres eventos artísticos: rap, break y grafito han tratado las relaciones de género
en su interior, representadas las mujeres y desarrollar actividades con el fin de construir
la identidad étnica-racial y género a las mujeres que participan en él. Para ello,
Entendemos el hip-hop como un movimiento de resistencia y protesta desde sus orígenes
en ghettos negros estadounidenses ha sido formadas por personas cuyas identidades son
estigmatizados, pero tienen (re) y (re) construye sus identidades étnicas y raciales y
género, Deconstruyendo y subvirtiendo los patrones dominantes de pertenencia étnica y
masculinidad. Mientras que la metodología, el estudio se realizó mediante la combinación de
investigación bibliográfica, documental y empírica, que condujeron a la inserción del investigador
Grupo investigado. Los análisis se basan en consideraciones teóricas sobre HipHop, identidad, relaciones de género y representación de las mujeres. Los datos reflejados
se recolectaron a través de entrevistas semi-estructuradas, observación participante, así como
la adquisición de documentos, cartas, folletos, periódicos y otros materiales diversos
utilizado y producido por hip-hop, en particular. Entendemos que hiphop es, a pesar de todas sus contradicciones, en una posibilidad para las mujeres
busca una acción colectiva que cuestiona la posición del ofendido se asigna a
Éstos, de una reivindicación feminista construyendo caminos para una mayor
visibilidad política y cultural. / Este trabalho tem como objetivo compreender as a participação e as representações sociais da
mulher construídas pelo hip-hop maranhense, em especial pelo grupo de mulheres do
movimento Hip Hop – “Preta Anastácia”, que faz parte do Movimento Hip-Hop Organizado
do Maranhão “Quilombo Urbano”. Pretende analisar, como o movimento político-cultural,
que reúne três manifestações artísticas: o rap, break e grafite têm tratado as relações de gênero
em seu interior, representado as mulheres e desenvolvendo atividades no sentido de construir
a identidade étnico-racial e de gênero às mulheres que participam dele. Para tanto,
entendemos o hip-hop como um movimento de resistência e protesto que desde suas origens
nos guetos negros norte-americanos tem sido formado por pessoas cujas identidades são
estigmatizadas, mas que têm (re)apropriado e (re)construído suas identidades étnico-raciais e
de gênero, desconstruindo e subvertendo os padrões dominantes de pertencimento étnico e
masculinidade. Enquanto metodologia, o estudo foi realizado mediante a combinação da
pesquisa bibliográfica, documental e empírica, o que levou a inserção da pesquisadora o
grupo pesquisado. As análises propostas são baseadas nas considerações teóricas sobre HipHop, identidade, relações de gênero e representação sobre as mulheres. Os dados refletidos
foram coletados por meio de entrevistas semi-estruturadas, observação participante, bem com
na aquisição de documentos, letras de músicas, panfletos, jornais e diversos outros materiais
utilizados e produzidos pelo hip-hop, em especial o maranhense. Compreendemos que o hiphop se constitui, apesar de todas as suas contradições, em uma possibilidade para as mulheres
que buscam um agir coletivo questionando o posicionamento inferiorizado que é atribuído a
estas, a partir de uma reivindicação feminista, construindo caminhos para uma maior
visibilidade cultural e política.
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Performing and sounding disruption : coded pleasure in Jay-Z and Kanye West’s “Otis”Maner, Sequoia 08 October 2014 (has links)
From minstrelsy to hip-hop, the black performer has always been entangled in a complex network of branding, packaging, and promotion. The black body is cultural capital and in hip-hop, the black thug and his dangerous body are the fetishized objects of desire. Despite these exploitative constraints, artists find spaces to enact what little resistance is possible. In the following report, I perform a close reading and close listening of Jay-Z and Kanye West’s “Otis.” Paying particular attention to the intersections of the visual and the aural, I find that Jay-Z and West encode desire, pleasure, and imagination beneath boastful rhymes and material opulence. Jay-Z and West adopt American symbols of prosperity and freedom and, in disruptive fashion, resignify black masculinity in the cultural imagination. Soul sound, as intoned through Otis Redding and James Brown, lends a politics of brotherhood and radicalism to Jay-Z and West’s articulation of affective black masculinity. I employ a collage-like network of theoretical frames that span performance, sound, and literary theory to trace how race and gender performance codes a discourse of disruption. I find that “Otis” is a type a blueprint—an instruction manual for youth of color to deconstruct, innovate, and feel deeply. Through linguistic and performative codes, Jay-Z and West create a safe space, a cipher for men of color to desire and, in turn, experience pleasure. I trace how Jay-Z and West move closer to a practice of hip-hop feminism and, in a field notorious for rampant homophobia, misogyny, and violence—that’s remarkable. / text
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¡Me Gusta Hip-Hop!: Evidence of Popular U.S. Culture Among Mexican Border YouthHawkins, Brian January 2006 (has links)
This paper examines a fragment of the evident cultural
exthange occurring along the U.S. — Mexico border in Nogales, Sonora,
Mexico. Many Nogales youth are absorbing American popular culture
through purchasing American popular culture commodities, such as
music. The paper raises questions of how and why the Nogales youth
purchase their pop culture commodities, and of the interpretations the
Nogales youth make of said commodities' symbolic significance. After
methodologies and context of the study are discussed, the paper defines
popular culture and its relationship to commodity production. It then
focuses on how the youth access their pop culture products and the
factors that influence their buying decisions. At its end, the paper
compares the interpretations of the Nogales youth with those of
American youth in terms of pop culture goods.
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Rhizomic Rap: Representation, Identity and Hip-Hop on Moccasin FlatsBurrows, Brendan 19 September 2012 (has links)
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.
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A 'coloured' history, a black future: contesting the dominant representations in the media through hip-hop beatsMarco, Derilene 08 October 2009 (has links)
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.
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Hip Hop Ecology: Investigating the connection between creative cultural movements, education and urban sustainabilityCermak, Michael J. January 2012 (has links)
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.
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Por uma pedagogia hip-hop: o uso da linguagem do corpo e do movimento para a construção da identidade negra e periférica / For a hip-hop pedagogy: the use of body language and movement for the construction of black and peripheral identityDias, Cristiane Correia 02 August 2018 (has links)
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.
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"I'm Not a Rapper, I'm an Activist Who Rhymes": Native American Hip Hop, Activism, and Twenty-First Century IdentitiesEngland, Megan 27 October 2016 (has links)
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.
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Who stole the beat? : black masculinity, hip-hop music, and the black gay men who rapLi, Xin Ling January 2014 (has links)
No description available.
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