达比·惠勒,导演。嘻哈进化班格电影,2016。流式处理

IF 0.2 1区 艺术学 N/A MUSIC Journal of the Society for American Music Pub Date : 2022-10-19 DOI:10.1017/S175219632200030X
L. Kehrer
{"title":"达比·惠勒,导演。嘻哈进化班格电影,2016。流式处理","authors":"L. Kehrer","doi":"10.1017/S175219632200030X","DOIUrl":null,"url":null,"abstract":"In the spring of 2019, the second time I offered the undergraduate course Music and Culture of Hip-Hop at the College of William and Mary, the waitlist was more than three times the capacity of the course, demonstrating students’ overwhelming interest in the material. At the end of the first class meeting, in which I introduced students to early hip-hop culture and the context surrounding its development, a student who was on the waitlist came up to me to express his disappointment that he couldn’t enroll, but he also marveled at how closely my narrative had followed one he had seen on television: “This is exactly what they talked about in Hip-Hop Evolution!” I was a bit miffed that a student would compare my class to a television docuseries, but indeed, he was in some ways correct. The first episode of Hip-Hop Evolution follows a familiar narrative, tracing the beginnings of the genre as a youth party culture in 1970s Bronx in which early DJs developed new turntable techniques in a symbiotic relationship with b-boys (with no mention of b-girls or dancers of other genders). The show touches on many of the same themes and events that I introduce in my opening lecture, but it also contributes to the problematic framing that many retellings of hip-hop’s origins tend to reinscribe—it fails to position women and girls and LGBTQ+ practitioners as central to the genre’s development. As hip-hop courses have become increasingly prevalent in universities, especially in undergraduate music curricula, a hip-hop canon has developed. Loren Kajikawa reminds us that the incorporation of hip-hop within the academy is not always as inclusive as it may seem. In adding this music culture into our curricula, we must ask: What narratives are told, and from whose perspective? Hip-Hop Evolution falls into the familiar trap of utilizing a Great Man approach to the canonization of a farreaching genre at the expense of women and other marginalized practitioners. Hip-Hop Evolution is a four-season Canadian docuseries that originally aired on HBO Canada in 2016 before it was added to the streaming platform Netflix. Hosted by Canadian rapper Shad (Shadrach Kabango), the series features in-depth interviews with artists, journalists, and other industry professionals and seeks to tell the story of the genre as it evolved in the United States. Each season consists of four episodes ranging from 36 to 51 minutes in length, each with a focused theme. Season 1 focuses on the genre’s development in broad strokes from the 1970s to the early 1990s. Seasons 2 through 4 expand on this narrative with emphasis on specific regions (such as New York City, the Bay Area, and the South more generally; more specifically, there are also individual episodes on Atlanta and New Orleans).","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2022-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Darby Wheeler, dir. Hip-Hop Evolution Banger Films, 2016. Streaming\",\"authors\":\"L. Kehrer\",\"doi\":\"10.1017/S175219632200030X\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In the spring of 2019, the second time I offered the undergraduate course Music and Culture of Hip-Hop at the College of William and Mary, the waitlist was more than three times the capacity of the course, demonstrating students’ overwhelming interest in the material. At the end of the first class meeting, in which I introduced students to early hip-hop culture and the context surrounding its development, a student who was on the waitlist came up to me to express his disappointment that he couldn’t enroll, but he also marveled at how closely my narrative had followed one he had seen on television: “This is exactly what they talked about in Hip-Hop Evolution!” I was a bit miffed that a student would compare my class to a television docuseries, but indeed, he was in some ways correct. The first episode of Hip-Hop Evolution follows a familiar narrative, tracing the beginnings of the genre as a youth party culture in 1970s Bronx in which early DJs developed new turntable techniques in a symbiotic relationship with b-boys (with no mention of b-girls or dancers of other genders). The show touches on many of the same themes and events that I introduce in my opening lecture, but it also contributes to the problematic framing that many retellings of hip-hop’s origins tend to reinscribe—it fails to position women and girls and LGBTQ+ practitioners as central to the genre’s development. As hip-hop courses have become increasingly prevalent in universities, especially in undergraduate music curricula, a hip-hop canon has developed. Loren Kajikawa reminds us that the incorporation of hip-hop within the academy is not always as inclusive as it may seem. In adding this music culture into our curricula, we must ask: What narratives are told, and from whose perspective? Hip-Hop Evolution falls into the familiar trap of utilizing a Great Man approach to the canonization of a farreaching genre at the expense of women and other marginalized practitioners. Hip-Hop Evolution is a four-season Canadian docuseries that originally aired on HBO Canada in 2016 before it was added to the streaming platform Netflix. Hosted by Canadian rapper Shad (Shadrach Kabango), the series features in-depth interviews with artists, journalists, and other industry professionals and seeks to tell the story of the genre as it evolved in the United States. Each season consists of four episodes ranging from 36 to 51 minutes in length, each with a focused theme. Season 1 focuses on the genre’s development in broad strokes from the 1970s to the early 1990s. Seasons 2 through 4 expand on this narrative with emphasis on specific regions (such as New York City, the Bay Area, and the South more generally; more specifically, there are also individual episodes on Atlanta and New Orleans).\",\"PeriodicalId\":42557,\"journal\":{\"name\":\"Journal of the Society for American Music\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2022-10-19\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of the Society for American Music\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/S175219632200030X\",\"RegionNum\":1,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"N/A\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of the Society for American Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/S175219632200030X","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"N/A","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0

