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- ‘HIP HOP DON’T STOP’
Over the last 5 or so years I have seen Hip Hop become commonly accepted as ‘the’ global sub culture for young people. It has achieved mainstream musical, and to a far lesser degree cultural, acceptance arguably because it has delivered huge economic gains to (often corporate) business.
Hip Hop Culture and its elements are systematically used as a tool of engagement, expression and education for our young people worldwide. Having said this, I still believe true Hip Hop remains vastly under utilised, and its potential far from realized. The ‘slick and slack’ versions that fill up Music Television’s specialist channels do not give a true reflection of all that is Hip Hop. Moreover they portray rap music, and by and large ‘what sells’, with little thought given to a balanced representation.
Consequently there is a common (mis)understanding of what Hip Hop is, what it promotes and of what it can achieve. The mainstream media’s lust affair with Hip Hop creates limited understanding of this multi-artform cultural movement; its history, its principles, its teachings and its vast potential in terms of education, community development, citizenship and many other key learning areas.
As educators we must seek out, reinforce and unleash the positives of Hip Hop Culture. Back in the early 70s, Afrika Bambaataa was one of the most feared gang leaders in New York City. Hip Hop enabled him and his notorious ‘Black Spades’ gang to elevate themselves off the streets and into community events and wider social empowerment approaches, strategies and activities. They used the elements and energy of Hip Hop to raise aspirations and fundamentally transform lives. If Hip Hop was documented and critiqued in more of the ‘right’ ways, Bambaataa’s model could, and would, be likened to that of Paulo Freire’s in Brasil. They were, after all, both concerned with lifting the heads of the poor, oppressed and dis-educated, and empowering them to make positive change amongst themselves and the communities around them.
‘Power to the People’ indeed.
MK.
IC. Peace.
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"THE (OLD) SCHOOL OF HIP HOP"
Rap, Rap, Rap [1981]
LAST SUMMER, when Kurtis Blow’s ‘The Breaks’ was’ the sound of New York City, sceptics said it was a novelty hit and that ‘rapping’ would never last. They were wrong.
Naturally enough Kurtis Blow’s album turned out to be a disappointment – he records for a major label, and major labels still think in terms of albums. Rapping is a music made for singles. 12” singles, whose liberating opportunities for stretching out and riding a beat the form fully explores.
As is s… Continue
LAST SUMMER, when Kurtis Blow’s ‘The Breaks’ was’ the sound of New York City, sceptics said it was a novelty hit and that ‘rapping’ would never last. They were wrong.
Naturally enough Kurtis Blow’s album turned out to be a disappointment – he records for a major label, and major labels still think in terms of albums. Rapping is a music made for singles. 12” singles, whose liberating opportunities for stretching out and riding a beat the form fully explores.
As is s… Continue
Posted on March 25, 2009 at 11:20am —
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joker!!!!