Songs With the Word Game in the Martial Arts
The reply is all of the above—and more than. Hip Hop embraces these artistic elements, nearly definitely. But it also has blended and transcended them to become a means for seeing, celebrating, experiencing, understanding, against, and commenting on life and the world. Hip Hop, in other words, is a way of living—aculture.
The elements of Hip Hop came together in the Bronx borough of New York City. It was the early 1970s and times were tougher than usual for the poorer parts of urban America. From a whole lot of null—and a whole lot of imagination—Hip Hop took course.
DJ Tony Tone and DJ Kool Herc, 1979 © Joe Conzo
DJ Kool Herc is credited with throwing the switch at an August 1973 trip the light fantastic bash. He spun the same tape on twin turntables, toggling betwixt them to isolate and extend percussion breaks—the most danceable sections of a vocal. It was a technique that filled the floor with dancers who had spent days and weeks polishing their moves.
The effect that nighttime was electric, and soon other DJs in the Bronx were trying to outdo Herc. Information technology was a code that has flowed through Hip Hop ever since: i) Use skills and any resources are available to create something new and cool; 2) Emulate and imitate the genius of others but inject personal fashion until the freshness glows. Competition was, and remains, a prime motivator in the Hip Hop realm.
Like a powerful star, this dance-party scene quickly drew other art forms into its orbit. A growing motility of hopeful poets, visual artists, and urban philosophers added their visions and voices by whatever ways bachelor. They got the word out most what was happening in their neighborhoods—neighborhoods much of mainstream, middle-grade America was doing its all-time to ignore or run down. Hip Hop kept coming, kept pushing, kept playing until that was no longer possible.
Today, some Hip Hop scholars fold as many every bit six elements into Hip Hop culture. They include:
- DJing—the artistic handling of beats and music
- MCing, akarapping—putting spoken-word poetry to a beat
- Breaking—Hip Hop's dance form
- Writing—the painting of highly stylized graffiti
- Theater and literature—combining Hip Hop elements and themes in drama, poetry, and stories
- Knowledge of self—the moral, social, and spiritual principles that inform and inspire Hip Hop ways of being.
From its work-with-what-you-got epicenter in the Bronx, Hip Hop has rolled outward to become a multibillion-dollar business organization. Its sounds, styles, and fashions are now in play around the earth. DJs spin turntables in Sao Paulo, Brazil. MCs rap Arabic in the clubs of Qatar. B-boys and b-girls bust baby freezes in Finland. Graffiti rises on the Great Wall of China. Young poets slam verse in D.C.
And then what is Hip Hop? All of the above and more—any nosotros beloved plenty to bring.
The Development Of Hip Hop [1979-2017]
Breaking: The Dance Style of Hip Hop
Image via Creative Commons; flickr.com user Néstor Baltodano
Richard Colón was just 10 when his cousin took him to his start schoolyard bash in 1976. "Ah, I was simply blown away," he says in Jeff Chang's history of Hip Hop,Can't Finish Won't End. "I simply saw all these kids having fun...checking out the whole scene, and it was my first time watching the trip the light fantastic with the music being played...I merely immediately became a function of information technology."
He soon became abig office of it. By his early teens, the boy now immortalized as "Crazy Legs" became a trendsetter for breaking—a dance revolution yet popping, locking, and rocking the world.
Making a B-line from the Bronx
Every bit Hip Hop civilisation rose from the streets of the Bronx, breaking spun up and stepped out from the concrete itself. Early b(reaker)-girls and b-boys like Crazy Legs and his Rock Steady Crew earned their skills on that difficult ground, admiring each other'south cuts, bruises, and "battle scars" as they pushed one another to evermore audacious displays of fashion and guts.
In keeping with Hip Hop'due south ethic of improvisation, breaking is oftentimes a create-on-the-fly trip the light fantastic mode. Information technology mixes super-quick footwork with body-torquing twists. Robotic movements menstruation into shine whole-body waves before dropping into acrobatic leg flares that suddenly halt in mid-spin freezes that seem to defy gravity. Breaking is the ultimate 3-D dance—flipping high, spinning low, and putting a premium on physical imagination and bravado.
