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University of Minnesota: Hip-Hop in a Global Perspective - Freshman Seminar (3 credits)
GloS 1600: Wed 11:15 AM - 1:45 PM, Blegen 110
Fall 2006 -
University of Minnesota: Anthropology of Hip-Hop in a Global Perspective
Special Topics: Hip-Hop in a Global Perspective
ANTH 3980 05 // Spring 2008
Thurs 6-9PM
GLC202
Instructor:
Melisa Rivière
Department of Anthropology & Global Studies
rivi0001@umn.edu // mriviere01@gw.hamline.edu
Office:
Gidden’s Learning Center (GLC) 8S
Office hours: Th 4:45 – 6pm or by appt.
651-523-2682
Hamline University
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 on Trial, (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.
Students are expected to actively participate in class sessions, maintain the designated reading schedule and participate in one of five (1 of 5) two-hour workshops (break dance, turntablism, aerosol art, lyricism, and/or beat boxing) outside of regularly scheduled class time.
Readings:
Austin, Joe. 2001 Taking the Train: Youth, Urban Crisis, Graffiti. New York: Columbia University Press.
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. Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.
Required reading packet available at IKON
Hip-Hop Workshops (location at GLC6S unless otherwise noted):
-Hip-Hop Workshop I Beat boxing: Carnage - Saturday Feb 23, 4:30 – 6:30pm
-Hip-Hop Workshop II Rap/Lyricism: Desdamona - Saturday Mar 8, 4-6pm
-Hip-Hop Workshop III Break dancing: Daylight, Saturday - Mar 29, 4-6pm
-Hip-Hop Workshop IV Turntablism: DJ Fundamentalist - Apr 12, 4 – 6pm
-Hip-Hop Workshop V Graffiti Art: Chen of AKB - Apr 26 1-3pm
(Intermedia Arts, 2822 Lyndale Avenue South)
SECT 1: Legendary Roots:
Thursday Jan 31
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”
Thursday Feb. 7
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
Ch 2. Rose, Tricia. 1999. “All Aboard the Night Train: Flow, Layering, and Rupture in Postindustrial New York.” Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.
Ch 1-3. Austin, Joe. 2001 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.
WEEKLY REACTION PAPER DUE
SECT 2: “Hip-Hop!” the Four Elements and Pop Culture
Thursday Feb. 14
Readings:
Ch 4-5. Austin, Joe. 2001 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
Graffiti Rock
Lyne, Adriane. 1983. Flashdance. New York: Paramount Pictures.
Lathan, Stan.1984. Beat Street. New York: Orion Pictures.
WEEKLY REACTION PAPER DUE
Thursday Feb. 21
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. “Puerto Rock” In From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press. 2000.
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
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
WEEKLY REACTION PAPER DUE
SECT 3: The New Revolution & Gangster Rap
Thursday Feb. 28
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
WEEKLY REACTION PAPER DUE
Thursday Feb. Mar. 6
Readings:
Ch 14 & 15. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York.
Ch 1 & 4. 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 & the global gangsta.
WEEKLY REACTION PAPER DUE
SECT 4: Rap and the Law
Thursday Mar. 13
Readings:
Ch 16. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York
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.
Glassner, Barry. 2003. “Rap Music and the Culture of Fear.” Entertainment and Sports Lawyer. Spring issue. Vol. 21, n. 1.
Lecture:
The new gangsta & the global gangsta.
Rap and the law: NWA, Ice T, and the L.A. Riots
Film: QD3. 2006. Black and Blue: Legends of the Hip-Hop Cop. Image Entertainment.
WEEKLY REACTION PAPER DUE
Thurs. Mar. 20 –NO CLASS // SPRING BREAK
Thursday Mar. 27
Readings:
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
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
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:
Guest lecturer: Dean Jon Garon
Group discussion: rap and the law, group review of legal cases Davidson, Bill (The Estate Of) V. Time Warner & Luke Records v. Navarro.
WEEKLY REACTION PAPER DUE
SECT 5: Racial Politics of Hip-Hop
Thursday Apr. 3
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
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: Rap, legal liability and race
WEEKLY REACTION PAPER DUE
SECT 6: Turntablism & Production
Thursday Apr. 10
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
Ch 3. Rose, Tricia. 1999. “Soul Sonic” In Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.
Lecture:
Group discussion – Global Hip-Hop group presentation planning session
WEEKLY REACTION PAPER DUE
Thursday Apr. 17
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:
Guest lecturer: Will Ways of Will Ways Music Group
Film: Prey, Doug. 2001. Scratch. Palm Pictures.
WEEKLY REACTION PAPER DUE
SECT 7: Bling Bling: Hip-Hop Consumerism
Tuesday Apr. 22
ESSAY #2 DUE
Readings:
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.
Ch 18. Chang, Jeff. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York. 2005.
SECT 8: Gender & Sexuality
Thursday Apr. 24
Readings:
Ch. 5. Rose, Tricia. 1999. “Bad Sistas: Black Women Rappers and Sexual Politics in Rap Music” In Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.
