| Researcher: |
Abra Johnson--blu_nout@hotmail.com |
| Topic Description: |
From the music industry to the fashion industry, from beauty salons to classrooms, hip-hop flows through popular culture, carving out various niches along the way as it adapts itself to diverse cultures, making and leaving its mark on them, but also connecting them. As a result, hip-hop culture has pervaded many corners of the globe. The four corners to be discussed here are the hip-hop cultures of New Zealand, Japan, Cuba, and, of course, the United States, where hip-hop was created and defined. The focus here, then, is to discuss the culture as it exists in each country as both a sociopolitical movement/instrument of oppressed groups and as a commercial product/vehicle within the entertainment industries as well as to isolate hip-hop within the context of the particular country. Focusing in this manner allows me to see how the culture has taken shape in the specified environment, what parts, if any, of a country’s social, political, and/or economic structure has helped shape it, and how the culture is used (just entertainment? Mainstream? In what ways? Political in what ways? What demographics? Influenced other demographics or other parts of cultures? How?). Also, such a focus helps me to be objective. Describing and discussing hip hop in one country at a time helps to maintain the focus on and show the uniqueness of the culture in the given country. However, because it is difficult to ignore the similarities and differences from country to country, such findings will be made after the analysis within each country, as a result of switching to a broader focus of hip-hop’s global connectedness, how it can be related and compared from country to country.
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| Discussion of Topic: |
Hip-hop culture was born into and as a result of poverty and racism. It's lineag and history is deeply rooted within the ideologies. Hip-hop is a fusion of music, poetry, visual art, and dance in the African tradition of griots (storytellers relating fables and other stories about life experiences conveying lessons) and the African-Carribean tradition of toasting (boastful, competitve displays of verbal and lyrical skills). Both of these traditions perpetuated and reflected the values and history of enslaved and oppressed people, people legally, economically, politically, and socially, relegated to the lower classes of social hierarchies thought gave birth the present one in America. Thus, the social structures and hierarchies of a former system that legally and socially facilitated the institution of slavery, giving rise to a modern society of institutionalized racism and classism, necessitated rituals on behalf of those oppressed that would preserve the values, customs, and history that served to, at once, forge collective identifications, act as a refuge from discriminatory and other violent tactics, facilitate and stimulate creativity, and articulate the experiences of and life lessons from living with racism and poverty. Thus, hip-hop culture, through its roots, is so connected to social hierarchies that may of its familiarities are a direct result of being on the bottom of these structures. For example, rap concers were originally organized, in the early 1970's, to divert teens from gang activities.
It is these roots of hip-hop culture--race and class structures, griot and toasting traditions, poetry, jazz, art, and dance--that help to explain the expanse of its reach and influence. Hip-hop, like gospel, blues, jazz, and rock before it, was born of necessity in an oppressive and repressive society, bringing the voices of the underprivileged to the "masses". But, also like its musical ancestors, it has been packaged, marketed, and commerialized within American post-industrial capitalist society, due to its diverse commodities (several MC's or rappers, fashion, hair styles, grafitti art and supplies, dj's spinning and purchase various albums, etc.)and the ability of its MC's/rappers to creatively, cleverly and stylishly confront even the harshest issues of society. It is this thread of social activism and its role as the voice of an oppressed group that has connected hip-hop cultures in different countries, within different societies. |
| Method(s): |
In studying this topic, I will be researching literature and websites that already exist on the general culture (what is hip-hop? what are its characteristics/parts? where and when was it constructed? by whom and why? from where is it derived? what tends to shape and influence it?). After that, I will research literature and websites published and created about hip-hop in each country. In both instances I intend to collect information/data/quotes. I am also interested in conducting interviews. Many hip-hop artists and their fans have created websites, written articles, and have chat rooms where they can be contacted. I am a member of OKPLAYA, a hip-hop club, housing several artists (The Roots, Common, Dead Prez) who create socially informed work, with a website and chat room. Also, the Jive Records label has its main division/office here in Chicago. In the mid- to late 1980’s, Jive had some very well known and influential artists on its label, KRS-ONE and his crew Boogie Down Productions and A Tribe Called Quest. KRS-ONE is still considered one of the best MC’s in hip-hop history. Today, the Jive label is known for Britney Spears and N’SYNC who incorporate hip-hop music, choreography, and fashion into their music and image. Moreover, I am interested in accumulating the views of other people—hip hop fans, music critics, sociologists (pop culture), professors/researchers of Japanese, Cuban, New Zealand/Maori, and U.S. popular/modern culture, as well as people/students/adults from each of the four countries for their takes on hip-hop culture. |
