Practice/Theory Musical Production and Recording Weekend Workshop with Will Ways @ Sonic Edge Studios

Practice/Theory Musical Production and Recording Weekend Workshop with Will Ways @ Sonic Edge Studios

Many times the theoretical education of hip-hop theory is not alternated with practice. I want students to not only learn about hip-hop from readings, lectures, discussion and films but also facilitate their ability to execute one of the primary elements of hip-hop through weekend workshops taught by recognized local hip-hop artists. Students may attend as many of the workshops as they like, however they are required to attend at least one and write an essay about the divide between practice and theory in hip-hop studies to pass the course.

Anthropology of Hip-Hop Musical Production and Recording Weekend Workshop with Will Ways @ Sonic Edge Studios, April 16, 2011.
© M. Riviere 2011

Practice/Theory Turntablism Weekend Workshop with DJ LastWord @ Fifth Element

Many times the theoretical education of hip-hop theory is not alternated with practice. I want students to not only learn about hip-hop from readings, lectures, discussion and films but also facilitate their ability to execute one of the primary elements of hip-hop through weekend workshops taught by recognized local hip-hop artists. Students may attend as many of the workshops as they like, however they are required to attend at least one and write an essay about the divide between practice and theory in hip-hop studies to pass the course.

Anthropology of Hip-Hop Turntablism Workshop with DJ LastWord at Fifth Element (2411 Hennipen Avenue South), April 2, 2011 © M. Riviere 2011

New Revolution of Rap (1985 – 1990): Group Discussion

New Revolution of Rap (1985 – 1990): Group Discussion

You will be designated into a small discussion group. (4 people) The number your group is given relates to the question I would like you to respond to. You will have 15 minutes to discuss this question within your group. Base your responses on lectures and readings from the course syllabus. Select one person to record comments (recorder) and another to report (reporter) for the group. All reporters from all groups will present responses to their assigned question for the entire class. All recorders should turn in written notes and comments with all group member’s names.

1. How and why was the anti-apartheid movement of South Africa reflected in rap in the US? Why did Run DMC replace their gold chains with African medallions? How and why did urban youths identify with the anti-apartheid movement as reflective of their own civil rights movement? How was this reflected in the music from the specific case of Sun City by AUAA to the general trends in the genres of world beat to rap?

2. Def Jam was the first hip-hop music label. It managed to cross over Run DMC to white audiences and Beastie Boys to black audiences. What were the racial alliances? Did the concept of “racial branding” influence class solidarities to override racial divides or instead did it function to perpetuate stereotypes?

3. What are the key themes in Public Enemy’s “Fight the Power” and X Clan’s “Heed the word of a Brother” music videos? How are these similar with respect to African and African-American pride, yet how do these differ from each other in their approach? How do you explain Public Enemy’s popular “commercial” success in comparison to X-Clan’s “underground” appeal?

4. In general terms Public Enemy told us to fight the power, whereas NWA clearly pointed the finger to authority figures like the police. What are the messages between hip-hop and power or legal authority? Include in your discussion issues of racial politics, censorship, and/or police brutality as appropriate from the readings and media.

Practice/Theory Dance Weekend Workshop with Amy Sackett

Many times the theoretical education of hip-hop theory is not alternated with practice. I want students to not only learn about hip-hop from readings, lectures, discussion and films but also facilitate their ability to execute one of the primary elements of hip-hop through weekend workshops taught by recognized local hip-hop artists. Students may attend as many of the workshops as they like, however they are required to attend at least one and write an essay about the divide between practice and theory in hip-hop studies to pass the course.

Anthropology of Hip-Hop Breakin’ + Poppin’ Workshop with Amy Sackett, © M. Riviere 2011

Pioneer Biographical Essays due this week

A hip-hop pioneer is a person who was influential in the early development of hip-hop either as a DJ, MC, break-dancer, or graffiti artist. Select one person who is considered a hip-hop pioneer to further research their life history. Write a brief synopsis of how this person was influential in the development of hip-hop. Include relevant information such as family background, race, ethnicity, language, citizenship, class, and gender. Discuss what specific events or moments in this individual’s biography led to influential markers in hip-hop history. Consider in this summary, how individuals, as agents, directly influenced hip-hop as a social phenomenon.

