Today we finished reading the second chapter in the handout given to students Tuesday, October 28, from The Message. This second chapter, a continuation of the theme, "The Meaning of the Name," the second chapter, "Me, Myself and I." The freewrite was to develop thesis sentences using the invention strategies noted in the handout most students received. If you missed class, pick up a copy at my office (L-236).
I wanted students to develop three sentences using the 3-part thesis form, and 3-4 others using the questioning strategy to develop: definitions, analogies, consequences and testimony. You can post those sentences here, then take one of the sentences, yours or another students and write an introductory paragraph.
Students presented today on hip hop in France. Please post your comments at the link below. I'd also like all students to post a reflection on the process, what worked well and places where their is room for improvement.
I would like students to send me their research essays via email. They are due once you've completed the presentation. The essays I received today are not complete. Only one student had a works cited page, they are all too short, lack scholarly research and don't site Jeff Chang at all. Chang is useful given the completeness of his analysis of hip hop origins and its place in America and by extension global youth culture. There are too many grammatical errors in all the essays. At this level the writing shouldn't have any sentence fragments, run-on-sentences, or confusion with words like "their and they're."
Students don't have grammar/style books, which are not optional. All a student has to do is visit the local library and borrow one, yet, only one student brings hers to class. How can we have a discussion about slang, cliches, Standard vs. Nonstandard forms of the language when scholars refuse to bring their materials to class?
The excessive amount of errors shows that either the student didn't know there was a problem in sentax or that the paper wasn't critiqued. Since students were presenting as a group, I would have thought each student would have read the other students' papers. I also mistakenly thought (?) students would rehearse.
Students did not submit their outlines, essay plans or bibliography with the completed essays. I suggested all students use Chang as a resource, yet as I said, no one cited Can't Stop, Won't Stop, or Michael Eric Dyson's Know What I Mean, for that matter. I left the essays students gave me today in an envelop outside my office for pick up. All need revision.
Feedback on the presentation:
Let me preface this with an acknowledgement and appreciation for the students who presented this week their research projects. That said, students should make an appointment if unable to come to my office hours and talk to me about your progress in the class.
What worked best in the French Hip Hop presentation today was the way the team divided the discussion into the various aspects of the genre. Where it fell down was the presenters' lack of cohesion, and the shallowness of certain aspects of the research evident in presenters inability to answer questions about the topic they covered such as location, laws, time lines. Absent also was the breath of hip hop culture. For instance, examples of early hip hop artists were of one group, which though called political, had a name that implied otherwise.
It was a plus that Loren could translate the lyrics of songs, but as I said, given the historic origin of hip hop culture, I don't know why other key figures in the French hip hop architecture were not shared along with their music. I know of many hip hop artists from formerly colonized African nations, who live in France, who are popular and rap in French and in Bambara, Arabic, and other indigenous languages. The Algerians are a huge presence in France. James Baldwin, in Notes of a Native Son, called them the "niggers" of France. Today if you've watched the news France has bee challenged by its non-white citizens on the absence of equal rights and equal access, the same could be said in the UK. So who are the hip hop artists in this segment of French society who use cultural expression like hip hop to speak their truth to power? In your research you probably noticed certain voices absent from the discourse. This is precisely why or how hip hop was born in the Aouth Bronx.
France is equally racist, some people who live there say it is more so (than America). I'm certain hip hop culture is used as a vehicle of expression there, yet this was not addressed. Hop Hop culture is political, yet, from the presentation, and from what I read, hip hop culture in France doesn't reflect the reality.
Is there an underground scene there? Where are these artists played, where are they marking the walls, dancing, rallying? Where are the parties, clubs, etc. where one can hear the music that reflects the roots of the genre given its historic orgins?
Paris is only one city and a county of how many regions? Which area is the hot bed of activism or music production? of course, Paris would have the most commercial
music. Paris is like San Francisco, and like San Francisco there are areas that are not as affluent, such as Bayview Hunters Point and the Fillmore, parts of the Mission, etc. It would have helped to have a map. The Brazilian presenters were as good as they were precisely because they were rehearsed gave us the historic, political and social context of the people and region where hip hop was born. They shared maps, and flags and books. So far, their presentation was the best, followed by Venezuela which was similar to today's, weak in certain areas because it was investigated in depth.
