Culture

Hip Hop Teaching Resources

I have been searching for hip-hop teaching resources, as well as academic journals outside of the ethno realm that an article on hip-hop would slide into. Along the way, I’ve found some pretty good resources and wanted to share. I’ll add these to my resources page as well, but if you know of any others, let me know!

Hip Hop University

Hip Hop Index

Hop Hop Research Portal

Rap Dictionary

Recognize! Hip Hop and Contemporary Portraiture

The Poetics of Hip Hop

The Evolution of Rap Music in the U.S. (with Lesson Plans)

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Spotlight on: Dagyap, “Brothers on Fire”

Dagyap is a Tibetan hip-hop artist born and living in India. Just twenty-one years old, his real name is Sonam Chopel. He is known for releasing music that relates to the various problems that Tibetans face in exile. According to his facebook page, his influences are Jay Z, Tupac, the Game, and the Dalai Lama. That should give you a hint of what you are about to hear. 

Dagyap has not responded to my requests for an interview, unlike some other Tibetans in the exiled music scene. Yesterday he released a new piece on YouTube called “Brothers on Fire,” and I wanted to use this post/his spotlight to discuss the piece. If you need some background on the recent immolations of several Tibetan monks/nuns, consider reading the following articles, and the video that follows in this post:

I hate to include this video, but hold your breath and take a look [graphic warning]:

Now that you’re [hopefully] disgusted by this, and by your ignorance of its recent occurrence [13 times] in protest of the Chinese occupation, let’s take a look at Dagyap’s newest release, “Brothers on Fire” –

Before I continue, I’d like to mention [in case you aren’t aware] that as Marie Marshall recently said to me in another context, “The United States is in bed with China” – therefore nothing has/will be done about this via the United States. Tibet is virtually invisible in the American media, and our ridiculous relationship with China is the reason why (though with that said, the same ridiculous relationship may end up helping us face whatever is about to happen in North Korea as a result of Kim Jong Il’s death).

As you saw, the video opens with a salute for surviving the brutal Chinese mayhem.  The lyrics are as follows: 

(I had to type the lyrics into a text edit window and paste it as an image here – wordpress hates lyric formatting apparently)

This is musical expression that seeks to invoke change. This piece is framing an era, commenting on the current affairs of Tibetans while simultaneously reminding us that no one, including the UN, is doing a thing about it. Many musicians are social activists, and Dagyap is no exception.  The Tibetan issue is one of  global importance.  Hip-hop artists in the United States and South African have used their music as a means to disseminate the message of racial oppression, and artists in Indonesia have used hip-hop to speak out against government injustice and Islamic rule. Dagyap, and other Indo-Tibetan artists, are doing the same by sending this message: the Chinese are killing Tibetans. They are attempting to exterminate them.

Hip-hop in the Tibetan diaspora is a fairly new genre, as my forthcoming dissertation** [and hopefully, a few conference papers before then] will discuss.   In this piece, Dagyap names his oppressors, calls for change, and ends with the phrase “Bod Gyalo!” – illegal on Chinese soil [including the Tibetan autonomous region], this means “Victory for Tibet!” Here, here.  Congratulations to Dagyap on this outstanding piece of social commentary. Let’s share it with the stakeholders who give a damn, and more importantly, with those who don’t…

 

(**First I have to get this thesis churned out!)

Spotlight on: Karma Emchi “Shapaley”

Do you have a few minutes free? Take a moment to learn about this Tibetan artist. 

October 2011: Karma Emchi, a Swiss-based Tibetan vocalist released a new song on YouTube called “Made in Tibet.” The track has received over 30,000 hits since its release. It’s clear in this song that he is trying to send a message to Tibetans living within the borders of Tibet.  If you’ve been watching the news in the past few months, you’ve heard about several monks self-immolating themselves for the cause. Although it’s unrelated and there are several Tibetan social commentaries on those events, these videos could not have been released at a better [and more controversial] time.  Far from the precarious border himself, Karma Emchi is able to voice his opinion and send a message without fear of direct government retribution – though some of his work is banned in China according to other posts.  Listen to this October release, then continue reading:

I’ve already sent an email to him asking about getting a “Made in Tibet” shirt for myself. In addition to disseminating his message via music, Karma is taking a filmic stand. Concerned about identity loss, he directed this 3-minute short:

What else has this guy done? On March 24, 2011, Karma released a comedic song about Tibetan meat pastry. I posted the original video to my Twitter feed when it was first released. It was intended to be funny – listen to the story of what happened here as investigated by Rebecca Novick at The Tibet Connection. It may surprise you!