Getting on the Good Pes
Breaking has copied from many dance styles to generate this uniqueness. These styles include the Charleston from 100 years ago that loaned its characteristic leg kick and arm swing as a top-rocking movement. The ad-libbing of the Lindy Hop, pop from the 1920s on, also lives in breaking's style. For private inspiration, though, no one can best soul singer James Brown. His high-energy dance moves in the 1960s and 70s have inspired b-boys and b-girls ever since, and his song "Become on the Good Pes" is one of breaking's early anthems. Tap, steppin', ballet, disco, and modern all proceed to contribute.
Breaking has rummaged beyond the trip the light fantastic toe floor and stage to find many of its most dramatic moves. The whirling torsos and legs of gymnasts on the pommel horse are seen in leg flares, for example. Down-rocking reflects techniques from gymnastic flooring routines.The world of hand-to-hand gainsay has too provided inspiration for b-boys and b-girls. Hip Hop scholars often link breaking withcapoeira, a martial arts dance with roots in Republic of angola and Brazil that displays acrobatics, grace, and power. A total-blown showdown makes information technology clear why breaking contests are referred to equally "battles" every bit dancers mix dance moves with shadow kicks, leg sweeps, and fake attacks in the faces of the competition.
Breaking is much more than a sum of moves from various dances and disciplines, though. It is a living, breathing art form unique every fourth dimension dancers take their turn in a goose egg (meet sidebar). Through the years the Rock Steady Crew, the Mighty Zulu Kings, the Lockers, the Electrical Boogaloos, and thousands of other individuals and crews have continuously renewed and refreshed the way with original spins, fresh freezes, and new twists on ability moves—often laced with torso-bending humour. Competition and innovation in breaking—equally with all things Hip Hop—is essential and inspired, and today its mode inspires wherever people trip the light fantastic toe.
Flying Legs Crew: Kings of New York
Hip Hop Vocabulary
B-Terms to Know
The bones vocabulary of breaking—Hip Hop's trip the light fantastic toe style include:
popping fluid movements of the limbs, such as moving arms like an ocean wave, that emphasize contractions of isolated muscles
locking snapping arms or legs into held positions, oft at sharp angles, to accent a musical rhythm
meridian-rocking fancy footwork performed upright
down-rocking dance moves performed on or shut to the ground
up-rocking martial arts strikes, kicks and sweeps congenital into the trip the light fantastic steps often with the intent of "burning" an opponent
ability moves acrobatic spins and flares requiring speed, strength, and agility
freeze sudden halt of a trip the light fantastic step to hold a pose, often while balanced on a manus, shoulder, or head
cypher group of b-boys/b-girls taking turns in the middle of the dance flooring
DJing: The Artist at the Turntable
Image via Creative Commons; flickr.com user Fora do Eixo
DJs are the soul backside the crush that pleases, surprises, and puts people on the dance floor. The all-time DJs have an almost mystical sense of mood at a party or guild. They sense the right moment to cue the right song using the right technique to take the party where information technology'due south fix to go. Information technology is that insight, a passionate noesis of music, and technical know-how that make DJing 1 of the pillars of Hip Hop civilisation.
Working the Sound Arrangement
A DJ'southward sound system is a laboratory for making music magic. Twin turntables are standard, assuasive the DJ to switch easily between songs, or spin and dispense records in tandem to create effects or unique musical combinations. The turntables are wired to a receiver, amplifier, and convulsion-causing speakers. The DJ may use headphones to cue up the next vocal or vocal segment as the current music plays. Then he or she uses a mixer, or fader, to make transitions from one turntable to the other—hopefully without missing a beat out. Today's DJs oftentimes incorporate digitized and computerized components, as well. But most Hip Hop purists frown on DJs who button-push button preprogrammed playlists. Hip Hop culture saves its greatest praise for inspired improvisation.
