The Black Art Poetry Album Genre Pioneered by Gil Scottheron the Last Poets and Nikki Giovann
The answer is all of the to a higher place—and more. Hip Hop embraces these artistic elements, near definitely. But it as well has blended and transcended them to get a means for seeing, celebrating, experiencing, understanding, confronting, and commenting on life and the world. Hip Hop, in other words, is a style of living—acivilization.
The elements of Hip Hop came together in the Bronx civic 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 cypher—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 dance bash. He spun the same tape on twin turntables, toggling between them to isolate and extend percussion breaks—the most danceable sections of a song. Information technology was a technique that filled the floor with dancers who had spent days and weeks polishing their moves.
The outcome that night was electric, and before long other DJs in the Bronx were trying to outdo Herc. It was a code that has flowed through Hip Hop ever since: 1) Use skills and any resources are available to create something new and cool; 2) Emulate and imitate the genius of others just inject personal style until the freshness glows. Competition was, and remains, a prime motivator in the Hip Hop realm.
Similar a powerful star, this trip the light fantastic toe-party scene quickly drew other fine art forms into its orbit. A growing movement of hopeful poets, visual artists, and urban philosophers added their visions and voices past whatever means available. They got the word out virtually what was happening in their neighborhoods—neighborhoods much of mainstream, heart-class America was doing its best to ignore or run downwards. Hip Hop kept coming, kept pushing, kept playing until that was no longer possible.
Today, some Hip Hop scholars fold every bit many equally six elements into Hip Hop culture. They include:
- DJing—the artistic handling of beats and music
- MCing, akarapping—putting spoken-word verse to a crush
- Breaking—Hip Hop'southward dance course
- Writing—the painting of highly stylized graffiti
- Theater and literature—combining Hip Hop elements and themes in drama, poetry, and stories
- Cognition of self—the moral, social, and spiritual principles that inform and inspire Hip Hop means of being.
From its piece of 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 globe. DJs spin turntables in Sao Paulo, Brazil. MCs rap Arabic in the clubs of Qatar. B-boys and b-girls bust baby freezes in Republic of finland. Graffiti rises on the Nifty Wall of China. Immature poets slam poetry in D.C.
So what is Hip Hop? All of the above and more—whatever we love plenty to bring.
The Evolution Of Hip Hop [1979-2017]
Breaking: The Trip the light fantastic toe Style of Hip Hop
Prototype via Creative Commons; flickr.com user Néstor Baltodano
Richard Colón was just 10 when his cousin took him to his first schoolyard bash in 1976. "Ah, I was but blown abroad," he says in Jeff Chang's history of Hip Hop,Tin't Stop Won't Stop. "I just saw all these kids having fun...checking out the whole scene, and information technology was my first time watching the trip the light fantastic with the music beingness played...I just immediately became a part of it."
He soon became alarge part of it. Past his early on teens, the boy now immortalized equally "Crazy Legs" became a trendsetter for breaking—a dance revolution yet popping, locking, and rocking the world.
Making a B-line from the Bronx
Equally Hip Hop culture rose from the streets of the Bronx, breaking spun upward and stepped out from the concrete itself. Early b(reaker)-girls and b-boys like Crazy Legs and his Stone Steady Crew earned their skills on that hard ground, admiring each other'south cuts, bruises, and "boxing scars" as they pushed i some other to evermore audacious displays of way and guts.
In keeping with Hip Hop's ethic of improvisation, breaking is often a create-on-the-fly trip the light fantastic style. Information technology mixes super-quick footwork with body-torquing twists. Robotic movements period into polish whole-trunk 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 Foot
Breaking has copied from many trip the light fantastic styles to generate this uniqueness. These styles include the Charleston from 100 years ago that loaned its characteristic leg boot and arm swing equally a top-rocking move. The ad-libbing of the Lindy Hop, popular from the 1920s on, likewise lives in breaking's mode. For private inspiration, though, no one can best soul singer James Brown. His loftier-energy dance moves in the 1960s and 70s accept inspired b-boys and b-girls ever since, and his song "Go on the Adept Pes" is i of breaking'due south early anthems. Tap, steppin', ballet, disco, and modern all continue to contribute.
