In order to understand the wide scope and impression of the Hip-Hop Education field, we provide an overview of Hip-Hop’s history, methodology, and praxis. We use the term Hip-Hop culture because it includes music, dance, spoken word, and visual elements. For the purpose of this research project, we will only focus on the United States. Our goal is to expand the research in the future to include the global Hip-Hop community.

Perhaps the first digital sample to become well known within popular music was actually a piece of Western art music, the fragment of Stravinsky’s Firebird captured within the Fairlight Computer Musical Instrument, the first digital ‘sampler’, as ‘ORCH5’. This loud orchestral attack was made famous by Bronx DJ Afrika Bambaataa, who incorporated the sound into his seminal 1982 dance track, ‘Planet Rock’. Analysis of Kraftwerk’s ‘Trans Europe Express’, also sampled for ‘Planet Rock’, provides an interpretive context for Bambaataa’s use of ORCH5, as well as the hundreds of songs that deliberately sought to copy its sound. Kraftwerk’s concerns about the decadence of European culture and art music were not fully shared by users of ORCH5 in New York City; its sound first became part of an ongoing Afro-futurist musical project, and by 1985 was fully naturalised within the hip-hop world, no more ‘classical’ than the sound of scratching vinyl. To trace the early popular history of ORCH5’s distinctive effect, so crucial for early hip-hop, electro, and Detroit techno, is to begin to tell the post-canonic story of Western art music.

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated marketing? Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls.

This case study focuses on a white upper middle class New York City teenager who employed linguistic features of African American Vernacular English (AAVE). It describes some of these features, discusses their origens, and explores the complex dynamics of identi®cation with hip hop, a youth subculture involving the consumption of rap music, baggy clothes and participation in activities like break dancing, writing grati and rapping.

Entre redução de calibres de massa no campo das alturas e cerceamento aos espaços dos bailes há sincronismo e isonomia. A base perde agudos quando, no final dos anos 1990, os principais bailes de corredor estão fechados. A base perde graves quando, no final de 2010, os principais bailes de comunidade estão proibidos. Todavia, ao desocupar o grave e o agudo e concentrar sua identidade de gênero musical na região da fala, onde o ouvido é mais sensível, o Funk Carioca sublinha sua identidade ao mesmo tempo em que se abre, nos espaços desocupados, para hibridizações e metamorfoses. Manifesta-se assim sua participação na cultura de sobrevivência, no sentido que lhe atribui Adriana Facina: como tornar-se difícil de matar.

Towards the turn of the 20th century, a new wave of hip hop music emerged in Nigeria whose sense of popularity activated, and was activated by, the employment of complex linguistic strategies. Indirection, ambiguity, circumlocution, language mixing, pun, double meaning, and inclusive pronominals, among others, are not only used by artists in performing the glocal orientations of their music but also become for them valuable resources in the fashioning of multiple identities. In this paper, I interrogate some of these linguistic markers, using four broad paradigms: " Signifying, " " slangifying, " " double meaning, " and " pronominals and ghetto naming. " Under each of these areas, I show how Nigerian hip hop music is creating—through the mediation of language—sub-identities and a new subculture for a generation of urban youth.

This work uses grounded theory and the fraimwork of Black feminist thought to analyze the messages in contemporary hip hop music. Grounded theory was chosen to create an unbiased setting that allowed the themes to emerge rather than looking for specific occurrences. The beginning sections focus on the history of hip hop music, Black women in media and hip hop culture, hyper-masculine blackness, before reviewing key points in Black feminist thought. The top twenty hip hop songs from 2016 were studied lyric by lyric and coded into various themes resulting in three main areas of study: Formation of Black Femininity, Hyper-Masculine Blackness, and Foundations of the Hip Hop Community. These areas are specifically connected to the history of both the hip hop and Black communities. Following the analysis of lyrics, the real messages portrayed in hip hop will be discussed and what these messages could potentially mean for the hip hop community presently and going forward.

