(Global) Hip Hop Studies Bibliography

This bibliography documents Hip Hop scholarship outside of America, including scholarly works that may be US centric, yet expands its analysis to other parts of the world. Hip Hop Studies outside the boundaries of the United States stretches as far and wide as Hip Hop itself. This scholarship started in 1984, and the amount of scholarship beyond American boundaries has continued to grow up through present day. The first wave, before Mitchell\u27s Global Noise (2001), includes a wider range of scholarly works such as conference presentations and books written by journalists, in addition to traditional academic sources such as books and journal articles. I included the variety of scholarly works in the first wave that I do not include in the second wave because the earlier works can function as primary sources and document how the field has grown

Religion and Hip Hop

Book review of Religion and Hip Hop, by Monica Miller (2013)

Refocusing and Redefining Hip Hop: An Analysis of Lecrae\u27s Contribution to Hip Hop

Hip Hop scholarship has overlooked and separated emcees who publicly identify themselves as Christians who exist to make God famous. This deficiency contributes to an inadequate understanding of Hip Hop and places Hip Hop in a dangerous position of alienating ostracized voices. This paper aims to draw attention to these shortcomings by analyzing Lecrae\u27s contribution to Hip Hop. Influenced by his worldview, Lecrae leads a socially conscious movement and helps to bridge the sacred and secular gap. Lecrae redirects Hip Hop back to its roots. I will examine Lecrae\u27s lyrics, websites, social media and interviews. Interviews of Lecrae will come from several mainstream Hip Hop websites and videos found on YouTube. The combination of all these areas of inquiry will present a holistic view of Lecrae. The goal of this paper is to provide one article about Christians in Hip Hop with the hopes of spurring more discussion around such a vast field of study

”I Speak Hip Hop”: An Informative Interview about Generation Hip Hop and the Universal Hip Hop Museum

”I Speak Hip Hop” is an interview of members of Generation Hip Hop and the Universal Hip Hop Museum. This primary source highlights two Hip Hop organizations with chapters around the world. Tasha Iglesias and Travis Harris posits that Hip Hop scholars have not fully uncovered Hip Hop\u27s history around the world. As such, in addition to being a primary source, I Speak Hip Hop reveals the need for more scholarly attention on the dynamic expansion of Hip Hop cultures

Introduction: Ain’t It Evil to Live Backwards? : A Hip Hop Perspective of Religion

Historically, Black religion has been the cornerstone of the African experience in America. Due to the peculiar institution” of slavery and the ways this institutional residue still affect the lives of slave descendants, Hip Hop provides a forum to simultaneously acknowledge similarities and highlight differences. What scholars of religion and Hip Hop studies have revealed are the ways in which the effectiveness and our very understanding of “religion” changes when we bring Hip Hop in to the mix

Foreword

Foreword to volume 9 issue 1

Foreword

Foreword to volume 8 issue 1

If I Ruled the World: Putting Hip Hop on the Atlas

“If I Ruled the World: Putting Hip Hop on the Atlas” contends for a third wave of Global Hip Hop Studies that builds on the work of the first two waves, identifies Hip Hop as an African diasporic phenomenon, and aligns with Hip Hop where there are no boundaries between Hip Hop inside and outside of the United States. Joanna Daguirane Da Sylva adds to the cipha with her examination of Didier Awadi. Da Sylva\u27s excellent work reveals the ways in which Hip Hoppa Didier Awadi elevates Pan-Africanism and uses Hip Hop as a tool to decolonize the minds of African peoples. The interview by Tasha Iglesias and myself of members of Generation Hip Hop and the Universal Hip Hop Museum provides a primary source and highlights two Hip Hop organizations with chapters around the world. Mich Yonah Nyawalo’s Negotiating French Muslim Identities through Hip Hop details Hip Hop artists Médine and Diam’s, who are both French and Muslim, and whose self-identification can be understood as political strategies in response to the French Republic’s marginalization of Muslims. In “Configurations of Space and Identity in Hip Hop: Performing ’Global South’,” Igor Johannsen adds to this special issue an examination of the spatiality of the Global South and how Hip Hoppas in the Global South oppose global hegemony. The final essay, “‘I Got the Mics On, My People Speak’: On the Rise of Aboriginal Australian Hip Hop,” by Benjamin Kelly and Rhyan Clapham, provides a thorough analysis of Aboriginal Hip Hop and situates it within postcolonialism. Overall, the collection of these essays points to the multiple identities, political economies, cultures, and scholarly fields and disciplines that Hip Hop interacts with around the world

Putin\u27 on for Da Lou: Hip Hop\u27s Response to Racism in St. Louis

The brutal slaying of Michael Brown on August 9, 2014 by Police officer Darren Wilson is part of an endemic system of institutional racism against Blacks in St. Louis, Missouri. This system takes place in racialized spaces that entail disparate health care, failing schools, commercial redlining, an unjust justice system and several additional oppressive forces. I am seeking to understand the ways in which Hip Hop respond to these systems of oppression. I am interested in Hip Hop’s response because Hip Hoppers are enduring racism. Further, Hip Hop’s representation in popular culture draws attention to misogyny, drugs, violence and the glorification of money. Hip Hop scholars have already provided a significant amount of attention to debunking popular misconceptions and revealing that Hip Hop is so much more. I would like to add to this contribution by focusing on three emcees from St. Louis: Marcus Gray (Flame), Travis Tyler (Thi’sl), and Kareem Jackson (Tef Poe). their unique background of being from St. Louis, couches them as local experts in which they are able to respond to the killing of Michael Brown, the continued oppressive conditions and localized disenfranchisement. Using a performance studies framework, which involves a focus on embodied behaviors and cultural transmission, this paper analyzes the repertoires of Flame’s, Thi’sl’s and Tef Poe’s performances and activism. I contextualize their responses through a thorough examination of their background and their notions of the evils plaguing Ferguson. I argue that the three models of activism revealed by Flame’s, Thi’sl’s and Tef Poe’s performances in response to the killing of Michael Brown present the ways in which Hip Hop artists respond to the killing of Michael Brown. This paper will explore Hip Hop’s role within the larger Black freedom struggle