Before the rise of Hip Hop, the DJ'due south basic office was relatively uncomplicated—spin records at a party, club, or on the radio. DJ Kool Herc'due south swell observations inverse that game. He noticed the free energy on the trip the light fantastic flooring went off the charts during the "breaks" of songs. Breaks are the instrumental sections in many pop and rhythm & blues numbers that highlight percussion and rhythm.
Herc experimented with methods to extend these sections by playing the same record on both turntables, a technique refined past fellow pioneering DJ Grandmaster Flash. With needle-fine timing, they switched dorsum and forth betwixt the turntables to multiply the intermission. Crowds, especially dancing b-boys and b-girls, couldn't go enough. Since the get-go, Hip Hop DJs accept been instrumental in channeling youthful energy abroad from trouble and toward creative fun.
Expert DJs constantly explore ways to pleasantly stupor their audiences. They may give people the songs they expect, planning out smooth transitions past matching beats and musical keys from one number to the next. They also innovate by listening for songs within songs, lifting and linking snippets to take the music somewhere new.
In the never-catastrophe quest to distinguish their mix, DJs often haunt used-record stores. They are on the prowl for long-lost songs or sounds they can make new over again through the magic of Hip Hop. Legendary DJ and all-around Hip Hop luminary Afrika Bambaataa is famous for creating sets that spin from the Pink Panther theme to Kraftwerk to calypso to speeches of Malcolm X and Martin Luther Male monarch, Jr. All that is good from the by and nowadays has a place at the Hip Hop turntable.
Scratching and Turntablism
As part of the Hip Hop style of life, DJs are constantly experimenting to set themselves apart from contest. One technique DJs embraced is scratching. To scratch, the DJ physically manipulates the record beneath the needle. 1000 Wizzard Theodore stumbled on the technique in the mid-70s. He was a immature teen diggings his music when his mom scolded him to turn it downward. He fumbled the needle, liked the effect, practiced it, and began using it in shows. Other DJs rapidly added scratching to their repertoire equally a way to inject more personal style into the music flow.
More recently, turntablism has get an astounding source of new fashion. It involves all-encompassing real-time sampling from spinning records to create something funky and fresh. Watching an experienced turntablist create in real time is an awe-inspiring experience.
Kool Herc "Merry-Get-Round" technique
Hip Hop Vocabulary
DJ-Terms to Know
The basic vocabulary ofDJing—Hip Hop's music mode include:
dorsum spinning turntable technique that quickly "rewinds" a section of a recording
beat juggling manipulating two or more recordings to create a unique musical arrangement
vanquish matching following a song with another that uses an identical or like rhythm
break, or breakbeat instrumental section of a song that emphasizes percussion and rhythm
cue positioning a recording to play at a specific signal
DJ curt for "disc jockey," a person who plays recorded music for an audition
drum machine, or beat box electronic device used by DJs to synthesize drum beats
looping replaying a section of a song to extend it
sampling lifting a section of a recording and using it in a different number or recording
scratching technique of physically manipulating a recording to create a unique effect
turntablism live and all-encompassing manipulation of recordings to create a unique song
MCs: Masters of Rhythm, Rhyme, and Flow
Image via Creative Commons; flickr.com user Coupdoreille.fr
Today, MCs like Jay-Z, MC Lyte, and Kendrick Lamar fly loftier profiles in the earth of Hip Hop. But that wasn't always the case for the poets of the microphone.
In Hip Hop's early on years, its music scene focused on the disc jockey and the trip the light fantastic toe flooring. The MC—short for "primary of ceremonies"—was frequently a kind of sidekick to the DJ. InYep Yes Y'all, an oral history of early Hip Hop, Grandmaster Caz describes the rise of MCing this way: "The microphone was just used for making announcements, similar when the adjacent party was gonna be, or people's mom's would come to the political party looking for them, and y'all have to announce it on the mic."