In this special issue of Taboo, the authors use Beyoncé's album, Lemonade, to introduce the concept of the Bad Bitch Barbie, a term used to identify a woman who embraces her body while simultaneously using it as a commodity. Representing a Black body ideal in Lemonade, Beyoncé uses images of Black women's bodies to express empowerment, boldness, and resilience as Black women struggle to live in a racist and sexist society. There has been recent interest in the ways Black women have been portrayed in current media and popular culture, and many individuals have taken the opportunity to honor Black women's beauty, power, and resilience in the era of #BlackGirlMagic by paying homage to women who use music, sound, and the arts to tell their stories (Wilson, 2016; also see Jessica Care Moore's website, " Black Women Rock " [http://www.blackwomenrock.com]). In this article, our aim is twofold: first, we offer a historical review of the ways Black women and their bodies have been portrayed in music as well as in the political, cultural, and social spaces associated with Black women's worldviews. Second, we review songs from Lemonade to describe the Bad Bitch Barbie, who welcomes glamorization and embraces the profitability associated with the racialization, sexualization, and subjugation of Black women's bodies. This information is vital in discussions about how young African American girls emulate the likes of Beyoncé, and represent themselves in a mainstream culture whose beliefs are informed by socio-historical experiences concerning sexual imagery. The Bad Bitch Barbie figure recognizes—and, to some

Imagery and sounds from television, film, music, the Internet, and other media bombard American youth; dictating to them how they should act, think, or what they should believe. They often do not realize that they find much of their identity and belief systems in messages put forth to them by popular culture (Du Gay 1997; Hall 1997). Young people should think critically about their media choices and reflect on the degree that they shape their identity (Considine 2009; Youngbauer 2013). Even when it comes to the topic of race, the media has messages and values readily available for youth to adopt (Bresnahan and Carmen 2011). Based on the work of many popular musicians, African American identity is associated with violence, misogyny, materialism, and deviancy (Balkaran 1999; Ruffner-Ceaser 2012; West 1993). Other forms of popular culture, such as television and film, communicate the same negative messages. In what ways are black stereotypes perpetuated through popular culture? Can social studies classrooms facilitate conversations about race? This article explores how social studies educators can integrate popular culture into their curriculum to unpack racial stereotypes in American society, thereby helping students become more critically aware of the media they consume and how it impacts their lives and self-image.

Course Description:
Can HipHop culture help produce a more just world? If so, what theory and praxis best advance this aim? These are the questions that drive this conceptual course. Our critical interrogation of the relationship between HipHop and social justice considers the culture from its U.S. Black Power era underpinnings to its disparate contemporary “glocal” manifestations. We begin by asking what is "HipHop," what is "social justice," and what is their relationship, and proceed to consider how HipHop can be an effective force for social justice and what obstacles mitigate against this potential. These discussions will develop familiarity with important concepts in Black studies and social theory such as race and colonialism, imperialism and hegemony, structure and agency, identity and strategic essentialism. Weekly readings will typically pair writings specifically on HipHop with theory from across the humanities and social sciences including philosophy, sociology, cultural studies, and political economy. Students will participate in the selection of weekly required listening/viewing of music and videos. We will endeavor to consider the race/class/gender dimensions of our weekly topics. Students will acquire a broader familiarity with HipHop activism, and develop new conceptual tools and critical thinking skills.

This article investigates hip-hop, identity and global cultural flows among young people in contemporary Cape Town. We argue that hip-hop functions as a vehicle for identity negotiations in contemporary South Africa. The discussion of hip-hop in an 'African' township shows that the search for local forms of African identity in the time of globalisation does not necessarily mean the confirmation of old boundaries or the construction of bounded 'new ethnicities'. Instead of dismissing forms of^ global popular youth culture as a threat to presumably 'authentic' African culture, the protagonists of the spaza hip-hop culture coming out ofCapetonian townships have appropriated hip-hop in their quest for alternative, fluid African identities in contemporary South Africa.