The presentations, skimmed the surface, so I was expecting a lot more from the writing. I haven't read the essays from the Brazil or Venezuela group, so I hope so. Have you emailed me?
Today in class, it would have been better to read the lyrics to us in both French and English, than to share examples of the genre that did not further the argument which seemed from what was presented and what I read, that hip hop in France, located in Paris and its outskirts is an off-shoot of its popular American cultural expression: misogynistic, violent, homophobic and sexist or frivolous non-political party music.
If this is not the case, then the writing nor the presentation addresses this and this is what commercial hip hop in America looks like.
Thursday, October 30, 2008
Tuesday, October 28, 2008
Hip Hop as a Global Movement: Research Essay Post
Please post your completed research essays here after your presentation. Please respond to one another's presentations: What did you learn? What worked well in the presentation? What would you like to see more of?
One thing that came up for me was how well the ensembles worked together. I liked the division of labor, so to speak. In the Brazil ensemble, they stayed really close to the planning/outline I read earlier in the research process weeks ago, so it was nice to see how the final project came together. Despite the technical difficulties, their presentation utilized books, websites and other visuals of the culture. They followed really closely the assignment, answering all the questions asked.
The only area I would suggest improvement is relevancy, that is, making sure the research includes current sources to tie in with historic facts, such as the reference to police violence and incarceration which is a big problem in Brazil. Poor people fill the jails and these places are nothing like the prisons here. Prisoners have no rights.
Deon, Dominique and Wendy's presentation on Venezuela was interesting, especially when Deon went off script and became really passionate about hip hop's relevance in Third World Communities. I liked Dominique's reference to Slingshot or hip hop in Palestine. Wendy's ability to translate the lyrics for us and talk about the cultural history behind the songs was helpful. Linguistic assess is wonderful and adds depth to the presentations. Eder's assistance in pronunciation of Portuguese words for the presenters and assistance in defining what was meant by Capoeira's influence on Brazilian b-boying, again added an extra dimension to the presentation.
Suggestion for future presenters: if you don't know what a word means, or what a reference is referring to, look it up. In both these instances, the references were crucial to understanding hip hop in Brazilian culture.
We will continue presentations in class on Thursday. We'll start with the presentations and do the freewrite second. Tuesday, we will talk about your research essays on a person who is using hip hop as a tool for social change. Check the due dates. Bring Coldest Winter to class, also Elements of Style.
the Meaning of the Name--Cyber-post freewrite
Respond to the Felicia Pride chapter, The Meaning of the Name. Briefly, summarize the key points and then take off i agreement and share, if you like, your alter ego persona. Visit http://www.youtube.com/watch?v=ft8x_dvSCL0
Thursday, October 23, 2008
Field Trip Changes
We are meeting at the West Oakland BART Station at 5:45 p.m. Friday, October 24. The show starts at 7 p.m. Tickets are $5 for Animal Farm. You can listen to my radio show, Wednesday, October 22, to hear about the show (check the links at http://wandaspicks.com).
Cyber-Assignment: Piece by Piece
Using what has already been discussed about Graf Art or Writing talk about the development of the writing scene here in SF Bay and who some of the major artists are/were and how the art scene looks now. Talk about any distinguishing aspects of the genre here in the SF Bay versus let’s say, the East Coast (Style Wars.)
Piece by Piece
Piece by Piece documents the history of San Francisco's controversial graffiti art movement, with a fast-paced journey into the world of San Francisco street art, as seen through the eye of the artists. Chronicling more than 20 years of creation and destruction -- honestly, accurately, and critically, the film takes you alongside those who lived in what is arguably one of the most influential youth cultures of our time.
San Francisco's graffiti style arose in the period from 1983 to 1993. Piece by Piece starts by documenting what laid the groundwork for today's Bay Area graffiti: "Cholo" writing and the impact of PBS's 1983 documentary, Style Wars. The film includes not only San Francisco's graffiti originals, but also commentary from noted New York "writers" such as Seen, Cope 2, and Case 2. It also covers the tragedy of Dream One, a San Francisco graffiti pioneer and a vocal figurehead in Bay Area urban welfare activism.
