![]() ![]() The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.įrom 1995-1998 hip hop music and culture rose from the periphery of society to mainstream and worldwide commercialization as it rode the wave of increasing globalization, incredible American economic growth, and the explosion of internet and computer technologies, to national and international prominence in mainstream society. I therefore went about the task of creating my own album – my own Hip Hop cultural and musical product – in order to place myself in the unique position to examine it critically as cultural artifact, as well as to undertake (self-)analyses concerning various aspects of (my) identity formation. The study's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content) the aim here was to explore Hip Hop music and the construction of artistic self-presentation. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture this project, as a fusion of theory with practice, was therefore undertaken so as to occupy that gap. While Hip Hop culture has increasingly found itself positioned as object for study within academia, this was a unique Hip Hop-focused creative project based in self-ethnography. Lastly, we arrived at new frameworks of understanding for future inquiries of those from these communities: Hip Hop educational leaders, Hip Hop methodologies and Hip Hop spirituality were theorized upon at the completion of the study. Using the Individual and Community Empowerment (I.C.E.) framework (Travis & Deepak, 2011) five mini-narratives were derived from the analysis of the various data sources: spiritual parenting, spiritual progression, the profane is spiritual the church is missional, hustle or live trying and new waves of digital. Data collection methods were ciphers, freestyle interviews, blogs, and document artifacts. We developed our individual and collaborative spiritual narratives by using poetic narrative analysis wherein the transcripts and other data such as spiritual REEL life maps were developed into poetry and then further analyzed. This arts-based collaborative study which was situated in the fields of adult education and educational leadership, included myself and three other collaborative DJ's (co-researchers) who hailed from Hip Hop communities. ![]() Their acts of spiritualized empowerment were driven by esteem, resilience, growth, community and change and grounded in a Hip Hop/spiritual mindset. This qualitative study explored how four Black educational leaders from Hip Hop communities used their spiritual narratives to inform their individual and community empowerment practices in their workplaces, communities and personal lives. Money, whether from the streets and/or multinational corporations, has helped spread hip-hop culture, but has also served as a major roadblock to making hip-hop part of an emancipatory politic. Building on the spatial theories of Murray Forman and Cheryl Keyes, special attention is given to how Afrika Bambaataa attempted to move hip-hop from street consciousness to Afrocentric empowerment.Woven throughout the narrative of this chapter is the theme of tension between knowledge and the commercial impetus of hip-hop. ![]() This chapter provides a revisionist historiog- raphy of hip-hop knowledge, specifically, its early normative development within the socio-economic realities of the 1970s’ South Bronx. The performance arts of MCing (“rapping”), DJing (“spinning”), breakdancing (“b-girling”), and graffiti (“writing”) are often identified as the “four core elements” of hip-hop, but less attention has been given to the central role of knowledge in the cultural formation of hip-hop culture. Knowledge of self” refers to the Afro-diasporic mix of spiritual and political consciousness designed to empower members of oppressed groups. ![]()
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