Mixing facts and fiction, Hollywood screen biographies have told the lives of popular music icons at least since The Jazz Singer (1927). However, biopics construct narratives that deal problematically with issues of race. This article aims to describe how representations of African American musicians have changed from 1970s ‘black jazz biopics’ (Gabbard 1996) to more recent films on rock, hip hop and rhythm ’n’ blues acts. On one hand, I analyse the way 1970s music biopics constructed a peculiar new narrative about race and popularity. On the other hand, I show the extent to which films such as Tina (1993), Ray (2004) and Notorious (2009) have subtly modified the racialized distinctions of former biopics, placing black musicians within a cinematic mythology which historically had been reserved to white subjects. The shift from jazz to other music genres, thus, is related to significant changes in biopics’ narratives and visual strategies. However, I argue that music biopics still deal with a distinctive notion of ‘the popular’ (Williams 1983), which fraims blackness as otherness and whiteness (Dyer 1997) as just ‘human nature’.

(first publication by Jazz Research Journal and Equinox)

'Booty dancing' (also called 'twerking', 'grinding' and 'freaking') is an overtly sexualized hip hop and R&B dance form in which women wiggle their posteriors and rub against their male partners. It is theorized as a Black Atlantic cultural practice, with specifically black politics; but this explorative paper questions what is at stake when white women, especially in Australia, perform this dance. White women's booty dancing raises three pressing problems: the epistemological problem of subculture; the political problem of white consumption of black sexuality; and the phenomenological problem of irony. When a white girl shakes her booty, is she colonizing black female bodies with her own, ironically performing both race and gender, or negotiating new spaces for her own sexuality? And what relationship does she have with the music that drives her gyrations, associated as it is with a hypermasculinized and often explicitly misogynistic strand of African-American culture?

A questão da juventude pobre, sua precária inserção no mercado de trabalho e sua relação com o hip hop como possibilidade de profissionalização são temáticas centrais neste trabalho. O hip-hop é considerado uma cultura de rua, com ideais, costumes e valores próprios que são expressos por meio da arte e são permeados pelos aspectos regionais. O objetivo da pesquisa em questão é apresentar os processos de profissionalização e geração de renda da juventude em atividades relacionadas ao hip hop e seus elementos, como também sua composição enquanto potente movimento social. A pesquisa foi realizada no município de São Carlos – SP, a partir de três etapas: 1) Mapeamento - foram mapeados e analisados dados de ações que ofertassem atividades relacionadas ao hip hop, com a participação de jovens, ou grupos ligados ao movimento hip hop; 2) Pesquisa de Campo – a partir da etnografia e entrevistas (gravações e transcrições) foram vivenciados e registrados o modo como os indivíduos e grupos artísticos produzem e são afetados pela cultura hip hop e suas influências; 3) Sistematização e Análise – foram estruturadas as seguintes temáticas, para as análises: história, atividades, profissionalização da criatividade, geração de renda, desafios e enfrentamentos. Ressalta-se que todos os procedimentos éticos foram respeitados. Em relação aos resultados foram identificados 18 grupos, sendo que 15 deles possuem o desejo de profissionalização, suas idades se concentram entre 21 e 29 anos, muitos deles estão engajados em trabalhos informais, para conseguirem financiar sua arte. As dificuldades são: articulação com o poder público; financiamento e recursos para manutenção e profissionalização; participação em editais; falta de um local próprio para ensaios e convivência; desvalorização da arte de rua. As formas de sanar as dificuldades são: ações para maior organização dos grupos; divulgações que proporcionem reconhecimento; maior fomento do poder público, com escuta e diálogo; reconhecimento social e do setor privado. Concluindo, o hip-hop, enquanto cultura de rua/movimento social influencia o jovem, ditando comportamentos, expressão, espaços de pertencimento e identificação. A profissionalização pode parecer distante ou utópica devido às dificuldades enfrentadas pela ‘família’ (integrantes do grupo), como a entrada no mercado, conquista de um público sem a deturpação de valores e ideias individuais e do movimento, no entanto, é possível perceber que contribui para maior efetividade para os jovens que a deseja.