From 1993 to 2000, San Francisco became an international magnet for ground-breaking graffiti styles yet to be seen in other parts of the world. The film elaborates on what it takes to establish credibility among the graffiti community, featuring classic works from KR and the horses of Reminisce; and documenting the creative expression of these and other "writers." The film also features well-known graffiti artists such as Grey, Buter, Joro, Norm, and Barry McGee (Twist).
While graffiti is largely considered an underground movement, it's no secret that this art form has provoked a huge response from everyday citizens. The final segment of Piece by Piece explores the wide range of public opinion towards graffiti by giving a voice to the citizens of San Francisco and the law enforcement officers who claim to represent their interests. The film also captures the artists' heartfelt confessions of their love of and addiction to graffiti art and typographic lettering, as well as their social activism, and the short life span of their works.
http://www.kqed.org/arts/programs/trulyca/episode.jsp?epid=192903
Piece by Piece
Piece by Piece documents the history of San Francisco's controversial graffiti art movement, with a fast-paced journey into the world of San Francisco street art, as seen through the eye of the artists. Chronicling more than 20 years of creation and destruction -- honestly, accurately, and critically, the film takes you alongside those who lived in what is arguably one of the most influential youth cultures of our time.
San Francisco's graffiti style arose in the period from 1983 to 1993. Piece by Piece starts by documenting what laid the groundwork for today's Bay Area graffiti: "Cholo" writing and the impact of PBS's 1983 documentary, Style Wars. The film includes not only San Francisco's graffiti originals, but also commentary from noted New York "writers" such as Seen, Cope 2, and Case 2. It also covers the tragedy of Dream One, a San Francisco graffiti pioneer and a vocal figurehead in Bay Area urban welfare activism.
From 1993 to 2000, San Francisco became an international magnet for ground-breaking graffiti styles yet to be seen in other parts of the world. The film elaborates on what it takes to establish credibility among the graffiti community, featuring classic works from KR and the horses of Reminisce; and documenting the creative expression of these and other "writers." The film also features well-known graffiti artists such as Grey, Buter, Joro, Norm, and Barry McGee (Twist).
While graffiti is largely considered an underground movement, it's no secret that this art form has provoked a huge response from everyday citizens. The final segment of Piece by Piece explores the wide range of public opinion towards graffiti by giving a voice to the citizens of San Francisco and the law enforcement officers who claim to represent their interests. The film also captures the artists' heartfelt confessions of their love of and addiction to graffiti art and typographic lettering, as well as their social activism, and the short life span of their works.
http://www.kqed.org/arts/programs/trulyca/episode.jsp?epid=192903
Wednesday, October 22, 2008
Revised Field Trip Post
Per our conversation Tuesday, I want to attend Animal Farm on Friday, October 24 at Theater Artuad, 450 Florida Street, San Francisco, and Climbing Poetree on Saturday, October 25. Tickets for 10/24 are $5, Saturday, I haven't checked what the price is at La Pena Cultural Center, 3105 Shattuck Avenue. Visit www.lapena.org. Let me know. We can get a deal.
So far, Deon is the only person coming. Re: Black White Boy, we can go later in the run. I'm going to opening night Monday, October 27. I'll tell you about it.
So far, Deon is the only person coming. Re: Black White Boy, we can go later in the run. I'm going to opening night Monday, October 27. I'll tell you about it.
Slingshot Hip Hop
This is a late post. We watched a film, Tuesday about hip hop in Palestine: "Slingshot Hip Hop," directed by Jackie Salloum Palestine/2008/89 mins.
It screens as a part of the Arab Film Festival, Saturday, October 24-25, 7 p.m. at Shattuck Cinemas, in Berkeley. Visit www.aff.org for a link to the film website.
Students were to look at the film and respond to the following questions:
1. Analyze Hip Hop Palestine via the artists profiled in the film: Slingshot Hip Hop directed by Jackie Salloum.
2. Look at way hip hop was used to address social issues. What is the historic context? Who are the artists?
3. How has American hip hop aesthetics influenced Palestinian artists? How are they different?
4. Where do traditional Arab culture and hip hop meet?
5. Talk about women in hip hop in Palestine or Arab culture.
6. Is religion an aspect of Palestinian rap culture per the artists profiled? How so?
It screens as a part of the Arab Film Festival, Saturday, October 24-25, 7 p.m. at Shattuck Cinemas, in Berkeley. Visit www.aff.org for a link to the film website.