Shortly, though, MCs wanted to showcase their own talents. Grandmaster Caz continues: "Different DJs started embellishing what they were proverb. I would make an announcement this fashion, and somebody would hear that and they add a footling bit to it. I'd hear it once more and take information technology a little step further 'til it turned from lines to sentences to paragraphs to verses to rhymes."
More than and more than, MCs earned the right to grab the mic using freestyle skills to entertain and command a live audience. A "master of ceremonies" might make all the needed announcements; only the chore of an MC and so and now is to guide everyone's expert time with their energy, wit, and power to interact with people on the floor. And good MCs don't merely demand the mic—the audience honors their skills by demanding they accept information technology.
Rappers emerged as a somewhat singled-out group as rap gained commercial success. They were the voices and characters that created and sold the records. In some ways, the talents and responsibilities of rappers overlap with MCs, and an MC might too rap. The interaction with the audience is the big difference.
In 1979, a trio of MCs rapped over the break from Chichi's "Expert Times." The event was The Sugarhill Gang's "Rapper'southward Delight," rap'due south first striking. Three years subsequently, Grandmaster Flash & the Furious Five releasedThe Bulletin, a funky but unblinking business relationship of hard times in an inner-metropolis neighborhood. Equally the 1980s unrolled, MCs and rappers rose quickly from second fiddles to big dogs including Rakim, Big Daddy Kane, Run DMC, and Public Enemy. They created personas, cooler-than-life characters that might be super-polish or gangland tough. They boasted well-nigh their fashion and talents and made sure to award the DJ. MCing and rapping went from sideshow to main result as 1 of Hip Hop's essential elements.
Hip Hop'due south Rapping Poets
An MC or rapper's "flow" is crucial to his or her performance. The flow is the combination of rhyme and rhythm to create the rap's desired effect: fluid and soothing to communicate romance, for example; staccato and harsh to signal acrimony and disharmonize.
Before Hip Hop and rap took hold in the United states of america, spoken-discussion poetry occasionally worked its way into jazz performances. Many history-minded rappers also connect their fine art to The Concluding Poets, a Harlem-based grouping, and The Watts Prophets out of Los Angeles. Both emerged in the tardily-1960s and paired political poesy with improvisational jazz. Gil Scott-Heron'south "The Revolution Will Not Exist Televised" resembles rap earlier it got the name.
Increasingly, students of Hip Hop culture recognize the best MCs equally achieved formal poets. They rap complex rhyme schemes, near congenital on a stone-solid four-beat rhythm, or meter. But again, a good MC surprises audiences with syncopation and other off-the-beat techniques. Hip Hop aficionados reserve special respect for MCs with freestyle skills—the ability to improvise fresh rhymes while standing in the heat of the spotlight.
The Sugarhill Gang - Rapper's Delight
Hip Hop Vocabulary
MC-Terms to Know
The basic vocabulary ofMCing—Hip Hop'south vocal style:
terminate rhyme rhyming words at the end of lines
flow a rapper's song style
freestyle improvised rapping
griot (gree-OH) oral storytellers and historians of West Africa
internal rhyme rhyming words within the same line
MC short for "chief of ceremonies"; too performer who uses rap techniques to interact with an audience
meter rhythm of a poem
persona grapheme causeless past a performer
rap spoken-word lyrics performed to a beat; i of the elements of Hip Hop
rapper performer that rhymes lyrics to a rhythm
spitting speaking, performing a rap
syncopation shifting a rhythm away from the normal beat out
Writing: Graffiti and Hip Hop Culture
Image via Artistic Commons; flickr.com user urbanartcore.european union
One element of Hip Hop predates the music and dance scene itself—graffiti writing, or simplywriting as the artists themselves phone call it. Only it blossomed at the same time the music and dance scenes were finding their anxiety, and its wild and color-outside-the-lines improvisational mode were influenced and inspired past the desire to create something new and fresh.