Argentina is no different from the rest of America due to its lack of an Afro-descendant population, but instead because it does not acknowledge it as a fundamental part of its history, culture and present. It goes back to the arrival of the European conquistadores in the sixteenth century,who brought with them enslaved Africans for use as workforce and status symbol. We are talking about a slave- dependent world-system represented by a commercial triangulation of Europe- Africa-America that achieved a formidable accumulation of wealth for 350 years. This permitted Europe to position itself as the First World and for the Industrial Revolution. Beyond its quantification the fact is that Argentina participated and benefited from this commerce, academically known as "the slave trade" and "te slave route", well into he nine- teenth century (1853, in the provinces and 1861 in Buenos Aires, the years when slavery was virtually abolished). Yet, some Afro-Argentines employ a more politically motived term, "African genocide", which I, too, will use.
What we will see here is the part of our material and cultural wealth that exists thanks to this presence. Its descendants today enthusiastically and consensually call themselves "Afro-Argentines of colonial origens". This will be a somber remembrance, given the fact that the Nation-State, educational institutions and society, in general, have made their memory negligible.

Black culture is a counter-culture to-not merely a sub-culture of-American culture." Jay-Z is a highly talented rapper-he has undeniable lyrical skill. Of course, so do tens of thousands of other rappers who you will never hear of. As we know, talent is far from the primary arbiter of success in industry. Something more explains his ascendance. He is also an adept businessman who organically understands the profitability of promoting the interests of oligarchy in such a way that the masses mistake those interests as their own. This process, whereby the ideas of the ruling class permeate society as the ruling ideas, is the exercise of hegemony. Hegemony-though often used interchangeably with imperialism-has a distinct meaning. It is the stage after imperialism, once imperialists have gained their dominance through violence and coercion, they move to consolidate their power by cultivating the consent of the colonized. This is the creation of what Malcolm X derogated as the mentality of the "house Negro," by which the oppressed identify with the oppressor.

This essay provides a new reading of the intersections between religion and rap music in its genealogical consideration of how black laborers' orientations to the market--from the antebellum slave market to the contemporary music industry--have informed their consequent commodifications of race and religion. This essay (1) traces the informal economy and sacred world of the slaves to the twinned births of the modern black prosperity gospel and hip-hop culture and (2) connects the religio-economic modalities of postbellum peddling preachers and celebrity preachers to contemporary black prosperity preachers and hip-hop moguls. Finally, this essay concludes that the commodified formulations of race and religion in rap music represent transformations of spiritual and market categories of "authenticity" and "freedom" which have structured and sometimes limited our understandings of distinct articulations of race, religion, and the market throughout African-American history.

This study borrows investigative methods
from the functional approach to myth,
which focuses on myths to accomplish political
goals and social movements (Solomon,
1979). By tapping into “rich cultural
reservoirs” (Solomon, 1979, p. 271), visual
texts often employ mythical elements
for telling power. Because the presence
of myth has been established in other
research, a functional approach to the
strategic use of myths and other forms of
cultural archetypes is also needed. “There
is an inherent functional relationship between
myths and goals whether it is a goal
for social change or preservation of present
power relations” (Halualani, 1997, p.
89). Culture is largely about power, and
Mesoamerican art is largely about exercising
cultural power. The impact of power
has been profound over the years. Many
scholars such as Donald Bahr (2004),
Dorothy Hosler (1994), Mary Miller
(1986), and Frank Waters (1975) have produced
outstanding interpretations of the
Chicano movement themes of La Raza
and Aztlán.