Breaking has rummaged across the dance floor and stage to observe 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 floor routines.The world of hand-to-hand combat has also provided inspiration for b-boys and b-girls. Hip Hop scholars often link breaking withcapoeira, a martial arts trip the light fantastic with roots in Republic of angola and Brazil that displays acrobatics, grace, and power. A full-diddled showdown makes it clear why breaking contests are referred to as "battles" as dancers mix dance moves with shadow kicks, leg sweeps, and imitation attacks in the faces of the competition.
Breaking is much more than 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 nil (see sidebar). Through the years the Rock Steady Crew, the Mighty Zulu Kings, the Lockers, the Electric Boogaloos, and thousands of other individuals and crews have continuously renewed and refreshed the mode with original spins, fresh freezes, and new twists on power moves—often laced with body-bending humor. Competition and innovation in breaking—equally with all things Hip Hop—is essential and inspired, and today its style inspires wherever people trip the light fantastic.
Flight Legs Coiffure: Kings of New York
Hip Hop Vocabulary
B-Terms to Know
The basic vocabulary of breaking—Hip Hop's trip the light fantastic style include:
popping fluid movements of the limbs, such as moving arms like an ocean wave, that emphasize contractions of isolated muscles
locking snapping artillery or legs into held positions, often at precipitous angles, to accent a musical rhythm
top-rocking fancy footwork performed upright
down-rocking dance moves performed on or shut to the footing
up-rocking martial arts strikes, kicks and sweeps built into the dance steps frequently with the intent of "burning" an opponent
power moves acrobatic spins and flares requiring speed, forcefulness, and agility
freeze sudden halt of a dance step to agree a pose, oft while balanced on a hand, shoulder, or caput
cypher group of b-boys/b-girls taking turns in the center of the dance floor
DJing: The Artist at the Turntable
Prototype via Creative Commons; flickr.com user Fora exercise Eixo
DJs are the soul backside the beat that pleases, surprises, and puts people on the trip the light fantastic toe floor. The best DJs have an almost mystical sense of mood at a party or gild. They sense the correct moment to cue the correct song using the right technique to take the party where it's gear up to go. It is that insight, a passionate knowledge of music, and technical know-how that make DJing i of the pillars of Hip Hop civilisation.
Working the Sound System
A DJ'south sound arrangement is a laboratory for making music magic. Twin turntables are standard, assuasive the DJ to switch hands between songs, or spin and manipulate records in tandem to create effects or unique musical combinations. The turntables are wired to a receiver, amplifier, and earthquake-causing speakers. The DJ may utilize headphones to cue up the adjacent vocal or song segment as the current music plays. So he or she uses a mixer, or fader, to make transitions from ane 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 preprogrammed playlists. Hip Hop civilization saves its greatest praise for inspired improvisation.
Before the rise of Hip Hop, the DJ's basic role was relatively simple—spin records at a party, society, or on the radio. DJ Kool Herc's keen observations changed that game. He noticed the free energy on the trip the light fantastic floor 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 past playing the same tape on both turntables, a technique refined by fellow pioneering DJ Grandmaster Wink. With needle-fine timing, they switched back and forth betwixt the turntables to multiply the break. Crowds, specially dancing b-boys and b-girls, couldn't become plenty. Since the beginning, Hip Hop DJs accept been instrumental in channeling youthful energy abroad from trouble and toward creative fun.
Good DJs constantly explore means to pleasantly stupor their audiences. They may give people the songs they expect, planning out smoothen transitions by matching beats and musical keys from one number to the side by side. They also innovate by listening for songs within songs, lifting and linking snippets to accept the music somewhere new.
