Miércoles, 10 de junio, 2015: Tomamos una pausa de nuestra primera revisión histórica hoy para analizar las diferentes interpretaciones que existen dentro de la literatura académica con respecto al análisis del hip-hop. El contexto urbano que abarcamos el primer día nos permitió ver como esta música refleja y conduce al individual/colectivo sirviéndole(s) como una herramienta para crear paz dentro del abandono fiscal y el conflicto social. La pausa de hoy fue dedicada a la historia de los estudios sobre el hip-hop y la óptica/historia por cual se ha – hasta ahora – analizado este movimiento. Dentro de las academias norteamericanas el hip-hop ha sido desarrollado mayormente por las disciplinas de estudios Afro diásporicos y afro-americanos. A contraste, el pensamiento crítico sobre el rap en español se ha desarrollado dentro de las disciplinas de idioma/lenguaje español/portuguesa (y dentro de estas, sus estudios culturales por región geográfica). Notamos unos evidentes escases de literatura sobre el hip-hop en español y una tendencia de enmarcar los estudios del hip-hop en términos raciales o lingüísticos. Los archivos sobre el hip-hop Latino/Caribeño en español (desde EUA, Europa, y Am. Lat.), nos ofrece un análisis complementario del hip-hop por la óptica de la psicología, la antropología, la musicología, la sociología y la economía. Nuestra búsqueda de hoy era de contextualizar el hip-hop (particularmente Latino y en español) dentro de los estudios históricos y culturales; identificar los puntos clave que narran autores sobre la música (en este caso el hip-hop) y la identidad del individuo; entender la relación entre la música y el colectivo, el “margen,” la “intimidad diasporica” y por ende, los (nuevos, y no tan nuevos) movimientos sociales. Dentro de este marco más amplio también analizamos el hip-hop como herramienta pedagógica y notamos el balance entre su estudio teórico versus su práctica, ambos como avenidas hacia su conocimiento.
Course Summary:
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. Throughout the semester the class 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.
Dr. Melisa “Emetrece” Riviere
Dr. Melisa "Emetrece" Riviere is an anthropologist and Latina hip-hop audiovisual director, producer, and scholar. In 2010 she received her doctorate in Anthropology from the University of Minnesota as a MacArthur Scholar. Her research on the globalization of hip-hop and its local expressions between Cuba and Puerto Rico utilized music and audiovisual production as a unique disciplinary methodology. The same year, in Havana, the multimedia productions from her dissertation received the prestigious Lucas Award from the Cuban Institute for Radio and Television.
The artistic name Emetrece originated many years earlier in 1991 as a nom d' plume for anonymous publications by Melisa Riviere, written out as M13. her name containing 13 letters and with the initials MR could be scripted in such a way to appear as an M13. She later altered the writing of her name as "Emetrece" so as to identify with her Latina origin and target the Latino community. The word strategically includes 4 letters ‘E,’ each of which metaphorically relates to an element of hip-hop – DJ, graffiti art, break dance, and lyricism/rap.
Dr. Riviere has worked with Songo Sounds, Time Machine Squad, and The Lab Studios in Puerto Rico, as well as The Cuban Institute of Music, the Agency for Rap, La Fabri K, the Hermanos Saíz Association, Casas de Cultura, and Real70 Studios in Cuba. Her work on either island includes documenting hip-hop conferences, festivals, and live performances; leading keynote talks and pedagogical workshops; and producing musical recordings as well as video clips with Anónimo Consejo, Tego Calderón, Doble Filo, Los Aldeanos, SieteNueve, Intifada, Silvito el Libre, Escuadrón Patriota and Obsesión amongst others.
As a pioneer hip-hop scholar Dr. Riviere teaches courses on hip-hop for Anthropology, Global Studies, and History departments as visiting faculty at various universities and college campuses. She has published in a wide range of academic journals and popular culture magazines. Her audiovisual ethnographic publications have appeared in albums released by major music labels such as Atlantic Records and showcased in film festivals such as the Langston Hughes African American Film Festival.
In the role of co-founding director of the annual international summit titled “B-Girl Be: A Celebration of Women in Hip-Hop,” Dr. Riviere advocates for the empowerment of women and youth within the art movement. Merging academia with entrepreneurship, in 2003 she founded Emetrece Productions, an audio-visual production company and independent music label that focuses on "edu-tainment" to cross pollinate both fields and offer a new approach to the cultural industries
Dr. Riviere’s two decades of multimedia production, hip-hop education and “raptivism” has received the attention of media giants such as Reuters, Associated Press and CNN.
Anthropology of Hip-Hop 
gracias por compartir la experiencia, me habría encantado estar en el curso!!