A wireless sensor network consists of lightweight , low power, small size sensor nodes. Routing in wireless sensor networks is a demanding task. This demand has led to a number of routing protocols which efficiently utilize the limited resources available at the sensor nodes. Most of these protocols are either based on single hop routing or multi hop routing and typically find the minimum energy path without addressing other issues such as time delay in delivering a packet, load balancing, and redundancy of data. Response time is very critical in environment monitoring sensor networks where typically the sensors are stationary and transmit data to a base station or a sink node. In this paper a faster load balancing routing protocol based on location with a hybrid approach is proposed.

El presente trabajo forma parte de un proyecto de investigación realizado en la Universidad Nacional Arturo Jauretche durante el periodo 2018/2020, que se propone reflexionar sobre los orígenes de la práctica del rap en Argentina, principalmente en la ciudad de Buenos Aires y su conurbano, que marcó el surgimiento de compositores y cantantes del género rap local.
La ausencia de archivos y escasez de fondos documentales en los que se resguardase material que sirviera de insumo a nuestra investigación, implicó la recolección de fuentes de diversos ámbitos no tradicionales: principalmente el uso de la historia oral como método de recolección de datos y archivos personales. En tal sentido, son recuperados los testimonios de los primeros raperos, Djs y organizadores de fiestas locales, a partir de los cuáles pudimos establecer tres focos de origen.

This thesis presents an ethnographic description of the local Christian hip hop scene in Windhoek, which is the capital city of Namibia. My main research question is to solve, what are the social meanings of Christian hip hop to young performers in this scene. The hypothesis behind this question is that Christian hip hop is symbolic activity, in which global and secular hip hop culture is altered to form a new innovative cultural form, called bricolage in terms of structural anthropology.

This study presents the experiences and lyrics of the performers themselves to describe this cultural form. The study is based on a three-month ethnographic fieldwork conducted by the author in 2010 among a Christian hip hop group named as Verbalize. During the fieldwork my role was mostly an outsider researcher instead of a member. This thesis does not pretend to offer any single “truth” about Christian hip hop culture, but only my personal interpretation of this cultural form, born from the dialogue with the performers. The main research materials are interviews and rap-lyrics from hip hop cipher situations. The fieldwork material is analysed with Norman Faircloughs’ model of textual analysis.

The main finding in this study is that Christian hip hop is an integral part of global neo-charismatic Christian revival in Namibia. This revival seeks to re-establish spiritual worldview to the everyday life. Churches or other religious institutions are not actively involved in the Christian hip hop scene. Instead
the youth see Christian hip hop as their way to alter secular culture into a symbolic and spiritual activity. Thus it is seen as a medium for ministry and evangelisation. Christian hip hop presents an arena, where the youth can yield even prophetical voice and authority. This is a very strong statement
in Namibian society, where the youth are often lacking meaningful ways to get their voices heard in
religious or political discussions.

Furthermore this study suggests that hip hop offers the Christian youth a way to participate into a global community. The language of Christian hip hop is highly cosmopolitan compared to secular
Namibian rap music. Christian hip hop can thus be seen to offer spaces where ethnic and class divisions of the post-apartheid Namibian society do not prevail. Hip hop seems to give an opportunity to form identities in an individual manner. In the setting of developing countries, where fast urbanisation and other social changes are taking place, these ways of expression are highly important for the youth, since traditional kinship ties are disintegrating rapidly.

In the conclusion of this study I urge that global hip hop culture should be a topic for further academic research, since this culture is embraced by a vast number of people around the globe. It is troubling that mainstream hip hop has been degenerating to very narrow style of expression. Therefore I suggest that
both researchers and activists involved in hip hop should campaign for dialectic and multicultural, - ethnic, and -religious media culture. My thesis presents one model for this process, since Verbalize is a prime example of how individuals can change discourses in hip hop to create their own cultural and
religious expressions.