In the never-ending quest to distinguish their mix, DJs often haunt used-record stores. They are on the cruise for long-lost songs or sounds they tin can make new over again through the magic of Hip Hop. Legendary DJ and accommodating Hip Hop luminary Afrika Bambaataa is famous for creating sets that spin from the Pinkish Panther theme to Kraftwerk to calypso to speeches of Malcolm X and Martin Luther King, Jr. All that is proficient from the by and present has a place at the Hip Hop turntable.
Scratching and Turntablism
Equally role 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 tape beneath the needle. Grand Wizzard Theodore stumbled on the technique in the mid-70s. He was a young teen blasting his music when his mom scolded him to plow it down. He fumbled the needle, liked the outcome, practiced it, and began using it in shows. Other DJs quickly added scratching to their repertoire equally a way to inject more personal style into the music flow.
More recently, turntablism has become an astounding source of new style. It involves all-encompassing real-time sampling from spinning records to create something funky and fresh. Watching an experienced turntablist create in existent time is an awe-inspiring experience.
Kool Herc "Merry-Become-Round" technique
Hip Hop Vocabulary
DJ-Terms to Know
The basic vocabulary ofDJing—Hip Hop's music style include:
dorsum spinning turntable technique that speedily "rewinds" a section of a recording
beat juggling manipulating ii or more recordings to create a unique musical arrangement
beat matching following a vocal with another that uses an identical or like rhythm
pause, or breakbeat instrumental section of a song that emphasizes percussion and rhythm
cue positioning a recording to play at a specific point
DJ short for "disc jockey," a person who plays recorded music for an audition
drum machine, or beat box electronic device used past 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 extensive manipulation of recordings to create a unique song
MCs: Masters of Rhythm, Rhyme, and Menstruum
Image via Creative Commons; flickr.com user Coupdoreille.fr
Today, MCs like Jay-Z, MC Lyte, and Kendrick Lamar fly high profiles in the world of Hip Hop. But that wasn't always the case for the poets of the microphone.
In Hip Hop's early years, its music scene focused on the disc jockey and the dance flooring. The MC—short for "master of ceremonies"—was often a kind of sidekick to the DJ. InYeah Yep Y'all, an oral history of early Hip Hop, Grandmaster Caz describes the ascension of MCing this way: "The microphone was just used for making announcements, like when the next party was gonna be, or people's mom's would come to the party looking for them, and you accept to announce it on the mic."
Earlier long, though, MCs wanted to showcase their ain talents. Grandmaster Caz continues: "Different DJs started embellishing what they were saying. I would brand an announcement this way, and somebody would hear that and they add a little scrap to it. I'd hear it over again and accept it a little step further 'til it turned from lines to sentences to paragraphs to verses to rhymes."
More than and more, MCs earned the right to grab the mic using freestyle skills to entertain and command a live audience. A "principal of ceremonies" might brand all the needed announcements; simply the task of an MC so and now is to guide everyone's skillful time with their energy, wit, and ability to interact with people on the flooring. And good MCs don't just demand the mic—the audience honors their skills by enervating they accept it.
Rappers emerged equally a somewhat distinct 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 besides rap. The interaction with the audition is the big difference.
In 1979, a trio of MCs rapped over the intermission from Chic's "Good Times." The result was The Sugarhill Gang's "Rapper's Please," rap'due south outset striking. Three years later, Grandmaster Flash & the Furious Five releasedThe Message, a funky simply unblinking account of difficult times in an inner-city neighborhood. As the 1980s unrolled, MCs and rappers rose rapidly from second fiddles to large dogs including Rakim, Big Daddy Kane, Run DMC, and Public Enemy. They created personas, cooler-than-life characters that might exist super-smooth or gangland tough. They boasted about their style and talents and fabricated certain to honor the DJ. MCing and rapping went from sideshow to main event as one of Hip Hop'southward essential elements.