Your argument in this paper is to demonstrate how the individual you selected was influential in the development of hip-hop and that they are a pioneer.

You may select a hip-hop pioneer from course readings, films, and lectures. If there is someone whom you would like to write about who is not in course readings, films, or lectures, please see me for approval. You may also select a hip-hop pioneer who stood in a role outside of the four elements such as a producer, journalist, scholar, activist or documentarian, however check with me prior to making your selection as I do not want you to deviate far from the already large pool of hip-hop pioneers within the four-element paradigm. For an individual to qualify as a hip-hop pioneer (for the purpose of this assignment) they must have initiated their career in hip-hop before 1985.

Papers should be 5-6 double-spaced pages, standard one-inch margins with full references/citations. You may use either APA or MLA citation styles (either footnotes, endnotes or within text citations) as long as you are consistent in your writing style.

BEST PIONEER BIOGRAPHICAL ESSAYS FROM ANTHROPOLOGY OF HIP HOP 2006-2009 (all students have authorized the publication of their essays, any reference to these works should be cited by author’s name, paper title, and Anthropology of Hip-Hop in a Global Perspective)

Biography of Richard Goldstein by Aron Marquette
Biography of Russell Simmons by Benjamin Winter
Biography of Lee Quiñonez by Chris Hirsch
Biography of Crazy Legs by Cassie Traun
Biography of Arabian Prince by Emma O’Brien
Biography of DJ Kool Herc by Madison Arkadie
Biography of DJ Kool Herc by Lauren Terp
Biography of GrandWizard Theodore by Matt Sindelar
Biography of CAP by Nick Hartman
Biography of Afrika Bambaataa by Rachel Peterson
Biography of Afrika Bambaataa by Dan Bettino
Biography of Henry Chalfant by Scott Artley
Biography of Henry Chalfant by Serri Graslie
Biography of KRS-One by Tina Eide
Biography of Chuck D by Sarah Robison
Biography of GrandMaster Flash by Rachel Reinfeld
Biography of Baby Love by Theresa Angelopoulos

“Keeping it Real” (1985): Hip Hop and the Media

“Keeping it Real” (in 1985): Hip Hop and the Media

Why is dance the first element to get commercially exploited in 1984/1985?
What is the relationship between hip-hop and the media?
At what point, and specifically how, did break dance, rap, graffiti art and turntablism become united as a four-element package?

Perhaps the most important overall question: What is the difference between a social movement and a counter culture?

You will be designated into a small discussion group. (4 people) The number your group is given relates to the question I would like you to respond to. You will have 15 minutes to discuss this question within your group. Select one person to record comments (recorder) and another to report (reporter) for the group. All reporters from all groups will present responses to their assigned question for the entire class. All recorders should turn in written notes and comments with all group members names. For all the questions below consider the divides between Style Wars and Wild Style with later pop culture productions Graffiti Rock, Beat Street, etc.

1. Why does this redesign of hip-hop by popular culture occur in the mid 1980’s? It is important to consider how is hip-hop presented in pop culture images (Graffiti Rock, Beat Street)? Clean, safe, manageable, friendly, happy, “fresh!” Why is this? Why is the harsh ghetto reality of hip-hop removed? Consider the differences between the music videos for “The Message” (Grand Master Flash and the Furious Five) versus “Rapper’s Delight” (Sugar Hill Gang). Is this the first divide we see between what we have termed “real” and “fake” or “underground” versus “commercial” hip–hop? Is the mainstream initiation of hip-hop in the media “fake” from the start or is this just a part of a very real divide that still exists today?

2. When and where does hip-hop get its name? All the reports and articles at this time take an etic perspective (outsider’s view), yet refer to hip-hop getting its name from the Sugar Hill Gang’s “Rapper’s Delight.” Having analyzed the music video and relationship of “Rapper’s Delight” to hip-hop in the South Bronx as a “musical construct,” then what does that say about the genre/culture getting its name from this song? Does the word hip-hop come from within the movement? Or is it imposed? What value does a name or title add (or take) from what hip-hop was to how it is presented by 1985? What is the shift between defining hip-hop as “counter culture” rather than “social movement?”