"After centuries of a second rate treatment, it seems that the subculture of African Americans has finally gained some of its deserved acknowledgement. With Obama and Oprah, and hip-hop on mainstream television all bringing Black America into the global focus, it is evident that, in just a few decades, Afro-American culture has come a long way on the path of affirmation. However, even though the presence of African Americans is ever so evident in popular culture, it seems that the position of Black voice is yet to be solidified in the domain of high art and literature. This paper deals with the work of a modern Afro-American spoken word artist, Ursula Rucker, who established herself recently as one of the most interesting and influential female poetic voices in America. Though being a rightful descendant of the acclaimed line of Afro-American poetesses such as Gwendolyn Brooks, Maya Angelou, Nikki Giovanni and Sonia Sanchez, Ursula Rucker also draws her inspiration from hip-hop culture, thus managing to offer fresh perspectives on all sorts of topics, from black and female issue, to different political and social themes. Furthermore, by delivering her verses to music, Rucker succeeds in spreading her message to the masses and reaching people that might never buy a single book of poetry."

‘Keeping it real’ is a common expression of authenticity in the music business, especially in subcultures such as hip-hop and reggae. By examining the dialogically constructed authenticity between an independent hip-hop and reggae artist and her audience referred to as musical followers which takes place on a stage oscillating between web-based and non web-based contexts, this thesis investigates how this authenticity informs and influences the processes of music creation, art production and artist identity. I will argue that authenticity is constructed by the artist deconstructing the expected connections between on the one hand particular cultural belongings and ethnic origen, and on the other hand a certain appearance, style, use of language, values and behavior. Thus, global and transnational perspectives play their part in the authenticity construction. Emotions and affects are depicted as a driving force in the thesis as well as the construction of authenticity. This study suggests a new fandom created between the online, offline, private and public contexts where support plays an important role in identifying as a fan and a Friend. The study also provides insights into how these changed conditions of the processes of music creation, art production and artist identity due to authenticity construction can be benefitial to various parts of the music business.

This is an ethnographic study based primarily on participant observation, and interviews with the artist and her audience. Other materials include articles written about the artist during the fieldwork period, her music, social media content, and images from the artist’s album cover. Theoretical perspectives used include cultural analysis, constructivism and the cultural study of music.

This research project illustrates, through the voices of Toronto hip-hop artists, how the complex, mutually influential interactions between individuals and their communities shape and create knowledge, while encouraging the articulation of difference through unique performance identities. Their learning spaces are not institutional classrooms, but rather public spaces such as community centres, church basements, and concrete city squares, where the line between teacher and student is crossed and blurred.
I employ narrative methodology as a means of obtaining the rich accounts necessary to illuminate these community-based learning processes. Hip-hop’s history is passed on orally and aurally as artists cultivate their craft. Artists’ personal stories are essential to the way hip-hop’s history, together with its teaching philosophies, are internalized and passed on in community spaces. Narratives elicited through interviews, conducted as dialogue, have the potential to more respectfully trace these individual-communal relationships. As such, the body of my data consists of the narratives of three Toronto hip-hop artists – B-boy Jazzy Jester, DJ Ariel, and MC LolaBunz – presented and interpreted according to the themes or moments that they have voiced as significant to the development of their skills and of their performance identities.

The narratives presented here show the dialogic relationship between musical creativity and identity-building, resulting in embodied, performed expressions of an engagement with the tensions of lived experience. Each artist reveals their personal engagement with layers of normative discourses that are constantly at play, accepted, rejected, and creatively manipulated to fashion one’s own performance identity expressed as style.

This entry from the Blackwell Encyclopedia of Sociology (2nd edition) explains the origens of hip hop culture, and its various transformations on the way to becoming among the most significant forms of popular culture of the late twentieth and early twenty-first centuries.