Finally, are you thirsty? Karma Emchi has more than a spark of humor in his work. Check out his parody on the Red Bull energy drink…. get ready to sip some Red Yak! See the awesome video below:

He’s obviously someone to keep an eye on… if you see/hear of anything new in relation to Emchi, let me know!

Update on Current Research: Topics, Trajectories, and Obstacles

I just blinked my eyes a couple of times and realized it’s been over a month since I’ve posted here. I know, I know – you’ve been utterly distraught about it and just couldn’t imagine your virtual life without me in it, right? 😉  Well – you’re in luck. Here I go:

Flag of New Orleans

Image via Wikipedia

It’s odd how ethnomusicological projects seem to grow organically – they very quickly consume everything in their way. It can be exhilarating! It’s been a while since I’ve stepped back and taken inventory of my projects in progress, so I’m going to save us all some time and give you a list of bullets rather than a narrative. In order of current importance and time consumption:

  1. Street Musicians in New Orleans. My thesis topic. Through the lens of R. Murray Schafer‘s 1977 concept of the soundmark, I’m mapping street musicians in two New Orleans neighborhoods and simultaneously telling the story of their experiences. If I were to tag this project with key words it would be: street musicians, migrant street kids, NOLA, urban studies, tourist mapping, ethnography, oral history, and French Quarter fixtures. Where am I now? Fieldwork is done. Prospectus is done. Writing in progress.
  2. Black, Queer, and Bouncing in New Orleans. I’m researching the phenomenon of Sissy Bounce, which refers to a group of queer-identified hip-hop artists in New Orleans (notably most of them hate the term so I will not use it to define the genre which should just be under the umbrella of ‘Bounce’, simply the artists themselves and their identities).  I’ve been officially doing fieldwork for this project for about fifteen months, however it will be ongoing for quite a while. Issues of access and identity continue to arise. A couple of months ago, I presented a paper called, ““Is that thug wearing heels?” The Negotation of Identity in Sissy Bounce” at the 2011 Southern Graduate Music Research Symposium as part of a panel on liminality (what the hell does it mean to “negotiate identity” anyway?! I’ve since slapped myself for using this title per my advisor who made me [and others] realize it was an idiotic and empty phrase). I recently submitted an abstract to the Society of Ethnomusicology‘s Southeast and Caribbean regional chapter (SEMSEC) called “Big Freedia “the Queer Diva”: Black, Queer, and Bouncing out of New Orleans”. I’m keeping my fingers crossed that it gets accepted so I can present the paper at SEMSEC’s annual meeting, which is being held this year in the Dominican Republic (kudos to whomever had that brilliant idea!).  The first presentation was my attempt to introduce the Sissy Bounce phenomenon to the musicological community, and also my first attempt at a conference presentation! I was happy with both my paper and my presentation of it, though of course looking back there are a few things I would have added/modified. In this second presentation, I’ll be narrowing my topic to a case study of one particular artist, Big Freedia “the Queen Diva.” There are obstacles here as well. Once a local artist performing in dive clubs around town, Freedia’s popularity has shot through the roof and she’s now on an international touring circuit with looming rumors of a reality TV show. Access, access, access.  As a whole, I’m not sure what the trajectory of this project will be.  If there were tags for this one, they would be: gender, bounce, new orleans, black and queer, sexuality studies, Judith Butler, queer hip-hop, and reflexivity.
  3. THE MUHS PROJECT. And now for something completely different, sort of –  I’ve been working on a biographical archiving project since early this past summer. My subject is Marietta Muhs, an opera diva that grew up and out of New Orleans who landed in the NYC opera scene in the early-20th century. Obviously, this project leans towards the historical realm. I’m expecting this to take up quite a bit of time over the next several years. It’s a side project, but one that is allowing me to utilize the skills and resources I’m learning in my historical coursework. Tags here would include: New Orleans, New Orleans opera scene, Loyola U., NYC opera scene, and women in the 1950’s.
  4. Global hip-hop. Also a side project, it seems like for every regional topic class I take which requires a massive term paper/presentation at the end, I’m drawn not just to popular music, but to hip-hop. I’m currently researching hip-hop in South Africa and will be presenting on it sometime in the next few weeks in class. I’ve also delved into Indonesian and Indian hip-hop, and guest lectured a few times on Indonesian hip-hop over the past year. I’m also interested in hip-hop artist refugees coming out of various African war zones (e.g. Emmanual Jal). These things are constantly evolving, so I’m finding that social networking allows me to stay up-to-date with artists and genres without having to actively search them out after I’ve done the initial research.  Anyway, I just added this bullet because it seems to be a recurring theme in my life at the moment, and  I have a feeling that something will come out of it eventually. Of course it also links to the research I’m doing on hip-hop in NOLA.