| Findings and Data: |
Over the last three decades hip-hop music and culture have experienced many shifts, being adapted to different cultures, societies, musical taste, and social changes. However, it's basic definition and composition has remained, even as it adapts. Hip-hop music, as defined by one of its so-called architects, Grandmaster Flash, a famed dj from the south Bronx, New York, wherein hip-hop culture is considered to have been born, the dj laying "foundation down...taking almost anything musically just as long as it had a beat to it...so that the rhymer who flowed over the top of it could syncopate...". Another one of hip-hop's architects, Afrika Bambaataa another dj and orchestrator of Planet Rock (a form of soul music known as electrofunk because of its use of synthesizers and sound effects)defines hip-hip as "...the whole culture of the movement..rap is a part of the culture...emceeing, the djaying is part of the hip hop culture...the dressing, the language...breakdancing, b-boys, b-girls...how you act,walk, look, talk, are all apart of hip hop culture...and the music is colorless...made from black, brown, yellow, red, white..." Hip-hop culture is, also, so connected to the social hierarchies that helped give birth to it. Even its "underground" locations came into existence because local gangs terrorized the discotechs urban youth frequented in New York in the 1970's. In addition, the destitution of many parents afforded them the purchase of a single set of, usually, oversized clothes for their children. Their children wore these baggy clothes until they grew into them. In turn, graffiti artists adopted baggy outfits to facilitate stealing expensive art supplies.
Yet, quite a bit of hip hop from America and exported to the rest of the world now focuses on a highly commercialized and contradictory lifestyle, on seeking and attaining what is perceived as upperclass lifestyles---expensive cars, diamond and platinum jewelry, drinking expensive champaign, even partying with moguls like Donald Trump and Martha Stewart while participating in crimes like robbery and drugselling or carrying and using guns. Multiplatinum selling artists like P. Diddy and Jay-Z epitomize the new rap celebrity in America. However, the market for hip-hop is much more hybrid, such that artists who focus primarily of issues like racism, classism, education, and drug abuse can also become multiplatinum sellers who drive expensive cars and party with the rich and famous. Artists like Mos Def and Q-Tip (of A Tribe Called Quest)are examples of this particular hip-hop celebrity and demonstrate the new and popular hybridity of the culture, especially in America.
Even in a country, like Japan, that is communist, wealthy, with infamously high trates of American pop-culture-consuption, and notorious distaste of foreigners, hip-hop culture, as a purveryor, primarily, of African-American culture, has taken a firm hold of Japanes youth. No strangers to hip-hop, Japanese youth of the late 1970's first contributed by way of the Yellow Magic Orchestra who helped popularize the electronica funk Afrikan Bambaataa pioneered. The scene remained, primarily, within the underground scene mostly due to the social structure of Japan and difficulties translating the lyrics. Despite the language barriers and stereotypes of African-Americans in Japanese media (as well as in America's), the exposure of African-American culture through hip-hop has prompted young Japanese to explore injustice within their own society. The messages of Malcolm X, prevelant in American hip-hop in the late 1980's and early 1990's, has been credited with the recent acknowledgements of discrimination against minority groups like the Ainus and the Koreans living in Japan. Hip Hop Fork, a song by Takagi Kans, addresses MSG companies that make money in Asia. The Tinaimen Square protests have been associated with Spike Lee's "Do the Right Thing", about racism in America and its theme song "Fight the Power" by hip-hop group Public Enemy. Spike Lee, as a result, is very popular in Japan. His retail store Spike's Joint sells sweatshirts upward from $67, (Malcolm)X logoed jackets $794, and credited with popularizing Malcolm X from making the movie "X", which sold in over 60 theatres in every Japanese city, every night of the first four weeks of its run, and selling the autobiography ($25). In the very trendy Shibuya, Japan, a shopping street was renamed 'Malcolm X Boulevard'. Their is a vague sense of kinship with African-American among Japanes youth. Both groups have a history of being discriminated against.