Students were to look at the film and respond to the following questions:
1. Analyze Hip Hop Palestine via the artists profiled in the film: Slingshot Hip Hop directed by Jackie Salloum.
2. Look at way hip hop was used to address social issues. What is the historic context? Who are the artists?
3. How has American hip hop aesthetics influenced Palestinian artists? How are they different?
4. Where do traditional Arab culture and hip hop meet?
5. Talk about women in hip hop in Palestine or Arab culture.
6. Is religion an aspect of Palestinian rap culture per the artists profiled? How so?
Monday, October 20, 2008
Field Trips this week
Theatre
Laney College's production of Piano Lesson in the Laney College Theatre, 9th and Fallon (across the street from the Lake Merritt BART Station.) Thursday, October 23, 7:30 reception, 8 p.m. showtime http://www.laney.peralta.edu/apps/agenda.asp?Q=0&C=agenda
The Piano Lesson continues, Thursday, 10/30/2008 - Saturday, 11/1/2008. Doors open at 7:30 p.m.;Students, Faculty, Staff: $5;
General Public: $10 Location: Laney College Theatre, 8:00 PM - 9:30 PM
August Wilson's "The Piano Lesson," Friday, 12/5/2008 at the Oakland Museum, 1000 Oak Street, Oakland, 7:00 PM - 8:30 PM
Poetry
Friday, October 24, Climbing Poetree at La Pena Cultural Center, 3150 Shattuck Avenue, Berkeley, 7:30 p.m. (It's next door to the Starry Plough.)
Hip Hop Theatre
Saturday, October 25, Black White Boy at Intersection for the Arts, on Valencia in San Francisco, 8 p.m. There is a panel discussion afterwards with the playwright, director and a hip hop scholar, Jeff Chang. This is a part of the Living Word Festival 2008: Race is Fiction.
(Look at the post on field trips to read more about the last two events.)
Let me know tomorrow if you can go the Friday event and how many are in your party. Tickets are $10 (I think. I'm sure I can get a deal for us if we are more than 10. The same is true for Saturday. If anyone wants to read the play email me and I'll send it to you. "The Piano Lesson" by August Wilson circulates in the public library. COA might even have it.)
Laney College's production of Piano Lesson in the Laney College Theatre, 9th and Fallon (across the street from the Lake Merritt BART Station.) Thursday, October 23, 7:30 reception, 8 p.m. showtime http://www.laney.peralta.edu/apps/agenda.asp?Q=0&C=agenda
The Piano Lesson continues, Thursday, 10/30/2008 - Saturday, 11/1/2008. Doors open at 7:30 p.m.;Students, Faculty, Staff: $5;
General Public: $10 Location: Laney College Theatre, 8:00 PM - 9:30 PM
August Wilson's "The Piano Lesson," Friday, 12/5/2008 at the Oakland Museum, 1000 Oak Street, Oakland, 7:00 PM - 8:30 PM
Poetry
Friday, October 24, Climbing Poetree at La Pena Cultural Center, 3150 Shattuck Avenue, Berkeley, 7:30 p.m. (It's next door to the Starry Plough.)
Hip Hop Theatre
Saturday, October 25, Black White Boy at Intersection for the Arts, on Valencia in San Francisco, 8 p.m. There is a panel discussion afterwards with the playwright, director and a hip hop scholar, Jeff Chang. This is a part of the Living Word Festival 2008: Race is Fiction.
(Look at the post on field trips to read more about the last two events.)
Let me know tomorrow if you can go the Friday event and how many are in your party. Tickets are $10 (I think. I'm sure I can get a deal for us if we are more than 10. The same is true for Saturday. If anyone wants to read the play email me and I'll send it to you. "The Piano Lesson" by August Wilson circulates in the public library. COA might even have it.)
Wednesday, October 15, 2008
Email Addresses
Please post your email address here. We are missing some of them. We want to send you the second essay back.