3. The Graffiti Rock TV series calls hip-hop a “culture” for the first time. We are introduced to Michael Holman, who identifies himself as a hip-hop anthropologist (mind you – in 1983). Do you agree with Holman that hip-hop is a culture? A counter-culture? What is the role Holman plays as a mediator between his viewers and hip-hop culture? Who is he introducing hip-hop to? Why is language and fashion stressed as important aspects to “practicing” or “understanding” hip-hop culture? Is the media using hip-hop, is hip-hop using the media?

4. What and how are the four elements of hip-hop joined together into a neat and clean package for consumption? What is the role this “package” had in diffusing hip-hop outside of New York, to the West Coast, the Midwest and soon after Europe? Can youth’s learn to produce hip-hop without living its “real” conditions through the emulation of these neat, clean, and “well-packaged” images? Do films like Style Wars, Wild Style and TV series like Graffiti Rock and the NY TV Magazine influence this?

Supplementary Reading and Pioneers Resource: The Dynamics of a Canvas (M.Riviere 2005)

By popular demand of Anth of Hip-Hop students:

Rivière, Melisa. 2005. “The Dynamics of A Canvass: Graffiti and Aerosol Art.” In Public Art Review, Forecast, St. Paul. MN Fall/winter 05 v. 16, issue 34, n 3

M.Riviere, Dynamics of a Canvas, pg1
M.Riviere, Dynamics of a Canvas pg2
M.Riviere, Dynamics of a Canvas pg3
M.Riviere, Dynamics of a Canvas pg4

Supplemental Reading and Pioneers Resource: Interview with Lady Pink

By popular demand of Anth of Hip-Hop students:

Interview with Lady Pink in 1998
By Melisa Riviere

Lady Pink is Ecuadorian by birth, raised in Queens, New York. She is one of the most respected female muralists as well as one of the first female graffiti writers to attain international fame. Currently she is co-owner of PinkSmith Designs with her husband with works ranging from street corners, museums, and art galleries to nightclubs. Lady Pink began her artistic career by producing illegal murals on the New York City subways in the late 1970’s, an underground career that blossomed in the hip-hop pop cult art movement of the 1980’s. Lady Pink appeared as the only featured female artistic in the 1982 Fashion Moda show in New York City that was the first, and at the time, the only graffiti art style exhibition. Her canvasses today are featured in collections such as those of the Whitney Museum the MET, and The Brooklyn Museum in New York and the Groningen Museum of Holland. Lady Pink’s integration into the graffiti art culture, her role as a muralist, and her romance with fellow graffiti writer at the time, Lee Quiñonez, became the model for the film ”Wild Style” in which she played a starring role. Her work has illustrated the union between graffiti, its legal representation of aerosol art and the commercial aspects of gallery exhibition.

A friend and colleague made the connection for me, and the thought that I might get to interview Lady Pink personally was my sole motivation to go to New York City. All contact seemed abstract and covert. I arrived to New York and touched base receiving only abstract directions to take the R line into Queens with a phone number to call once I arrived at the designated station’s payphone. I followed through receiving a second set of street names and numbers. As I walked I contemplated where I was going to meet her. Was I walking to a coffee shop, a house, an apartment, or a wall? What I would say, how might I approach my page and a half of notes, and which questions seemed most important if she seemed rushed and needed to “wrap up.” I rolled through my head how many women she has provoked to just do art, regardless of where, how, or whether the canvas had permission. After all she was my own source of inspiration. I thought of all the boy graffiti writers that must have had a crush on her, and how many of their muses she must have ignited.

When I arrived I found a small white house in front of me, Lady Pink opened the door with a little dog in her arms, a cup of coffee in her hand, and a Kool cigarette between her lips. It was that day in August of 1998 that I recorded this interview with her – in which both graff girl Mickey from Amsterdam and Pink’s husband Smith briefly appear – an interview that aims to go far beyond the walls and photographs in telling her story.

