I believe that this will be the first of it's kind...especially in the form it's presented. I only thought of this idea the other day while interviewing a guy who works at Powerhouse, who's an academic in this field.
This'll be my third idea switch, and I'm happy for once that the idea i have isn't something I just thought up of one night and ran with. So..comments?
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Following an interview with Michael Jones and a two hour long discussion on, “What Hip Hop is” (originally section 3 of second draft revision) it was quickly realized that two minutes alone can not serve to answer that question satisfactorily. (Refer to Proposal 1.)
It was then decided upon to focus the major work on the topic of “Hip Hop” itself.
The new major work will present the “uninitiated” with an 8 minute lyrical performance poetry that focuses on three aspects:
• Where/What Hip Hop was – An inspection of its roots, culture and how it came into existence. Includes an examination of Jazz, African chants, popular artists of the time (James Brown, Rick James) and the relationship between cultures and music (contemporary music history). The politics surrounding Hip Hop, especially in the 1960s. The presentation of American Hip Hop (not to be confused with “rap”) as the musical form of the “underclass” of the time period, similar to the emergence of punk rock, both American and British, in response to the political occurrences respective of their timeframes. Identifies people/groups who were responsible for establishing hip hop (Public Enemy, Afrika Bambaataa and the Zulu Nation, DJ Kool Herc, TAKI 187, etc etc.)
• Where/What Hip Hop is – A commentary at hip hop today, from ‘mainstream’ to offshoot styles. The moneymaking behind ‘commercial acts’ and the musical sense and ethics behind ‘underground artists.’ Comments on the expansion of hip hop from the early sixties Jamaican ‘toasting’ to the ‘freestyle’ and ‘developed’ hip hop, and thus further branching out and influences on other styles of music (European and Asian hip hop.) Considers the multitude of the various styles, and artists writing and presenting themselves in those styles. Emphasizes the view that the majority of “hip hoppers” impose their idea of what hip hop should be like, instead of viewing what hip hop is neutrally, both the positive and negative aspects.
• Where/What Hip Hop will/could be – A personal view.
While the final major work will be in the form of performance poetry, the critical nature of this undertaking will involve an essay to prepare and organize all accumulated research into a cohesive passage which the performance poetry will then reflect.
It is important to note that this is NOT an “exercise in rap masquerading as an intellectual pursuit.” This is an exploration of the form and culture, and by presenting my findings via in the same medium, it will highlight and reinforce the aforementioned findings.
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I guess what i'm trying to ask also is...academically...the ultimate would be a critical essay, but perhaps the performance poetry would go further in getting across my point?
comments?
This'll be my third idea switch, and I'm happy for once that the idea i have isn't something I just thought up of one night and ran with. So..comments?
------------------
Following an interview with Michael Jones and a two hour long discussion on, “What Hip Hop is” (originally section 3 of second draft revision) it was quickly realized that two minutes alone can not serve to answer that question satisfactorily. (Refer to Proposal 1.)
It was then decided upon to focus the major work on the topic of “Hip Hop” itself.
The new major work will present the “uninitiated” with an 8 minute lyrical performance poetry that focuses on three aspects:
• Where/What Hip Hop was – An inspection of its roots, culture and how it came into existence. Includes an examination of Jazz, African chants, popular artists of the time (James Brown, Rick James) and the relationship between cultures and music (contemporary music history). The politics surrounding Hip Hop, especially in the 1960s. The presentation of American Hip Hop (not to be confused with “rap”) as the musical form of the “underclass” of the time period, similar to the emergence of punk rock, both American and British, in response to the political occurrences respective of their timeframes. Identifies people/groups who were responsible for establishing hip hop (Public Enemy, Afrika Bambaataa and the Zulu Nation, DJ Kool Herc, TAKI 187, etc etc.)
• Where/What Hip Hop is – A commentary at hip hop today, from ‘mainstream’ to offshoot styles. The moneymaking behind ‘commercial acts’ and the musical sense and ethics behind ‘underground artists.’ Comments on the expansion of hip hop from the early sixties Jamaican ‘toasting’ to the ‘freestyle’ and ‘developed’ hip hop, and thus further branching out and influences on other styles of music (European and Asian hip hop.) Considers the multitude of the various styles, and artists writing and presenting themselves in those styles. Emphasizes the view that the majority of “hip hoppers” impose their idea of what hip hop should be like, instead of viewing what hip hop is neutrally, both the positive and negative aspects.
• Where/What Hip Hop will/could be – A personal view.
While the final major work will be in the form of performance poetry, the critical nature of this undertaking will involve an essay to prepare and organize all accumulated research into a cohesive passage which the performance poetry will then reflect.
It is important to note that this is NOT an “exercise in rap masquerading as an intellectual pursuit.” This is an exploration of the form and culture, and by presenting my findings via in the same medium, it will highlight and reinforce the aforementioned findings.
---------------------
I guess what i'm trying to ask also is...academically...the ultimate would be a critical essay, but perhaps the performance poetry would go further in getting across my point?
comments?
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