Next year’s SEM/AMS/SMT mega conference is in New Orleans and I have a few pertinent topics, above, that I could attempt a paper submission for (though acceptance of the younger grad student papers is rare). I think that even though my thesis research is on street musicians, I’m eyeing NOLA Bounce as the topic I’d like to present on at SEM (though my abstract would likely be trashed at first sight).  Anyway – my thesis includes sonic mapping of street musicians, and I could come up with a great “field trip”  handout for people to go and see these soundmarks live since the presentation would be in New Orleans… much to think about. Not a lot of time to do it in.

Lastly, if you’ve followed this blog at all in the past few years, you probably know that my eventual dissertation topic will be  music in the Tibetan community of Dharamsala, India. Most folks who study Tibetan music tend to lean towards music for Buddhist ritual and traditional genres. My goal (big shock here) will be popular music – perhaps working with Lobsang Wangyal who organizes the Tibetan music awards from McLeod Ganj. With that said, I’ve also been peeking at the music of Bhutan and Nepal. Obstacles = language, money, accessibility, government regulations. Working on that.

Prayer Wheels at Tsuglagkhang Temple, McLeod Ganj.

Anyway – that’s my list of current projects and their potential trajectories. As for the day-to-day, it currently involves a giant stack of grading, 2-3 books to read per week, and as usual, hanging with the most fabulous musicologist-friends on the planet.  By Saturday, I hope to make another post  that illustrates how absolutely awesome the SEM conference was in Philadelphia last week.

Til then, Cheers!

Why New Orleans Matters

Cover of "Why New Orleans Matters"

Cover of Why New Orleans Matters

I have just discovered that I can put my plastic camelback bottle in the microwave to make tea without an explosion. Now that I have, I’m sitting on the office couch with a blankie reading Tom Piazza’s “Why New Orleans Matters“. Obviously it’s Friday morning. If you must know, I am reading it for a combination of work and pleasure. I’ve read through it several times, and anyone who has knows that it’s chock full of amazing quotes that help explain to folks, well, why New Orleans matters. If I remember correctly, there are a few that would slip ever-so-nicely into the cracks of my thesis – hence the work aspect… and it’s a nice relaxing way to spend Friday morning in the office, right? Now my tea is getting cold…

Here are a few good quotes from the current pages I’m flipping through:

“New Orleans is the most religious place I have ever been, even though much of the population is profoundly profane, pagan, and steeped in the seven deadly sins and some others not even listed.

“Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it’s as if the audience – dancing, singing to the refrains, laughing – is part of the band. They are two parts of the same thing. The dancers interpret, or it might be better to say literally embody, the sounds of the band, answering the instruments. Since everyone is listening to different parts of the music – she to the trumpet melody, he to the bass drum, she to the trombone – the audience is a working model in three dimensions of the music, a synesthesic transformation of materials. And of course the band is also watching the dances, and getting ideas from the dancers’ gestures. The relationship between band and audience is in that sense like the relationship between two lovers making love, where cause and effect becomes very hard to see, even impossible to call by its right name…”

Of jazz funerals… “In the real old times they would continue this way (in a dirge) all the way to the graveyard before the next stage  of the funeral ritual took place, but even New Orleans isn’t totally immune to the Worldwide Attention Deficit, and today this part of the procession will last for a block or two at most before the band stops playing the dirge…and the snare drum beats out a familiar sharp tattoo, the band launches into a jubilant, life-affirming stomp, and the entire crowd explodes into dance.” 

“It amounts to a kind of cultural synesthesia in which music is food, and food is a kind of choreography, and dance is a way of dramatizing the fact that you are still alive for another year, another funeral, another Mardi Gras.”