Graffiti has been around since humans first painted, etched, or carved on rock walls. But urban youth put a new spin on information technology in the 1960s. In 1967, a Philadelphia teen named Darryl McCray spray painted his alias "Cornbread" wherever he could reach on walls and trains. (He was striving to impress a girl named Cynthia.) In 1968, the budding fine art grade made the jump to New York City. The names JULIO 204, TRACY 168, and TAKI 183 became familiar sights here, at that place, and increasingly everywhere.
Writing'due south Heyday
The number and talents of writers spiked in the mid-1970s as Hip Hop'southward competitive drive kicked in. They added illustrations and second colors to outline stylized bubble and block lettering. The writers—many if not most of them young teens—jumped the limits of size, complication, and color. Their finest designs seemed to bring life to whatever they graced. They called itwild fashion—and it was.
They also jumped over fences, sneaked into subway tunnels, and trespassed in nighttime yards where subway cars slept. There, they skilful their art with blank walls and unstained trains as their canvases. When opportunities arose, they painted the whole sides of subway cars and fifty-fifty entire ten-car trains with their elaborate, colorful designs.
They had no illusions their creations would last long. Just the opportunity to see their art rolling through the subway was the ultimate payoff for writers similar DONDI, LADY Pinkish, FAB 5 FREDDY, KASE2, and ZEPHYR. Information technology was outrageous to remember thousands of New Yorkers saw their creations each day in one of the richest cities in the world. "If art like this is a law-breaking let god forgive me!" wrote the writer known as LEE of the Fabulous Five crew. They embraced the identity of outlaw artists and admitted the dangers and thrills were part of the appeal. They were on missions to show they were non merely the nigh imaginative and talented writers in their neighborhood, but the about fearless.
Non surprisingly, NYC officials were not amused. Cops cracked down on writers, and train yards were encircled with new security. At the same fourth dimension, the art world was catching on that something fresh was happening in the urban center beyond their fancy uptown galleries. Graffiti-inspired exhibitions popped upwardly, and some writers took the opportunity to commit their passion to canvas instead of granite and steel.
Wild, Hungry, Inspired
Writing'south place in Hip Hop civilization was cemented by the early 1980s. Early on rappers used wild style on their album covers. Writers painted cool kids' clothes with designs and got paying gigs painting murals. And two movies—Style Wars andWild Way—debuted. The films fabricated the case that a like hungry, inspired creativity flowed through writing as well as Hip Hop'due south music and trip the light fantastic scene.
Today, graffiti-influenced writing styles show up worldwide in graphic design, fashion, and street fine art. Outlaw artists like Banksy are still out there painting trouble. But the vision, passion, and humor the best of these writers brandish—legit or not—requite people the chance to see the work-a-24-hour interval world in new ways. They seem to say if we pay attending, we can detect beauty, meaning, and art most everywhere nosotros look.
Dan One: Alphabetical Engineer
Hip Hop Vocabulary
Writing Terms to Know
The basic vocabulary ofwriting graffiti—Hip Hop'due south visual art include:
all city beingness known for one's graffiti throughout a city; originally referred to the artwork on subway cars appearing in all five New York Urban center boroughs
bite to steal another writer's pattern or style
black book sketchbook used past graffiti writers
bombing to paint many surfaces in an expanse
burner elaborate, large designs
coiffure team of writers that often work together
gettin' up developing ane's reputation or "rep" through writing graffiti
graffiti writing, or cartoon on surfaces in public places, usually without permission
kings orqueens highly respected, experienced writers with most tags
piece short for "masterpiece," a large, complex graffiti design
stencil graffiti premade designs of paper or paper-thin that permit quicker, more than exact manual of images or lettering
tag orscribble stylized, only basic graffiti writer'due south signature
throw upward quick execution writing; mostly ane color outline and one color filled in
toy inexperienced writer
wild style style of writing that usually involves bold, interlocked messages
writergraffiti artist who has a singled-out manner they design their letters
Noesis: A Philosophy of Hip Hop
Afrika Bambaataa at Bronx River Projects, photo by Sylvia Plachy
The 1970s were lean, hateful years in sections of New York City. This was especially truthful in the Bronx and the urban center's other low-income areas. Much of the optimism of the 1960s Civil Rights Movement had faded. New York was broke. City officials sliced and diced basic services, school funding, arts educational activity programs, and job training. Life-destroying drugs and criminal offence haunted the streets. Absentee landlords neglected properties until building afterward edifice fell into disrepair or went upwards in flames.