-Melisa Riviere, 1998

Lady Pink Interview by M.Riviere, 1998

SECT 1: Legendary Roots

SECT 1 – Legendary Roots:

WEEK #1 Introductions, class format, and expectations

Lecture: The urban context – the South Bronx

1. The political context – a Post-civil rights era
2. Black Panthers, Young Lords and street gangs such as the Savage Skulls, Nomads, and the Ghetto Brothers
3. An overview of US government programs (COINTELPRO) and their methods utilized to dismantle political organizations and street gangs
4. Film scenes from: Chalfant, Henry & Fecher, Rita. 1993. “Flying Cut Sleeves.” New York: Sleeping Dog Films and “Ain’t Gonna Eat My Mind”

WEEK #2

Readings: Ch. 1-3. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York

Rose, Tricia. 1999. “Voices from the Margins: Rap Music and Contemporary Black Cultural Production” In Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.

Austin, Joe. 2001. “Writing Graffiti in the Public Sphere: The Construction of Writing as an Urban Problem.” Taking the Train: Youth, Urban Crisis, Graffiti. New York: Columbia University Press.

Lecture:

1. The urban context continued: voices (or innovation?) from the margins
2. Discussion: Hip-Hop’s big bang – “Rapper’s Delight” (SugarHill Gang) vs. “The Message” (Grandmaster Flash and the Furious Five)
3. Film: Chalfant, Henry and Silver, Tony.1984. Style Wars. New York: Plexifilms.

Anthropology of Hip-Hop Syllabus

Anthropology of Hip-Hop in a Global Perspective

Professor:
Dr. Melisa Rivière

Course Description:
The course covers the historical trajectory of hip-hop from its inception in the post-civil rights era of New York City during1970’s in the form of four elements – break dancing, rap, turntablism, and graffiti art – to its contemporary identity as a global youth phenomenon. The historical development of hip-hop is accompanied with the analysis of scholarly works ranging from contemporary academic research to old-school rap lyrics. Literature, lectures, legal cases, films and multi-media projects individually analyze each element and question the four-element paradigm that defines hip-hop today. The course looks at the role gender, class, and race play in the use of hip-hop as a tool for social change while simultaneously acting as a corporate marketing device. The course aims to re-structure stereotypes and offer a deeper perspective into how hip-hop defines the identities of individuals as well as the consciousness of masses.

Anthropology of Hip-Hop breaks down the course into nine distinct sections: (1) Legendary Roots, (2) “Hip-Hop!” the Four Elements and Pop Culture, (3) The New Revolution & Gangster Rap, (4) Rap and the Law, (5) Race & Class Politics of Hip-Hop, (6) Turntablism & Production, (7) Bling Bling: Hip-Hop Consumerism, (8) Gender/Sexuality, and (9) Global Hip-Hop. Guest speakers and local hip-hop artists are incorporated into the course so as to contribute to an ongoing dialogue between academia and the community.

Class sessions:

• SECT 1: Legendary Roots:

WEEK #1
Introductions, class format, and expectations
Lecture:
The urban context – the South Bronx
The political context – Post-civil rights era.
Film scenes from: Chalfant, Henry & Fecher, Rita. 1993. Flying Cut Sleeves. New York: Sleeping Dog Films.
Discussion: Hip-Hop’s big bang – “Rapper’s Delight” vs. “The Message”

WEEK #2
Readings:
Ch. 1-3. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York

Rose, Tricia. 1999. “Voices from the Margins: Rap Music and Contemporary Black Cultural Production” In Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.

Austin, Joe. 2001. “Writing Graffiti in the Public Sphere: The Construction of Writing as an Urban Problem.” Taking the Train: Youth, Urban Crisis, Graffiti. New York: Columbia University Press.

Lecture:
The urban context continued: voices from the margins
Film: Chalfant, Henry and Silver, Tony.1984. Style Wars. New York: Plexifilms.

