SSC 223G: Hip Hop Culture and Social Change

Overview

• This course explores hip-hop culture and its impact on the world, focusing on how hip-hop developed, its various forms across time and locales, and its influence on music, fashion, art, popular culture, language, social movements, and political activism in North America and globally.
• Course structure emphasizes asynchronous learning: no live sessions; students must engage with posted slides, videos, articles, and linked resources, and meet all deadlines. Two non-cumulative tests (Test 1 and Test 2) replace a final exam.
  • Tests: 2 tests, non-cumulative
• Course materials: No textbook; directed articles, videos, and Blackboard resources; click links within slides to review weekly content.
• Language and content considerations: some materials include explicit language or graphic imagery; instructors will not repeat objectionable language and students are encouraged to avoid it in writing and speech.
• Reflection and definitions are central: students repeatedly answer, “What does hip-hop mean to you?” and compare personal meanings to historical/academic definitions.
• Important notes about language usage for assignments: avoid writing offensive terms in full when discussing songs/artworks; use obfuscated forms (e.g., b****) as appropriate.

What does hip-hop mean to you? (Definitional prompts and evolution)

• Repeated prompt across slides to ground personal interpretation in course learning. Reflection foundations for understanding the topic throughout the semester.
• Toni Morrison quote (slide): "Definitions belong to the definer, not the defined." – Toni Morrison. Emphasizes that meanings are shaped by those who define them, not external observers alone.
• Dictionary-style definitions presented in slides:
  • "hip-hop" noun: a cultural movement associated especially with rap music; the stylized rhythmic music that commonly accompanies rap; also: rap together with this music.
  • Alternate dictionary entry: hip-hop noun [U]; a type of popular music in which words are spoken rather than sung and the subject of the songs is often politics or society. (UK/US pronunciation guidance provided.)
• KRS-One definition/statement (slide): "Hip Hop is a name for the 4 elements of the late 70's New York City renaissance which includes break dancing, emceeing (rapping), graffiti, and turntablism." quote: "Rap is something you do; Hip Hop is something you live." – KRS-One
• Civilizational view: Hip-hop as a cultural movement that became widely popular in the 1980s and 1990s, with rap as its musical backbone and rap as a technique used within a broader cultural context.
• General forecasted consensus: Hip-hop is a culture with music as one major facet, but not reducible to music alone; it includes dance, art, fashion, poetry, language, and social/political commentary.
• Distinction between music and culture (slide 39): hip-hop is a cultural movement; rap is a musical technique used within that movement. Afrika Bambaataa’s four pillars (below) are foundational to this view.

The four pillars and the five elements of hip-hop (historical and contemporary views)

• Afrika Bambaataa’s original four pillars of hip-hop:
  1. Rapping (MCing)
  2. Turntablism (DJing)
  3. Breakdancing (BBoying/BGirling)
  4. Graffiti (street art)
• Contemporary scholarly addition (reflecting broader scholarly consensus): five elements, with a fifth element often identified as Knowledge/Consciousness (knowledge of self, community, neighborhoods).
• Explicit enumerations from slides:
  • Four pillars (traditional view): 4 elements
  • Five-element perspective (broader scholarly consensus): 5 elements including Knowledge/Consciousness
• Detailed definitions for the five elements (as listed in slide 49–51 and 59):
  • 1. DJing (deejaying, turntablism): using a turntable to create music, mixes, sound manipulation; historically involved physically altering turntable gear; today often uses digital tools.
  • 2. Emceeing (MCing, rapping): vocal rhyming over a beat; rhythm and lyric delivery distinct from melody.
  • 3. Graffiti (street art, aerosol art, graf): visual art created with spray paint, highly stylized visuals.
  • 4. Breaking (BBoying/B-Girling, hip-hop dance): acrobatic dance form central to early hip-hop culture; difficult to master; not as commercially dominant as other elements.
  • 5. Knowledge (consciousness, knowledge of self, neighborhood and lived experiences): awareness and critical engagement with social realities.
• Note on evolution: the four-pillar model emphasizes artistic forms, while the five-element model adds a cognitive/cultural dimension that foregrounds awareness and social context.

Language, representation, and ethical considerations in hip-hop content

• Language sensitivity (slide 18): some course materials include explicit language or graphic imagery; instructors avoid repeating objectionable language in class; students should also avoid repeating such language in discussions.
• Language handling in writing (slide 20): when discussing works that include offensive language, avoid writing the full words; use obfuscated forms (e.g., b****) to comply with academic standards.
• Reflection and representation prompts include recognition that hip-hop is often misrepresented in mainstream media; students should critically engage with how hip-hop is portrayed versus lived realities (see Lei Ouyang Bryant and Joshua C. Woodfork quote).
• Thematic emphasis: hip-hop as a youth arts movement and how outsiders may misrepresent it; the need to understand hip-hop beyond stereotypes.

Course logistics and structure

• Schedule and format:
  • Asynchronous delivery: no live sessions; students review posted slides and embedded resources, and complete deadlines.
• Assessments:
  • Tests: two non-cumulative tests (Test 1 and Test 2); no final exam.
• Materials and resources:
  • No textbook required; weekly readings include articles, videos, and online resources.
  • Focus on lecture slides and Blackboard-shared resources; students must click through links embedded in PPT slides.
• Ethics and expectations:
  • Respectful language in classroom discourse; critical engagement with cultural content.