In the face up of all that, even so, the free energy of urban youth refused to shut down. Young people, many of them teens, created new ways of spinning records and dancing. They experimented with new styles of poetry and visual fine art that revealed their thinking and feelings. Eventually, the elements grooved together into a culture. A name started to stick to it:Hip Hop.
The Fifth Element
Hip Hop'southward fifth element of "knowledge" teaches the Hip Hop community well-nigh its identity and ways to express that identity. It places smashing importance on claiming a stake in 1'south own education. "Knowing where Y'all come from helps to testify YOU where You are going," writes legendary MC KRS-One. "Once yous know where you come from you then know what to learn." (By the fashion, "KRS" stands for "Cognition Reigns Supreme.")
Hip Hop believes that people can take command of their lives through cocky-knowledge and self-expression. Knowledge influences style and technique and connects its artists nether a collective Hip Hop umbrella. Information technology engages the globe through Hip Hop'south history, values, and ideas, and adds intellectual musculus to support and inform its music and moves and its poetry and art. Most importantly, it allows for a shared experience against an uncertain world.
Bambaataa Brings It
Afrika Bambaataa deserves much credit for putting this concept of knowledge into give-and-take and activeness. Bambaataa is a pioneering DJ and MC from the Bronx. A one-time teen leader of a gang, Bambaataa had universal respect and a powerful ability to make peace with and between enemies. His legendary music and trip the light fantastic toe parties brought together rivals to political party in peace. "Free jam!" his flyers announced. "Come 1 come all, leave your colors at dwelling! Come in peace and unity."
The young Bambaataa was also a devoted pupil of history. He absorbed the tactics and strategies of historical leaders—from the French emperor Napoleon to the Southward African chieftain and armed services commander Shaka Zulu. He grasped the power of music as a strategy for clearing barriers that divided people, whatsoever their backgrounds.
By the 1980s, Bambaataa and his big and growing coiffure had founded the Universal Zulu Nation. Dedicated to Hip Hop values, the organization'due south motto is "Peace, Dear, Unity, and Having Fun." They developed "Infinity Lessons"—principles and codes of comport for living an honorable Hip Hop life. They emphasize community, peace, wisdom, freedom, justice, love, unity, responsibility, respect for others, and respect for cocky. He put his cognition into words, and the words radiated around the Bronx, throughout New York, and across America.
Boogie Down Productions - My Philosophy
Hip Hop Vocabulary
Knowledge Terms to Know
The basic vocabulary ofcognition—Hip Hop's philosophy include:
culture the behaviors and beliefs of a particular group of people
didactic intended to teach a lesson, especially a moral lesson
empowerment increasing of economic, political, social, educational, gender, or spiritual strength of individuals or communities
praxis process when a theory, custom, or lesson is proficient
society social, economical, and cultural system
strategy plan to attain a desired result
worldview ideas about how the world works
Hip Hop Theater and Literary Arts
Prototype via Artistic Commons; flickr.com user Elvert Barnes
"Be warned, thisis theater—but it'sHip Hop theater," a loud voice booms earlier the drape rises forInto the Hoods. This prove has been blowing away London audiences since 2008. It is an urban re-visioning of the fairy tale-genre, following a pair of schoolhouse kids into a tough part of town instead of a haunted wood. But as with all fairy tales, not everything or everyone is what they seem. Ultimately the phase blazes with wild fashion art, DJ voiceovers, beats from multiple musical styles, b-boys and b-girls breaking in loftier-flight choreography, and fresh takes on familiar characters. (DJ Spinderella or Rap-On-Zel ring a bell?)