Hip Hop's Rapping Poets
An MC or rapper'south "flow" is crucial to his or her functioning. The menstruum 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 agree in the United States, spoken-give-and-take poesy occasionally worked its way into jazz performances. Many history-minded rappers as well connect their art to The Concluding Poets, a Harlem-based group, and The Watts Prophets out of Los Angeles. Both emerged in the tardily-1960s and paired political verse with improvisational jazz. Gil Scott-Heron'south "The Revolution Will Not Be Televised" resembles rap before it got the name.
Increasingly, students of Hip Hop civilization recognize the best MCs as accomplished formal poets. They rap complex rhyme schemes, near congenital on a rock-solid four-beat rhythm, or meter. Only once again, a expert MC surprises audiences with syncopation and other off-the-beat techniques. Hip Hop aficionados reserve special respect for MCs with freestyle skills—the power 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's song way:
stop rhyme rhyming words at the end of lines
flow a rapper's vocal way
freestyle improvised rapping
griot (gree-OH) oral storytellers and historians of Due west Africa
internal rhyme rhyming words within the same line
MC short for "primary of ceremonies"; likewise performer who uses rap techniques to interact with an audition
meter rhythm of a verse form
persona grapheme assumed by a performer
rap spoken-word lyrics performed to a beat; ane 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
Writing: Graffiti and Hip Hop Civilization
Image via Creative Eatables; flickr.com user urbanartcore.eu
I element of Hip Hop predates the music and dance scene itself—graffiti writing, or onlywriting as the artists themselves call it. But it blossomed at the same fourth dimension the music and dance scenes were finding their feet, and its wild and color-outside-the-lines improvisational style were influenced and inspired past the desire to create something new and fresh.
Graffiti has been effectually since humans first painted, etched, or carved on stone walls. Only 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 print a daughter named Cynthia.) In 1968, the budding art grade fabricated the jump to New York Urban center. The names JULIO 204, TRACY 168, and TAKI 183 became familiar sights here, there, and increasingly everywhere.
Writing's Heyday
The number and talents of writers spiked in the mid-1970s as Hip Hop's competitive drive kicked in. They added illustrations and second colors to outline stylized chimera and block lettering. The writers—many if not most of them young teens—jumped the limits of size, complexity, and color. Their finest designs seemed to bring life to any they graced. They called itwild style—and it was.
They also jumped over fences, sneaked into subway tunnels, and trespassed in nighttime yards where subway cars slept. There, they expert their art with blank walls and unstained trains as their canvases. When opportunities arose, they painted the whole sides of subway cars and even unabridged 10-car trains with their elaborate, colorful designs.
They had no illusions their creations would terminal long. Merely the opportunity to meet their art rolling through the subway was the ultimate payoff for writers similar DONDI, LADY Pinkish, FAB FIVE FREDDY, KASE2, and ZEPHYR. It was outrageous to call back thousands of New Yorkers saw their creations each day in 1 of the richest cities in the world. "If art like this is a criminal offence let god forgive me!" wrote the author known every bit 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 prove they were not just the most imaginative and talented writers in their neighborhood, but the most fearless.
Not surprisingly, NYC officials were not amused. Cops cracked down on writers, and train yards were encircled with new security. At the same time, the art earth was communicable on that something fresh was happening in the city across their fancy uptown galleries. Graffiti-inspired exhibitions popped up, and some writers took the opportunity to commit their passion to canvas instead of granite and steel.
Wild, Hungry, Inspired
Writing'due south place in Hip Hop culture was cemented by the early 1980s. Early rappers used wild style on their album covers. Writers painted cool kids' clothes with designs and got paying gigs painting murals. And ii movies—Style Wars andWild Fashion—debuted. The films fabricated the case that a like hungry, inspired creativity flowed through writing as well every bit Hip Hop's music and dance scene.
Today, graffiti-influenced writing styles testify upward worldwide in graphic pattern, way, and street art. Outlaw artists like Banksy are still out there painting trouble. Just the vision, passion, and sense of humor the best of these writers brandish—legit or not—give people the chance to see the work-a-24-hour interval globe in new ways. They seem to say if we pay attention, we can find beauty, pregnant, and art most everywhere we wait.