Tuesday, October 14, 2008
Public Enemy's "Fight the Power" freewrite
Freewrite: Why is Public Enemy’s "Fight the Power," “[top] VH1's list of the 100 greatest hip-hop songs ever” (http://www.eurweb.com/printable.cfm?id=47324).
September 25, 2008
*Public Enemy’s 1989 black power anthem “Fight the Power” topped VH1's list of the 100 greatest hip-hop songs ever.
The cable channel will count down all 100 songs on the list in a series of shows beginning on Monday.
Following "Fight the Power" on the list is the Sugar Hill Gang’s groundbreaking song, “Rapper’s Delight,” followed by Dr. Dre’s “Nuthin but a ’G’ Thang” at No. 3. Run-D.M.C.’s “Walk This Way” with Aerosmith and Grandmaster Flash & the Furious Five’s “The Message” round out the top five.
Salt ’N Pepa was the lone female act in the top 10, with their early hit “Push It.” Jay-Z and Eminem made the top 20, while other acts on the list include the Notorious B.I.G., Tupac, Snoop Dogg, Biz Markie, Black Sheep and J.J. Fad.
http://www.eurweb.com/printable.cfm?id=47324
Fieldtrip
DAY 8, Thursday, October 16th, 6:00-8:15 p.m.
PUBLIC ENEMY: WELCOME TO THE TERRORDOME
The Oakland International Film Festival runs from Thursday until Oct. 16 at the Grand Lake Theatre, 3200 Grand Ave. Tickets are $10 per block of movies. Passes for all seven days are available for $99 to $250, plus processing fees. Details, ticket prices and a schedule of films are available at www.oiff.org. The e-mail is info@oiff.org
Student tickets are: $5 is you attend as a group with me. I will be at the theatre at 5:30 p.m. Let me know if you can make it and how many tickets you need.
Public Enemy: Welcome To The Terrordome recounts the groups monumental impact on music and global culture over the past two decades through behind the scenes interactions between Chuck D and Flavor Flav, live concert footage from shows as far flung as Moscow, Rio, Italy, Spain, the UK and finally Austin, and interviews with artists such as the Beastie Boys, Tom Morello (Audioslave, Rage Against The Machine), Henry Rollins, Talib Kweli and Jonathan Davis of Korn.
September 25, 2008
*Public Enemy’s 1989 black power anthem “Fight the Power” topped VH1's list of the 100 greatest hip-hop songs ever.
The cable channel will count down all 100 songs on the list in a series of shows beginning on Monday.
Following "Fight the Power" on the list is the Sugar Hill Gang’s groundbreaking song, “Rapper’s Delight,” followed by Dr. Dre’s “Nuthin but a ’G’ Thang” at No. 3. Run-D.M.C.’s “Walk This Way” with Aerosmith and Grandmaster Flash & the Furious Five’s “The Message” round out the top five.
Salt ’N Pepa was the lone female act in the top 10, with their early hit “Push It.” Jay-Z and Eminem made the top 20, while other acts on the list include the Notorious B.I.G., Tupac, Snoop Dogg, Biz Markie, Black Sheep and J.J. Fad.
http://www.eurweb.com/printable.cfm?id=47324
Fieldtrip
DAY 8, Thursday, October 16th, 6:00-8:15 p.m.
PUBLIC ENEMY: WELCOME TO THE TERRORDOME
The Oakland International Film Festival runs from Thursday until Oct. 16 at the Grand Lake Theatre, 3200 Grand Ave. Tickets are $10 per block of movies. Passes for all seven days are available for $99 to $250, plus processing fees. Details, ticket prices and a schedule of films are available at www.oiff.org. The e-mail is info@oiff.org
Student tickets are: $5 is you attend as a group with me. I will be at the theatre at 5:30 p.m. Let me know if you can make it and how many tickets you need.
Public Enemy: Welcome To The Terrordome recounts the groups monumental impact on music and global culture over the past two decades through behind the scenes interactions between Chuck D and Flavor Flav, live concert footage from shows as far flung as Moscow, Rio, Italy, Spain, the UK and finally Austin, and interviews with artists such as the Beastie Boys, Tom Morello (Audioslave, Rage Against The Machine), Henry Rollins, Talib Kweli and Jonathan Davis of Korn.