Ch 6 & 7. Rivera, Raquel. 2003 “Butta Pecan Mamis.” In New York Ricans from the Hip-Hop Zone. Palgrave Macmillan: New York.
Lecture:
Hip-Hop Herstory
Guest Speakers: B-Girl Be and local Twin Cities’ women in hip-hop
WEEKLY REACTION PAPER DUE
SECT 9: Global Hip-Hop
Readings:
Ch 9. Rivera, Raquel. 2003. New York Ricans from the Hip-Hop Zone. Palgrave Macmillan: New York.
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
Lecture:
A brief history of Reggaespañol, Spanish Rap and Reggaetón
Hip-Hop Habana from the Reel
Film scenes from: Lisandro Perez-Rey. La Fabri K 2004. Gato Films
WEEKLY REACTION PAPER DUE
Thursday Apr. 29
Readings:
Ch 8. Austin, Joe. 2001 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.
Chang, Jeff. “It’s a Hip-Hop World.” In Foreign Policy Review, Nov./Dec. 2007
Lecture:
Film: Michael Wanguhu. Hip-Hop Colony. 2007. Image Entertainment
WEEKLY REACTION PAPER DUE
Thursday May 8
Readings:
Individual readings and preparation as necessary for global hip-hop presentations
Lecture:
Global hip-hop group presentations
Course conclusion, evaluations and summary
WEEKLY REACTION PAPER DUE
THE FINAL PAPER IS DUE THURSDAY MAY 15, 2008 AT 4PM
[Hard copies only – no email copies // drop off at Anthropology main office]
Assignments and grading:
Attendance 10%
Weekly reaction papers (2 pages) 10%
Workshop reaction paper (5 pages) 15%
Essay 1 (5-6 pages) 15%
Essay 2 (5-6 pages) 15%
Global hip-hop group presentation 10%
Final paper (8-10 pages) 25%
Weekly reaction papers:
Every Tuesday 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 when appropriate. Out of 13 possible weeks to submit reaction papers, 8 are required for full credit.
Workshop & workshop paper:
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 will write a 5-page reaction paper about your experience as it relates to class readings and discussion. These reaction papers are due one week after the scheduled workshop.
Essay #1
Biography of a hip-hop pioneer
(5-6 pages, double-spaced, 12-point font, one-inch margins, citations/references)
Due February 28, 2008 (in class).
Essay #2
Analysis of ‘gangsta’ rap and the law
(5-6 pages, double-spaced, 12-point font, one-inch margins, citations/references)
Due April 17, 2008 (in class).
Global hip-hop group presentation
Working in small groups (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 into 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 10 min presentation about your findings. 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 paper:
You will receive one final essay question for your final papers. Your responses must be 8-10 pages, double-spaced in 12-point font. You will have three weeks to formulate your argument and review outlines or drafts.
THE FINAL PAPER IS DUE THURSDAY MAY 15, 2008 AT 4PM
[Hard copies only – no email copies // drop off at Anthropology main office]
**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).
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 the discretion of the instructor 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 our own authorship utilized without citation or reference to original work. Students found engaging in plagiarism will receive a grade of ‘F’ in the course.
Suggested supplemental readings:
See attached.
Anthropology of Hip-Hop in a Global Perspective © M.Rivière; 2006 / 2008
Suggested supplemental readings on Hip-Hop:
Ahearn, Charlie and Fricke, Jim.. Yes Yes Y’all: Oral History of Hip-Hop’s First Decade. New York: The Experience Music Project. 2002
Castleman, Craig. Getting Up: Subway Graffiti in New York. Massachusetts: MIT Press. 1982
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.
Haeger, Steven.1984 The Illustrated History of Break Dancing, Rap Music and Graffiti. New York: ST. Martin's Press.
Miller, Ivor Lynn. 1993 Aerosol Kingdom: The Indigenous Culture of the New York Subway. Connecticut: Yale University Thesis. UMI #1349354
Perkins, William Eric (ed.). 1996. Droppin’ Science: Critical Essays on Rap Music and Hip-Hop Culture. Philadelphia: Temple University Press.
Powers, Stephen. 1999. The Art of Getting Over: Graffiti at the Millenium. New York: St. Martin’s Press.
Rivière, Melisa and Austin, Joe. 2001. “Girls and Graffiti.” In Girlhood in American: An Encyclopedia. San Diego: ABC-Clio.
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
Smidlapp and Phase 2.1996 Style: Writing From the Underground, (R)evolutions of Aerosol Linguistics. Italy: Stampa Alternativa in Association with IGTimes.
Stewart, Jack.1989 Subway Graffiti: An Aesthetic Study of Graffiti on the Subway System of New York City 1970-1978. New York: New York University. Dissertation. UMI #9004328.
Wimsatt, William Upski. 1994 Bomb the Suburbs. Chicago: The Subway and Elevated Press Co.
Anthropology of Hip-Hop in a Global Perspective © M.Rivière; 2006 - 2008
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