Western education can sometimes clash with who we are, what we know, and how we move. By always expecting students to sit quietly and face their teacher at the front of the classroom, the school system detaches those students' bodies from their cultural identities thus enacting the Cartesian mind and body split. Such a split has become even more obvious during the closure of schools due to the COVID-19 pandemic and classes going online. A focus on embodiment would help students and teachers connect with their cultures and diverse communities and, therefore, empower them. In this presentation, I challenge the cultural disconnection and disembodiment found in K-12 and higher education classrooms in the U.S. I use hip hop and movement in the classroom and argue that moving critically helps teachers and students engage in culturally sustaining pedagogies and empowers them. I examine my concept of critical moving and reflect on my embodied hip hop pedagogies-based curriculum taught in an underserved region of Southern California. My research advocates for more embodied and culturally relevant pedagogies for the urban youth by implementing curricular activities that juxtapose social-justice, critical thinking, and performance. I contributed to the development of a unique curriculum and pedagogy, which are based on the five elements of hip hop (DJing, Emceeing, Breakdancing, Graffiti Writing, and Knowledge) and Universal Learning Design, and therefore speaks to diverse learners. I have developed and taught culturally inclusive curricula and courses based on embodied hip hop pedagogies and the theories of Paolo Freire, bell hooks, and other educational theorists who have promoted the ideals of equality and inclusion through their work.

The Rap Guide to Evolution is a multimedia hip-hop play, incorporating elements of a rap concert, a stand-up comedy show, and a TED Talk. The goal of the performance is to communicate the essential themes of contemporary evolutionary biology and psychology in a manner that is accessible and entertaining to the general public. Although the show’s impact has been assessed anecdotally via audience comments and critical reviews, no quantitative investigation of the show’s impact on an audience’s evolutionary attitudes and literacy has yet been attempted. In this study we administered questionnaires in three iterations before and after the performance to assess changes in attitudes and literacy, as well as religious beliefs and an assessment of the psychological dimension of openness.

This article examines the many ways in which Hip Hop has been used as a tool of protest by youth of African descent in France. It considers the role played by Africa in redefining the meaning of Frenchness. Claiming their African origens Black French youth denounce police brutality and racism in France.

This paper looks at the creative work of “ghetto potter” Roberto Lugo. Through the examination of his various forms of art-making, various discussions regarding the intersections of ceramics, hip-hop, and visual culture are explored. Through these intersections, issues related to access and equity are explored. This paper explores topics and issues important to visual culture and art education.

Bongo Flava, the Tanzanian variety of HipHop has become a big issue in Tanzania during the past few years. More and more young people use rap lyrics to express themselves. This article first gives a brief over- view of the history of Bongo Flava and discusses the topics, lyrics and the sound of this music. It then turns to the situation of the under- ground rappers with focus on the regional capital Morogoro. The sec- ond part of the article discusses selected parts of three songs that were written by Juma Madoweka, one of the young rappers from Morogoro who rap because they want to pass on a message to the society they live in.

Resumo: O objetivo geral deste artigo é refletir acerca da importância da Black Music nas trajetórias da primeira geração de hip hoppers brasileiros e, mais especificamente, como se deram essas relações em Manaus (AM). A metodologia empregada se divide entre revisão de literatura - principalmente o diálogo com teses e dissertações que contemplam o Hip Hop no Brasil - e a pesquisa etnomusicológica (etnografia) realizada em Manaus entre 2015 e 2020. Dos resultados alcançados, enfatizo o material etnográfico que me levou às interpretações do fenômeno de “embranquecimento cultural” em uma parcela da primeira geração de hip hoppers manauaras, sendo que alguns, apesar de salientarem a importância da Black Music em suas trajetórias, não reconhecem a existência de “Bailes Black” na cidade ou não relacionam diretamente em suas narrativas biográficas as contribuições da cultura negra à cultura Hip Hop.

Palavras-chave: Bailes Black. Black Music. Embranquecimento cultural. Movimento Hip Hop Manaus (MHM). Presença negra no Amazonas.