Thursday, October 9, 2008
Hip Hop: The New World Order...
Today in class students shared and developed plans for their individual and group projects. John Rawson shared his outline with his group: Faraj Farad Haseb Naweed. They will be looking at hip hop culture in England.
Jennifer, Loren, Eder and an absent Ronnie, will be looking at hip hop culture in France. Loren also submitted a plan for her essay, which will look at the lyrical context of certain artists. She speaks French and listens to hip hop music from France.
Aerin O'Leary, Ben, Kimberly, and Tammia had the most comprehensive plan. They even outlined who would present what and in what order. They are looking at hip hop in Brazil.
Wendy, Dominique and Deon are looking at hip hop in Venezuela.
Post your plans and outlines here. If you missed class. You're on your own, unless a group wants to adopt you :-)
Jennifer, Loren, Eder and an absent Ronnie, will be looking at hip hop culture in France. Loren also submitted a plan for her essay, which will look at the lyrical context of certain artists. She speaks French and listens to hip hop music from France.
Aerin O'Leary, Ben, Kimberly, and Tammia had the most comprehensive plan. They even outlined who would present what and in what order. They are looking at hip hop in Brazil.
Wendy, Dominique and Deon are looking at hip hop in Venezuela.
Post your plans and outlines here. If you missed class. You're on your own, unless a group wants to adopt you :-)
Wednesday, October 8, 2008
Can't Stop Music Request
I would love it if students would bring in music for the eras spoken of in Can't Stop. If you do, you get extra credit. Email me the lyrics. We could divide the music into Loops and certain students could develop a musical soundtrack for each Loop. We'll talk about this more Thursday.
Monday, October 6, 2008
Assignments
Students are behind, really behind. I noticed that only one group posted the three paragraph essay using Chang and looking at someone of hip hops elders or soldiers in the movement. Only one person posted the thesis on The Message. These are all practices. Chang is our foundation book, so you can have a theoretical place from which to talk about hip hop culture.
Dyson also. The exercise is to use these scholars to give you the basis to talk about what you already know, but I don't know what you know if you don't post the assignments. I guess it's time to give folks grades and let you know how you stand. No problem :-)I'll try to give you something in your hands tomorrow, no late than Thursday, October 9.
Dyson also. The exercise is to use these scholars to give you the basis to talk about what you already know, but I don't know what you know if you don't post the assignments. I guess it's time to give folks grades and let you know how you stand. No problem :-)I'll try to give you something in your hands tomorrow, no late than Thursday, October 9.
We Meet in the Library Tuesday, October 7, 9 a.m.
Let me start with the caveat, you can work alone, but I don't recommend it.
Group Assignment, due October 21, presentation, October 23.
October 22 is a Staff Development Day for the district. No Classes
We meet in the library tomorrow, Tuesday, October 7, 9 a.m. for an orientation that will help students decide how to conduct research on hip hop as a global movement. Remember the project I told you about earlier this semester? Well the time has arrived to look at an area of the world and see how they interpret hip hop culture. Each group can choose a geographic area and see what comes up, re: documentation. I thought countries like Iraq and Iran, Spain, England, Brazil, Cuba, Venezuela, South African, Ghana, Nigeria, Congo, Egypt, Saudi Arabia, Israel, Palestine, Korea, China, India, Australia, Vietnam, Alaska, Mexico, Guatemala, France, Switzerland,and Germany.
It would be interesting to look at the lyrical content, the themes, how women are depicted, and the other aspects of the culture from values and clothing.
The project will have a verbal component, and a written component. Students will write their own papers looking at an aspect of the culture in the country chosen. Take for instance, Cuba. One student could address the values of the artists and how this shows up in the lyrical content. Another student could talk about the dance, dress, writing, music. Students could also look at how hip hop culture is tied in certain cultures to the folkloric and spiritual traditions. Are indigenous instruments used? Are their certain rhythms used that have special meaning? It would also be good to have someone look at the history and significant artists in the movement.
You decide see who will address what in the paper. Students will turn the project in together, and present as a group. This is not the research paper on an artist in Northern California who uses hip hop as a tool for social change, an entrepreneur.