• SECT 2: “Hip-Hop!” the Four Elements and Pop Culture

WEEK #3
Readings:
Austin, Joe. 2001. “The State of the Subways: The Transit Crises, the Aesthetics of Fear and the second ‘War on Graffiti.’” Taking the Train: Youth, Urban Crisis, Graffiti. New York: Columbia University Press.

Ch. 4 – 7. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York

McGuigan, Athleen and Uehling, Mark d., et. al. “Breaking Out: America Goes Dancing” In Newsweek. July 2, 1984

Lecture:
Film scenes from:
Ahearn, Charlie. 1984. Wild Style. Los Angeles: Rhino Entertainment Company
Television program: Graffiti Rock
Lyne, Adriane. 1983. Flashdance. New York: Paramount Pictures.
Lathan, Stan.1984. Beat Street. New York: Orion Pictures.

WEEK #4
Readings:
Ch. 8-10. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York

Flores, Juan. 2000 “Puerto Rock” In From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press..

Hazzard-Donald, Katrina. 2004. “Dance in Hip-Hop Culture” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York

Rivera, Raquel. 2003. “Its Just Begun” and “Whose Hip-Hop?: The Late 1980′s and Early 1990′s”New York Ricans from the Hip-Hop Zone. Palgrave Macmillan: New York.

Lecture:
Puerto Rico, Puerto Rock
Break dance, locking and popping
Film scenes from:
‘Israel.’2001. The Freshest Kids. California: Brotherhood Films.
Silberg, Joel. 1984. Breakin’ New York: MGM/UA and the Cannon Group
Firstenberg, David. 1984. Breakin’ 2: Electric Boogaloo. MGM/UA

• SECT 3: The New Revolution & Gangster Rap

WEEK #5
ESSAY #1 DUE
Readings:
Ch 11 – 13. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York.

Lecture:
Public Enemy #1
Anti-apartheid in South Africa and Sun City – AUAA “Sun City”
RUN-DMC at Live Aid

WEEK #6
Readings:
Ch 14 – 16. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York.

Rose, Tricia. 1999. “Prophets of Rage: Rap Music and the Politics of Black Cultural Expression.” In Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.

Watts, Eric K. 2004. “An Exploration of Spectacular Consumption: Gangsta Rap as Cultural Commodity.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York

Lecture:
Public Enemy, NWA, X-Clan, Queen Latifah
Group discussion: “Illegal Search” (LL Cool J) & “Who Protects Us from You?” (KRS-One).
The new gangsta vs. the global gangsta.

• SECT 4: Rap and the Law

WEEK #7
Readings:

Clark, Anne L. “As Nasty As They Wanna Be: Popular Music on Trial.” New York University Law Review. November 1990; 65 N.Y.U. L. Rev. 1481

Davidson, Bill (The Estate Of) V. Time Warner, Inc., Tupac Amaru Shakur. 1992. Interscope Records, East West Records America, A Division Of Atlantic Recording Corporation Civil Action No. V-94-006

Glassner, Barry. 2003. “Rap Music and the Culture of Fear.” Entertainment and Sports Lawyer. Spring issue. Vol. 21, n. 1.

Kahan, Jeffrey, B. “Bach, Beethoven and The (Home) Boys: Censoring Violent Rap Music in America.” In Southern California Law Review, University of Southern California, Sept. 1993.

Luke Records v. Navarro, No. 90-5508 , United States Court of Appeals For the Eleventh Circuit, 960 F.2d 134; 1992 U.S. App. Lexis 9592; 20 Media L. Rep. 1114; 6 Fla. L. Weekly Fed. C 532, May 7, 1992

Lecture:
Rap and the law: NWA, Ice T, and the L.A. Riots
The new gangsta & the global gangsta.
Film: QD3. 2006. Black and Blue: Legends of the Hip-Hop Cop. Image Entertainment.

• SECT 5: Racial Politics of Hip-Hop

WEEK #8
Readings:
Neal, Mark Anthony. 2004. “Post-Industrial Soul: Black Music at the Crossroads.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York

Rivera, Raquel. 2003 “Ghettocentricity, Blackness and Pan-Latinidad: The Mid to Late 1990′s.” New York Ricans from the Hip-Hop Zone. Palgrave Macmillan: New York.