Notable individuals, groups, and cultural references

• Early hip-hop figures and groups mentioned explicitly:
  • Dr. Dre, Ice Cube, MC Ren, Eazy-E (N.W.A. era) referenced as The World’s Most Dangerous Group and associated with Compton; representative of early West Coast hip-hop influence.
  • KRS-One (rapper/educator) quoted regarding the meaning and living of hip-hop; proponent of hip-hop as a culture.
  • Run-DMC, A Tribe Called Quest, De La Soul, Gang Starr, Wu-Tang Clan, Pharcyde, Hieroglyphics, Aceyalone, Mos Def, Talib Kweli, Public Enemy, Common, Mobb Deep, Nas, Rakim (listed as examples of “hip-hop music” that adheres to the traditional four/five-element framework).
• Other figures and lines:
  • Royce da 5'9" quote about hip-hop as a voice of the streets that mainstream culture feared because it spoke unapologetic truths about overlooked environments.
  • The phrase “Hip-Hop is a culture that gives people who grew up in the ghetto a voice” (paraphrased from slides describing the broader cultural context).

Definitions and vocabulary for hip-hop (expanded glossary from slides)

• Hip-hop as a noun (dictionary-style entries):
  • A cultural movement linked to rap music; a stylized rhythmic music accompanying rap; rap plus music.
• Hip-hop as a noun [U]:
  • A type of popular music where words are spoken rather than sung; subjects often include politics or society.
• Additional context (slide 29): hip-hop defined as a name for the four elements of the late 1970s NYC renaissance: break dancing, emceeing, graffiti, and turntablism; the distinction that rap is what you do, while hip-hop is what you live.
• Hip-hop as a cultural movement (early era):
  • Widely popular in the 1980s and 1990s; rap as its backing music and primary lyrical form; the broader movement includes fashion, dance, visual art, language, and political commentary.
• Distinction between hip-hop and rap:
  • Hip-hop: cultural movement (music included as one element).
  • Rap: a vocal technique/technique of rhythm and rhyming speech often used within hip-hop music.
• Definitions by contemporary scholars and media:
  • Some define hip-hop as a complete culture with five elements; others emphasize its music and social aspects; ongoing scholarly debates reflect evolving understandings.
• Afrika Bambaataa’s four pillars (reiterated):
  • Rapping, DJing, Breakdancing, Graffiti; knowledge/awareness sometimes discussed as an overarching background concept.

Core quotations and their implications for understanding hip-hop

• Toni Morrison: "Definitions belong to the definer, not the defined." (emphasizes the power of framing and who gets to define culture)
• KRS-One: "Hip Hop is a culture to give people who grew up in the ghetto a voice; Rap is something you do; Hip Hop is something you live." (emphasizes lived experience and culture over mere musical technique)
• Royce da 5'9": quote about hip-hop as the voice of the streets that could derail the mainstream if not controlled; underscores hip-hop’s risk, honesty, and challenge to dominant narratives.
• Lei Ouyang Bryant and Joshua C. Woodfork: hip-hop culture may be misunderstood or misrepresented in media; highlights the need for critical media literacy.

Key takeaways for exam readiness

• Hip-hop is a dynamic cultural movement with musical, artistic, linguistic, and political dimensions; not just a music genre.
• Core elements: historically four (Rapping/MCing, DJing/Turntablism, Breakdancing, Graffiti) with a growing scholarly emphasis on a fifth (Knowledge/Consciousness).
• Definitions vary across sources, but common threads include: community voice, urban youth culture, self-expression, and social commentary.
• Language and representation matter: respectful discourse, awareness of explicit content, and responsible handling of language in written work.
• Course structure emphasizes active engagement with diverse resources and critical reflection on personal meanings versus historical/cultural definitions.
• Real-world relevance: hip-hop informs music, dance, art, style, language, social movements, and political activism worldwide.

Quick reference: key terms and concepts

• Hip-hop = cultural movement including music (rap), dance (breakdancing), art (graffiti), DJing, and knowledge/consciousness (fifth element in some frameworks).
• Rap / MCing = vocal technique within hip-hop; not synonymous with hip-hop itself.
• DJing / Turntablism = manipulating records to create new sounds; foundational to hip-hop music.
• Graffiti = visual street art; a visual expression integral to hip-hop aesthetics.
• Breaking = energetic street dance; a defining performance art of early hip-hop culture.
• Knowledge / Consciousness = knowledge of self, community, and lived experiences; grounds hip-hop in social critique and awareness.
• Four vs. five elements debate reflects evolving scholarly perspectives on what constitutes the culture.
• Important caveats: language considerations in content, ethical representation, and the need for critical literacy when engaging with media portrayals of hip-hop.

Appendix: sample course prompts and references

• Reflection prompt example: What does hip-hop mean to you? Consider personal experiences, cultural context, and course content as you form your definition.
• Suggested readings and media (as indicated in slides): articles, videos, and resources embedded within PPT slides; active clicking through links is essential for weekly preparation.
• Notable quotes to memorize for context:
  • "Definitions belong to the definer, not the defined." – Toni Morrison
  • "Hip Hop is a culture to give people who grew up in the ghetto a voice; Rap is something you do; Hip Hop is something you live." – KRS-One

End of notes