Dan Ane: Alphabetical Engineer
Hip Hop Vocabulary
Writing Terms to Know
The bones vocabulary ofwriting graffiti—Hip Hop's visual art include:
all metropolis being known for ane'south graffiti throughout a city; originally referred to the artwork on subway cars actualization in all five New York City boroughs
bite to steal some other writer'southward pattern or style
blackness volume sketchbook used by graffiti writers
bombing to pigment many surfaces in an area
burner elaborate, big designs
crew team of writers that often work together
gettin' upwardly developing i'southward reputation or "rep" through writing graffiti
graffiti writing, or drawing on surfaces in public places, usually without permission
kings orqueens highly respected, experienced writers with most tags
piece short for "masterpiece," a big, complex graffiti design
stencil graffiti premade designs of newspaper or cardboard that allow quicker, more exact transmission of images or lettering
tag orscribble stylized, but basic graffiti writer's signature
throw up quick execution writing; generally one color outline and one colour filled in
toy inexperienced writer
wild fashion style of writing that usually involves bold, interlocked letters
authorgraffiti artist who has a distinct way they design their letters
Knowledge: 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 particularly true in the Bronx and the city's other depression-income areas. Much of the optimism of the 1960s Civil Rights Move had faded. New York was broke. Urban center officials sliced and diced bones services, schoolhouse funding, arts education programs, and task training. Life-destroying drugs and law-breaking haunted the streets. Absentee landlords neglected properties until building after building vicious into disrepair or went up in flames.
In the face of all that, however, the energy of urban youth refused to shut down. Immature people, many of them teens, created new means of spinning records and dancing. They experimented with new styles of poetry and visual art that revealed their thinking and feelings. Somewhen, the elements grooved together into a culture. A proper noun started to stick to it:Hip Hop.
The Fifth Element
Hip Hop's 5th element of "knowledge" teaches the Hip Hop community about its identity and means to express that identity. It places great importance on claiming a stake in i's own teaching. "Knowing where YOU come from helps to show YOU where You lot are going," writes legendary MC KRS-One. "Once you lot know where you come from you then know what to larn." (By the way, "KRS" stands for "Knowledge Reigns Supreme.")
Hip Hop believes that people can take control of their lives through self-knowledge and self-expression. Cognition influences mode and technique and connects its artists under a collective Hip Hop umbrella. It engages the earth through Hip Hop's history, values, and ideas, and adds intellectual muscle to support and inform its music and moves and its poetry and art. Most chiefly, it allows for a shared experience against an uncertain earth.
Bambaataa Brings Information technology
Afrika Bambaataa deserves much credit for putting this concept of cognition into give-and-take and activity. 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 brand peace with and between enemies. His legendary music and dance parties brought together rivals to party in peace. "Complimentary jam!" his flyers announced. "Come one come all, leave your colors at domicile! Come in peace and unity."
The young Bambaataa was too a devoted student of history. He captivated the tactics and strategies of historical leaders—from the French emperor Napoleon to the Due south African chieftain and military machine commander Shaka Zulu. He grasped the power of music as a strategy for clearing barriers that divided people, whatever their backgrounds.
By the 1980s, Bambaataa and his large and growing coiffure had founded the Universal Zulu Nation. Defended to Hip Hop values, the organization's motto is "Peace, Love, Unity, and Having Fun." They developed "Infinity Lessons"—principles and codes of conduct for living an honorable Hip Hop life. They emphasize community, peace, wisdom, liberty, justice, dear, unity, responsibility, respect for others, and respect for self. He put his noesis into words, and the words radiated around the Bronx, throughout New York, and across America.