Samuels, David. “The Rap on Rap: The ‘Black Music’ that Isn’t Either.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.

Kitwana, Bakari. 2005. “The Cotton Club: Black-conscious hip-hop deals with an overwhelmingly white live audience. The Village voice, New York, June 24th,

Lecture:
Group Discussion: The Color of Hip-Hop
Rap and Whiteness: from Beastie Boys to Eminem

• SECT 6: Turntablism & Production

WEEK #9
Readings:
Ch 17. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York.

Rose, Tricia. 1999. “Soul Sonic” In Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.

Lecture:
Group discussion on turntablism & production – linear vs. circular cultural paradigms
Film: Prey, Doug. 2001. Scratch. Palm Pictures.
Global Hip-Hop group presentation planning session

WEEK #10
Readings:
Bartlett, Andrew. 2004 “Airshafts, Loudspeakers, and the Hip-Hop Sample: Context and African American Musical Aesthetics” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.

Schumacher, Thomas, G. 2004 “This is a Sampling Sport: Digital Sampling, Rap Music, and the Law in Cultural Production” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.

Lecture:
Film continued: Prey, Doug. 2001. Scratch. Palm Pictures.

• SECT 7: Bling Bling: Hip-Hop Consumerism

WEEK #11
Readings:
Ch 18. Chang, Jeff. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York. 2005.

Negus, Keith. “The Business of Rap: Between the street and the Executive Suite.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.

Lecture:
The Entertainment Industry

• SECT 8: Gender & Sexuality

WEEK #12
ESSAY #2 DUE
Readings:
Austin, Joe and Rivière, Melisa. 2001. “Girls and Graffiti.” In Girlhood in American: An Encyclopedia. San Diego: ABC-Clio.

Rivera, Raquel. 2003 “Butta Pecan Mamis.” In New York Ricans from the Hip-Hop Zone. Palgrave Macmillan: New York.

Lecture:
Hip-Hop Herstory
Film: Hurt, Byron. “Beyond Beats and Rimes”

• SECT 9: Global Hip-Hop

WEEK # 13
Readings:
Austin, Joe. 2001.”Walls and the World: Writing Culture 1982 – 1990.” Taking the Train: Youth, Urban Crisis, Graffiti. New York: Columbia University Press.

Ch. 19. Chang, Jeff. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York. 2005.

Kelly, Raegan. 2004. “Hip-Hop Chicano: A Separate but Parallel Story.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.

Marshall, Wayne. 2009. “From Musica Negra to Reggaeton Latino” In Reggaeton.Rivera, Marshall, and Hernandez-Pacini [ed.]. Durham: Duke University Press.

Lecture:
A brief history of Reggaespañol, Spanish Rap and Reggaetón
Son Dos Alas
Film: Michael Wanguhu. Hip-Hop Colony. 2007. Image Entertainment

WEEK #14
Readings:
Individual readings and preparation as necessary for global hip-hop presentations

Lecture:
Global hip-hop group presentations
Course conclusion, evaluations and summary

WEEK #15
FINAL EXAM ESSAY IS DUE

Assignments and grading:
Attendance 10%
Weekly reaction papers (2 pages) 10%
Praxis/Theory essay paper (5 pages) 15%
Essay #1: Biography (5-6 pages) 15%
Essay #2: Rap and the Law 2 (5-6 pages) 15%
Global hip-hop group presentation 10%
Final paper (8-10 pages) 25%

Weekly reaction papers:
Every class session you have the option to submit a weekly reaction paper for the previous week. These should consist of two page reactions to the readings, discussions, films and speakers. Out of 15 possible weeks to submit reaction papers, 5 are required for full credit (each one is worth 2% of your grade).