More and more than, the stage has been welcoming Hip Hop'south elements, energy, and world view. Graffiti writing may splash across the scenery. DJing, rapping, and breaking are likely to take turns in the spotlight. Some shows, likeInto the Hoods, tell their tales mainly through dance and music, while others lay Hip Hop style over more traditional scripts. Hip Hop artists are tackling drama, comedy, and tragedy, and some classic cloth is getting the Hip Hop makeover. Will Power'sThe Seven, for example, retells the ancient Greek tragedySeven Against Thebes by Aeschylus using a DJ and rapping cast.
Collaboration and Content
Collaboration is a core ingredient for about Hip Hop theater groups. In the tradition of the culture, producers, directors, and playwrights stress input and participation past stakeholders—the very people the play is intended to speak to and entertain. Long-time Hip Hop theater writer/histrion/manager Danny Hoch says it this way: "Hip-hop theatre… must beby,aboutandfor the hip-hop generation, participants in hip-hop culture, or both."
This collaborative process clearly informs the content in Hip Hop plays and musicals. Plots often tackle current social problems, especially as they relate to urban communities, with characters exploring the strengths and limits of activism and empowerment. Questions of identity are often forepart and center, including race, class, gender, sexuality, and annihilation regarded equally "different." The struggle between the individual and order is a central theme as characters seek to create pregnant in their lives while struggling to claim their place in the globe.
Hip Hop in Prose and Poetry
MCs tell complex stories in rhythm and rhyme. Rappers write and polish their lyrics before delivering them in raps. The secret is out: Hip Hop poets dear words. "The toughest, coolest, most dangerous-seeming MCs are, at center, basically just enormous language dorks," cracks music critic Sam Anderson. "They love puns and rhymes and slang and extended metaphors …." These skills tin can translate smoothly into literary forms—short stories, novels, scripts, poesy, and comic book-style graphic novels. Some works relate the gritty realities of poverty or inner-urban center living; others discover the humor there and wherever; all describe trying to survive and thrive in a speedily changing globe.
Rapped aloud or published on newspaper, Hip Hop-influenced literary forms have roots in the Blackness Arts Movement of the 1960s. BAM inspired a generation of African American, Latino, and feminist writers, including Amiri Baraka, Maya Angelou, Nikki Giovanni, Sonia Sanchez, the Terminal Poets, and many others, to share stories and views often disregarded or outright rejected by mainstream America. Along the way, spoken give-and-take—a forerunner of rap—injected energy into functioning. Through poetry slams, it has developed its own fans with its forceful, fun wordplay.
As in theater, the literary earth is making more infinite for Hip Hop style, subjects, and themes. Scholars Andrew DuBois and Adam Bradley recently edited and publishedThe Anthology of Rap, a huge collection of lyrics. Says Bradley: "[R]appers are possibly our greatest public poets, extending a tradition of lyricism that spans continents and stretches back thousands of years… They expand our agreement of homo feel by telling stories we might not otherwise hear."
Some Hip Hop-savvy teachers are bringing the best of Hip Hop literature into their classrooms. And writers for kids, teens, and young adults are telling Hip Hop tales in books similarRecall Again by Doug Eastward. Fresh, Debbie Allen'sBrothers of the Knight, and theHip-Hop Kidz series past Jasmine Bellar.
Hip Hop Vocabulary
Theater and Literary Terms to Know
The basic vocabulary ofHip Hop theater and literary arts include:
choreography arrangement of dance moves
collaboration working together
content subject or information
genre category of literature, such every bit fairy tales or historic fiction
lyricism poetic or musical mode
metaphor symbolic figure of speech
scenery backdrop for a theater production
stakeholder someone who shares involvement or responsibleness
All The Way Live - Hip Hop Connections
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Author
Sean McCollum
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Editor
Lisa Resnick
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Producer
Kenny Neal
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Updated
October 30, 2019
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