Cuba, another communist country, but not nearly as wealthy, has also experienced the popularity and growth of hip-hop culture. With is deeply African heritage and history of world activism, Cuba's relatively new hip-hop culture is very similar the origin of the one in America. Despite economic barriers to the purchase of compact discs and modern electronic devices and equipment, from America and from poverty, hip-hop is one of only a few Western cultural genres to take off in the country, being introduced in the mid to late 1980's. Cuban hip-hop fuses the creolity of its musical heritage. Ruumba, salsa, son, ragga (Cuban reggae), guaguaranco, as well Western influenced jazz can all be heard in its hip-hop music. The artists are usually accompanied by live bands incorporating traditional African-Cuban rhythms and vocal stylings. Here, hip-hop culture is very political and is founded in Cuba's revolutionary history as well as the Black Power Movement in the late 1960's-mid 1970's in America. This fits the strong oppositional culture of the island. Within the island there is a history of racial tension between the east and west parts of the country. In and around Havanna, on the western side, is mostly inhabited by "white" middle to upperclass Cubans of European descent. The "black" or Afro-Cubans live mostly in and around Santiago, on the eastern side and in the low/impoverished status. They tend to be the laborers on the western side of the island. It is on the east side where hip-hop culture is to have taken shape. The east side natives tend to be worshippers of Yoruba (a traditional African faith), Rastafarianism (a modern faith from Ethiopa), and Islam as opposed to the prominant Catholicism and Judaism of many of the west natives. This African influence is present throughout Cuban hip-hop with themes of resistance, ending racism, true socialism, and pride in African heritage. The Orishas (meaning "gods" in Yoruba), formerly known as Amenaza,are considered the leading group in the country, with songs encouragin ancestor worship, identity issues of "mulattos", economic hardships of the country, and racism. Although they are now stationed in Paris, France, because of the lack of adequate industry representation, they continue write about Cuba and are the only Cuban band in France that consists of only Cuban members.
Hip-hop culture emigrated to New Zealand via cinema, radio, and television in the mid 1980's. However, the wave was not received directly from America. By 1984, hip-hop was well received in London, which created its own version of the culture. Hip-hop culture as it adapted to London then moved on to Australia and then to New Zealand. However, it was the breakdancing and djaying the was initially embraced. New Zealand rapping would later be cultivated. Because rapping was, from a pop cultural standpoint, associated with African-American, the assumption ensued that they were the best and imitation of the American accent was considered a part of rapping. That has changed in the past decade as hip-hop culture was adapted to that of New Zealand's. The new wave of rappers in New Zealand emphasize their accents when rapping as a symbol of cultural pride. This pride is associated with the themes of hip-hop music in the 1970's and 1980's--ethnic pride, social activism, and cultural diversity. The Black Power movement in America in the 1970's has also had an impact on New Zealand's Maori heritage. There are many activists and hip-hop artists in the country who are members of an organization known as the Panthers, named after the party in America. This membership fosters ethnic pride, forges a connection between African-American history and Maori history, and serves as a main platform of the hip-hop that is produced in New Zealand. Groups like Urban Disturbance and Dark Tower are well-known on the underground scene in the country and for the activist lyrics.
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| Conclusions: |
Hip-hop culture tends to reflect the social trends within its society--in America, materialism and activism intertwine, in Japan, images of hipness and new found awareness of injustices and social constraints, in Cuba, racism, socialism, and religion make an odd mix, and in New zealand, culture pride and activism go hand in hand. It is a result, reflection, and purveyor of the issues and experiences of its participants and the society from which they come. Thus, hip-hop culture is diverse and flexible in nature, but also molding and sculpting in its approach. To be apart of it is to be submerged in it. It is also representive of the African-American influence upon American culture. Hip-hop of various countries automatically link the energy and activism to African-Americans. Therefore, submerging oneself in hip-hop is submerging oneself into African-American culture and social thought, or at least perceived as such. However, the origins of hip-hop are diverse, thus, its appeal. It welcomes nearly every audience. Hip-hop also grapples with injustices that can be witnessed and identified with throughout these countries. This is also part of its appeal and it effects on its audience. When a spark of curiosity is ignited about the interworkings of society, it cannot be put out, thus, hip hop's longevity. As long as people seek to resolve injustice and as long as hip-hop functions as a voice of the underprivileged, hip-hop culture will continue to adapt to and flow through the veins of various cultures and societies.
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| References: |
| Bibliography: |
Altman-Siegal, Vanessa. "Raw Like Sushi: Hip Hop Culture in Japan".[Online.] Available:http://eserver.org/zine375/issue1/living5/html[23September 2001].
Blaze. "Australian Hip-hop: Kangaroo Style". [Online.]Available:http://www.bombhiphop/com/kangasty.htm [1997].
"Busting the Embargo: the Growing Bridge Between Hip-hop in Cuba and the US". [Online.]Available:http://www.webactive.com/pacifica/demnow/dn20000407.htm [07 April 2000].
Rose, Tricia.1994.Black Noise: Rap Music and Black Culture in Contemporary
America.Middletown,CT:Weslyan University.]
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| Links: |
http://www.afrocubaweb.com Cuba Information,
http://www.daveyd.com Hip-hop in the U.S.-Origins,
http://member.ozemail.com International Hip-hop music and artists |
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