Your essay plan is due October 9. Your source list is due October 14 (L-202E) along with a preliminary outline of the entire project and who is researching what aspect of the culture in your chosen locale. Essays are due for peer review sharing October 16.
The research group project (papers) due date is October 21. The presentation is October 23. Use Total Chaos as a resource for talking about your genre. We will go live using a web cam for the presentations. A question I'd like you to answer in the research is how is hip hop culture American culture and when exported do any residuals remain? If so, how so? If not, why not and is the separation deliberate?
The other research paper is due: Planning sheet October 28. Identify your artist or social entrepreneur and bring in a biographical statement that gives your audience a sense of who they are, what their medium is and why or how they are hip hop.
We will be continuing our survey of hip hop culture by going to events to see how playwrights, visual artists, musicians, designers, photographers and others use the medium to communicate. How are they hip hop? Why are they hip hop?
Group Assignment, due October 21, presentation, October 23.
October 22 is a Staff Development Day for the district. No Classes
We meet in the library tomorrow, Tuesday, October 7, 9 a.m. for an orientation that will help students decide how to conduct research on hip hop as a global movement. Remember the project I told you about earlier this semester? Well the time has arrived to look at an area of the world and see how they interpret hip hop culture. Each group can choose a geographic area and see what comes up, re: documentation. I thought countries like Iraq and Iran, Spain, England, Brazil, Cuba, Venezuela, South African, Ghana, Nigeria, Congo, Egypt, Saudi Arabia, Israel, Palestine, Korea, China, India, Australia, Vietnam, Alaska, Mexico, Guatemala, France, Switzerland,and Germany.
It would be interesting to look at the lyrical content, the themes, how women are depicted, and the other aspects of the culture from values and clothing.
The project will have a verbal component, and a written component. Students will write their own papers looking at an aspect of the culture in the country chosen. Take for instance, Cuba. One student could address the values of the artists and how this shows up in the lyrical content. Another student could talk about the dance, dress, writing, music. Students could also look at how hip hop culture is tied in certain cultures to the folkloric and spiritual traditions. Are indigenous instruments used? Are their certain rhythms used that have special meaning? It would also be good to have someone look at the history and significant artists in the movement.
You decide see who will address what in the paper. Students will turn the project in together, and present as a group. This is not the research paper on an artist in Northern California who uses hip hop as a tool for social change, an entrepreneur.
Your essay plan is due October 9. Your source list is due October 14 (L-202E) along with a preliminary outline of the entire project and who is researching what aspect of the culture in your chosen locale. Essays are due for peer review sharing October 16.
The research group project (papers) due date is October 21. The presentation is October 23. Use Total Chaos as a resource for talking about your genre. We will go live using a web cam for the presentations. A question I'd like you to answer in the research is how is hip hop culture American culture and when exported do any residuals remain? If so, how so? If not, why not and is the separation deliberate?
The other research paper is due: Planning sheet October 28. Identify your artist or social entrepreneur and bring in a biographical statement that gives your audience a sense of who they are, what their medium is and why or how they are hip hop.
We will be continuing our survey of hip hop culture by going to events to see how playwrights, visual artists, musicians, designers, photographers and others use the medium to communicate. How are they hip hop? Why are they hip hop?
Missed You
I'm back! Flew into Oakland Friday evening and then went home, dropped off my luggage, jumped into my car and headed for Prescott Joseph Center for the play, "Ebony and Johnny: A 'Hood Play." It was great adaptation of Romeo and Juliet! Six students showed up from all four classes and we hung in there through the rain. It was that good! I encourage you to go this weekend: Friday-Saturday, October 10-11, 7 p.m., Sunday, October 12, 2 p.m. at 920 Peralta Street in Oakland. There is an art exhibit inside you can visit during intermission. There is art in the front hallway by the door and on the wall along the first staircase and in the first large room in the front of the building. I curated the exhibit and the reception is Wednesday, October 15, 6-8 p.m. It's free.
I got an email and the film: Equinox is at 9 p.m. to 11 p.m., so if you can't make it, I understand. It is late. We will attend other events, so don't worry.
Keep reading: Can't Stop, Won't Stop and annotating the text and writing chapter logs with questions and vocabulary, and key ideas and important people noted.
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