Boogie Downward Productions - My Philosophy
Hip Hop Vocabulary
Noesis Terms to Know
The basic vocabulary ofcognition—Hip Hop'due south philosophy include:
culture the behaviors and beliefs of a particular grouping of people
didactic intended to teach a lesson, especially a moral lesson
empowerment increasing of economical, political, social, educational, gender, or spiritual force of individuals or communities
praxis process when a theory, custom, or lesson is practiced
society social, economic, and cultural organization
strategy plan to reach a desired effect
worldview ideas nigh how the earth works
Hip Hop Theater and Literary Arts
Image via Creative Commons; flickr.com user Elvert Barnes
"Be warned, thisis theater—merely it'southwardHip Hop theater," a loud vocalisation booms before the drape rises forInto the Hoods. This show has been bravado 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 forest. But as with all fairy tales, not everything or everyone is what they seem. Ultimately the phase blazes with wild style fine art, DJ voiceovers, beats from multiple musical styles, b-boys and b-girls breaking in loftier-flying choreography, and fresh takes on familiar characters. (DJ Spinderella or Rap-On-Zel ring a bong?)
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, one-act, and tragedy, and some archetype material is getting the Hip Hop makeover. Will Power'sThe Seven, for instance, retells the ancient Greek tragedySeven Against Thebes by Aeschylus using a DJ and rapping cast.
Collaboration and Content
Collaboration is a cadre ingredient for most Hip Hop theater groups. In the tradition of the civilization, producers, directors, and playwrights stress input and participation by stakeholders—the very people the play is intended to speak to and entertain. Long-time Hip Hop theater author/actor/manager Danny Hoch says it this way: "Hip-hop theatre… must beby,nighandfor the hip-hop generation, participants in hip-hop civilization, or both."
This collaborative process clearly informs the content in Hip Hop plays and musicals. Plots often tackle electric current social issues, especially every bit they chronicle to urban communities, with characters exploring the strengths and limits of activism and empowerment. Questions of identity are oftentimes front and heart, including race, class, gender, sexuality, and anything regarded every bit "different." The struggle between the private and society is a key theme as characters seek to create meaning in their lives while struggling to claim their place in the world.
Hip Hop in Prose and Poetry
MCs tell complex stories in rhythm and rhyme. Rappers write and polish their lyrics earlier delivering them in raps. The underground is out: Hip Hop poets beloved words. "The toughest, coolest, most dangerous-seeming MCs are, at heart, basically only enormous linguistic communication 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, poetry, and comic volume-mode graphic novels. Some works relate the gritty realities of poverty or inner-urban center living; others discover the humor in that location and wherever; all describe trying to survive and thrive in a rapidly changing world.
Rapped aloud or published on paper, Hip Hop-influenced literary forms have roots in the Black Arts Motion of the 1960s. BAM inspired a generation of African American, Latino, and feminist writers, including Amiri Baraka, Maya Angelou, Nikki Giovanni, Sonia Sanchez, the Last Poets, and many others, to share stories and views frequently overlooked or outright rejected past mainstream America. Forth the style, spoken word—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 world 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 drove of lyrics. Says Bradley: "[R]appers are perchance our greatest public poets, extending a tradition of lyricism that spans continents and stretches back thousands of years… They aggrandize our understanding of human being 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 similarRetrieve Over again by Doug E. Fresh, Debbie Allen'sBrothers of the Knight, and theHip-Hop Kidz serial by Jasmine Bellar.
Hip Hop Vocabulary
Theater and Literary Terms to Know
The basic vocabulary ofHip Hop theater and literary arts include:
choreography arrangement of trip the light fantastic moves
collaboration working together
content discipline or information
genre category of literature, such as fairy tales or historic fiction
lyricism poetic or musical style
metaphor symbolic figure of voice communication
scenery backdrop for a theater production
stakeholder someone who shares interest or responsibility
All The Way Live - Hip Hop Connections
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Writer
Sean McCollum
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Editor
Lisa Resnick
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Producer
Kenny Neal
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Updated
Oct 30, 2019
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