|
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
Hip-Hop in a Global Perspective
GloS 1600 // Spring 2008
Wednesday 11:15am - 1:45pm
Blegen Hall 110
Instructor:
Melisa Rivière
Institute for Global Studies
Office:
Office hours & location: Tues/Thurs 1 – 2pm and by appointment
Global Studies TBA
Email: rivi0001@umn.edu
Global Studies: 612.624.9007
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:
Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York.
Required article packet available at Paradigm Copies (Dinky Dome, East Bank).
Hip-Hop Workshops
-Hip-Hop Workshop I Beat boxing: Carnage - Saturday Feb 23, 1-3pm
-Hip-Hop Workshop II Rap/Lyricism: Desdamona - Saturday Mar 8, noon - 2pm
-Hip-Hop Workshop III Break dancing: Daylight, Saturday - Mar 29, noon - 2pm
(Studio 200 in the Barker Center)
-Hip-Hop Workshop IV Turntablism: DJ (TBA) - Apr 12, noon - 2pm
-Hip-Hop Workshop V Graffiti Art: Chen (AKB) - Apr 26 1-3pm
(Intermedia Arts, 2822 Lyndale Avenue South)
SECT 1: Legendary Roots:
Wednesday Jan. 23
Introductions, class format, and expectations
Film: Chalfant, Henry & Fecher, Rita. 1993. Flying Cut Sleeves. New York: Sleeping Dog Films.
Wednesday Jan. 30
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
Lecture:
Group discussion: Gangs of the Bronx, Hip-Hop’s big bang: “Rapper’s Delight” vs. “The Message”
Film: Chalfant, Henry and Silver, Tony.1984. Style Wars. New York: Plexifilms.
WEEKLY REACTION PAPER DUE
Wednesday Feb. 6
Readings:
Ch 4-5. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York
Lecture:
Lyne, Adriane. 1983. Flashdance. New York: Paramount Pictures.
Ahearn, Charlie. 1984. Wild Style. Los Angeles: Rhino Entertainment Company
WEEKLY REACTION PAPER DUE
SECT 2: “Hip-Hop!” the Four Elements and Pop Culture
Wednesday Feb. 13
Readings:
Ch 6-7. 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,
WEEKLY REACTION PAPER DUE
Lecture:
Film scenes from:
Graffiti Rock
Lathan, Stan.1984. Beat Street. New York: Orion Pictures.
WEEKLY REACTION PAPER DUE
Wednesday Feb. 20
Readings:
Ch. 8 -- 9 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.
Lecture:
Class discussion: Puerto Rico, Puerto Rock
Film scenes from:
‘Israel.’2001. The Freshest Kids. California: Brotherhood Films.
WEEKLY REACTION PAPER DUE
Wednesday Feb. 27
Readings:
Ch 10. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York.
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:
Bomba, Breakin, Pop Lockin’ and hip-hop dance
Film scenes from:
Banco Popular. de Puerto Rico. 2001. Raices. Paradiso Films.
Silberg, Joel. 1984. Breakin’ New York: MGM/UA and the Cannon Group
Firstenberg. 1984. David. Breakin’ 2: Electric Boogaloo. MGM/UA
SECT 3: The New Revolution & Gangster Rap
Wednesday Mar. 5
ESSAY #1 DUE
Readings:
Ch 11–12. 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
RUN-DMC at Live Aid
NWA, X-Clan, Queen Latifah
WEEKLY REACTION PAPER DUE
SECT 4: Rap and the Law
Wednesday Mar. 12
Readings:
Ch 13-16. Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York.
Lecture:
Group discussion: “Illegal Search” (LL Cool J) & “Who Protects Us from You?” (KRS-One).
The ‘gangsta’ before and after the LA Riots
WEEKLY REACTION PAPER DUE
Wednesday Mar. 19 (Spring Break)
Wednesday Mar. 26
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.
Glassner, Barry. 2003. “Rap Music and the Culture of Fear.” Entertainment and Sports Lawyer. Spring issue. Vol. 21, n. 1.
Lecture:
Rap, fear and censorship
Film scenes from QD3. 2006. Black and Blue: Legends of the Hip-Hop Cop. Image Entertainment.
WEEKLY REACTION PAPER DUE
SECT 5: Racial Politics of Hip-Hop
Wednesday Apr. 2
Readings:
Kitwana, Bakari. 2005. “The Cotton Club: Black-conscious hip-hop deals with an overwhelmingly white live audience. The Village voice, New York, June 24th,
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
Lecture:
Group discussion: Rap, Race, Language, and Ethnicity
WEEKLY REACTION PAPER DUE
SECT 6: Turntablism & Production
Wednesday Apr. 9
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:
Group discussion on turntablism & production – linear vs. circular cultural paradigms
Film: Prey, Doug. 2001. Scratch. Palm Pictures.
WEEKLY REACTION PAPER DUE
SECT 7: Bling Bling: Hip-Hop Consumerism
Wednesday Apr. 16
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.
Lecture:
The Entertainment Industry
Group discussion: magazines, fashion, and the concept of “branding”
ESSAY #2 DUE
WEEKLY REACTION PAPER DUE
SECT 8: Gender & Sexuality
Wednesday Apr. 23
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.
“Butta Pecan Mamis.” Rivera, Raquel. 2003. 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
Wednesday Apr. 30
Readings:
Ch. 19. Chang, Jeff. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York. 2005.
Lecture:
A brief history of Reggaespañol, Spanish Rap and Reggaetón
Hip-Hop Habana from the Reel
Film scenes from: Michael Wanguhu. Hip-Hop Colony. 2007. Image Entertainment
WEEKLY REACTION PAPER DUE
Wednesday May 7
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
FINAL PAPER DUE TUESDAY MAY 13, 2008 AT 4PM
[GLOBAL STUDIES MAIN OFFICE – 214 SOCIAL SCIENCE BUILDING]
Assignments and grading:
Attendance 10%
Weekly reaction papers (2 pages) 10%
Workshop reaction paper (4 pages) 15%
Essay 1 (4 pages) 15%
Essay 2 (4 pages) 15%
Global hip-hop group presentation 10%
Final paper (5-6 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 15 possible weeks to submit reaction papers, 8 are required for full credit.
Workshop & workshop reaction 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 4-page reaction paper about your experience as it relates to class readings and discussion. These reaction papers are due before the end of the semester however I recommend you submit within two weeks after the scheduled workshop to keep the concepts fresh in your mind.
Essay #1
Biography of a hip-hop pioneer
(4 pages, double-spaced, 12-point font, one-inch margins, citations/references)
Essay #2
Analysis of ‘gangsta’ rap and the law
(4 pages, double-spaced, 12-point font, one-inch margins, citations/references)
Global hip-hop group presentation
Working in small groups (3 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 5-6 pages, double-spaced in 12-point font. You will have three weeks to formulate your argument and review outlines or drafts.
FINAL PAPER DUE TUESDAY MAY 13, 2008 AT 4PM
[GLOBAL STUDIES MAIN OFFICE – 214 SOCIAL SCIENCE BUILDING]
**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 you may contact the Student Dispute Resolution Center (SDRC) located at 107 Eddy Hall, (625-5900).
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 and will be reported to CLA. If you are unclear about the university’s definition of and policy on plagiarism, please discuss this with me and consult the following website: http://cisw.cla.umn.edu/plagiarism.html
Suggested supplemental readings:
See attached.
Anthropology of Hip-Hop in a Global Perspective © M.Rivière; 2006 / 2008
Anthropology of Hip-Hop in a Global Perspective suggested supplemental readings
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.
Flores, Juan. 2000. From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press..
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.
|