Praxis/Theory essay::
Many times the theoretical education of hip-hop theory is not alternated with practice. I want you to not only learn about hip-hop from readings, lectures, discussion and films but also facilitate your ability to execute one of the primary elements of hip-hop. You may attend as many of the five workshops as you like, however you are required to attend at least one to pass the course. You are required to write a 5-page reaction paper about your experience as it relates to class readings and discussion with regard to the divide between the praxis versus the theoretical scholarship of hip-hop. These reaction papers are due one week after the scheduled workshop.

Essay #1: Biography
Biography of a hip-hop pioneer
(5-6 pages, double-spaced, 12-point font, one-inch margins, citations/references)

Essay #2: Rap and the Law
Analysis of ‘gangsta’ rap and the law
(5-6 pages, double-spaced, 12-point font, one-inch margins, citations/references

Global hip-hop group presentation:
Working in small groups (3 – 4 students per group), you are to select one nation outside of the United States in which hip-hop has prevailed. Overlaps should be avoided between groups and nations. Explain why you selected this nation, what elements of hip-hop prevail, and take an in depth look at one aspect of hip-hop for inquiry from the respective country. You will be expected to designate roles for research and presenting. You are NOT expected to write a paper – however you are expected to conduct a formal in-class 20 min presentation about your findings and submit an outline of your talk. I am well aware that with group work, some students take on more than others, I will look for your presentations to demonstrate (1) qualitative in-depth research into the national hip-hop, and (2) that your workload was evenly dispersed amongst group members.

Final Essay:
You will receive one final essay question for your final papers. Your responses must be 8-10 pages, double-spaced in 12-point font

**Assignment dates are non-negotiable with the exception of extraordinary circumstances such as a personal or family medical emergency (in which case official documentation to the effect must be provided). Should you have any concerns regarding academic or grade disputes, scholastic misconduct, or sexual harassment I encourage you to contact the Student Dispute Resolution Center

Grading:
University-wide grading standards, which will be adhered to, are as follows:
A – achievement that is outstanding relative to the level necessary to meet course requirements
B – achievement that is significantly above the level necessary to meet course requirements
C – achievement that meets the course requirements in every respect
D – achievement that is worthy of credit even though it fails to meet fully the course requirements
(Note: The A through D grading scale will be adjusted by a ‘+’ or ‘–’ notation, as appropriate)
S – achievement that is satisfactory, which is equivalent to a C- or better
F (or N) – Represents failure (or no credit) and signifies that the work was either (1) completed but at a level of achievement that is not worthy of credit or (2) was not completed and there was no agreement between the instructor and the student that the student would be awarded an I
I – (Incomplete) Assigned at my discretion when, due to extraordinary circumstances, a student is prevented from completing the work of the course on time. Requires a written agreement between instructor and student
No curve will be applied.

Plagiarism:
Plagiarism, in any form, will not be tolerated. Plagiarism entails use of previously published or unpublished works not of your own authorship utilized without citation or reference to original work. Students found engaging in plagiarism will receive a grade of “F” in the course and will be reported to the University. If you are unclear about the university’s definition of and policy on plagiarism, please discuss this with me

Anthropology of Hip-Hop in a Global Perspective © M.Rivière
2006 / 2008 / 2009 / 2011

Anthropology of Hip-Hop in a Global Perspective suggested supplemental readings:

Ahearn, Charlie and Fricke, Jim. 2002. Yes Yes Y’all: Oral History of Hip-Hop’s First Decade. New York: The Experience Music Project.

Castleman, Craig. 1982. Getting Up: Subway Graffiti in New York. Massachusetts: MIT Press.

Chalfant, Henry and Prigoff, James..1987. Spraycan Art. New York: Thames and Hudson Inc.

Cepeda, Raquel. 2004. And It Don’t Stop!: The Best American hip-Hop Journalism of the Last 25 Years. Faber and Faber:New York.

Cooper, Martha and Chalfant, Henry. 1984. Subway Art. New York: Henry Holtand Company Inc.

Flores, Juan. 2000. From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press..

Goerge, Nelson. 1999. Hip-Hop America. Penguin Group (USA)……

Haeger, Steven.1984. The Illustrated History of Break Dancing, Rap Music and Graffiti. New York: St. Martin’s Press.

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