摘要

2019年春天,我在威廉玛丽学院第二次开设嘻哈音乐与文化本科课程时,候补名单是该课程容量的三倍多,这表明学生们对该课程的浓厚兴趣。在第一次班会结束时,我向学生们介绍了早期嘻哈文化及其发展的背景,一位在候补名单上的学生走到我面前,表达了他对无法报名的失望,但他也惊讶于我的叙述与他在电视上看到的叙述如此紧密:“这正是他们在《嘻哈进化》中所说的!”一个学生会把我的课比作电视纪录片,我有点恼火,但事实上,他在某些方面是正确的。《嘻哈进化》的第一集遵循了一个熟悉的叙事,追溯了20世纪70年代布朗克斯青年派对文化的起源,在这种文化中,早期的DJ们与b-boys(没有提及b-girls或其他性别的舞者)建立了共生关系,开发了新的转盘技术。该节目涉及了我在开幕式演讲中介绍的许多相同的主题和事件,但它也助长了许多对嘻哈起源的复述往往会重复的问题框架——它未能将女性、女孩和LGBTQ+从业者定位为该流派发展的核心。随着嘻哈课程在大学中越来越普遍,尤其是在本科音乐课程中,嘻哈经典已经形成。Loren Kajikawa提醒我们,嘻哈音乐在学院中的融合并不总是像看起来那么包容。在将这种音乐文化纳入我们的课程时,我们必须问:讲述了什么故事,从谁的角度讲述?嘻哈进化陷入了一个熟悉的陷阱,即以牺牲女性和其他边缘化从业者为代价,利用伟人的方法来规范一种包罗万象的流派。《嘻哈进化》是一部四季加拿大纪录片,最初于2016年在加拿大HBO播出,后来被添加到流媒体平台Netflix。该系列由加拿大说唱歌手Shad(Shadrach Kabango)主持,对艺术家、记者和其他行业专业人士进行深入采访,并试图讲述这一流派在美国发展的故事。每一季由四集组成,长度从36到51分钟不等,每集都有一个重点主题。第一季聚焦于从20世纪70年代到90年代初这一流派的发展。第2季至第4季对这一叙事进行了扩展,重点关注特定地区(如纽约市、湾区和南部;更具体地说,还有关于亚特兰大和新奥尔良的个别剧集)。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Darby Wheeler, dir. Hip-Hop Evolution Banger Films, 2016. Streaming
In the spring of 2019, the second time I offered the undergraduate course Music and Culture of Hip-Hop at the College of William and Mary, the waitlist was more than three times the capacity of the course, demonstrating students’ overwhelming interest in the material. At the end of the first class meeting, in which I introduced students to early hip-hop culture and the context surrounding its development, a student who was on the waitlist came up to me to express his disappointment that he couldn’t enroll, but he also marveled at how closely my narrative had followed one he had seen on television: “This is exactly what they talked about in Hip-Hop Evolution!” I was a bit miffed that a student would compare my class to a television docuseries, but indeed, he was in some ways correct. The first episode of Hip-Hop Evolution follows a familiar narrative, tracing the beginnings of the genre as a youth party culture in 1970s Bronx in which early DJs developed new turntable techniques in a symbiotic relationship with b-boys (with no mention of b-girls or dancers of other genders). The show touches on many of the same themes and events that I introduce in my opening lecture, but it also contributes to the problematic framing that many retellings of hip-hop’s origins tend to reinscribe—it fails to position women and girls and LGBTQ+ practitioners as central to the genre’s development. As hip-hop courses have become increasingly prevalent in universities, especially in undergraduate music curricula, a hip-hop canon has developed. Loren Kajikawa reminds us that the incorporation of hip-hop within the academy is not always as inclusive as it may seem. In adding this music culture into our curricula, we must ask: What narratives are told, and from whose perspective? Hip-Hop Evolution falls into the familiar trap of utilizing a Great Man approach to the canonization of a farreaching genre at the expense of women and other marginalized practitioners. Hip-Hop Evolution is a four-season Canadian docuseries that originally aired on HBO Canada in 2016 before it was added to the streaming platform Netflix. Hosted by Canadian rapper Shad (Shadrach Kabango), the series features in-depth interviews with artists, journalists, and other industry professionals and seeks to tell the story of the genre as it evolved in the United States. Each season consists of four episodes ranging from 36 to 51 minutes in length, each with a focused theme. Season 1 focuses on the genre’s development in broad strokes from the 1970s to the early 1990s. Seasons 2 through 4 expand on this narrative with emphasis on specific regions (such as New York City, the Bay Area, and the South more generally; more specifically, there are also individual episodes on Atlanta and New Orleans).
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.90
自引率
0.00%
发文量
49
期刊最新文献
Binational Indianism in James DeMars’s Guadalupe, Our Lady of the Roses Joshua McCarter Simpson's Songs and Mid-Nineteenth Century Antislavery Activism Opera and Land: Settler Colonialism and the Geopolitics of Music at the Carlisle Indian Industrial School Heitor Villa-Lobos and the Traces of Coloniality in Andrés Segovia's Guitar Repertoire Ry Cooder and Taj Mahal. Get on Board. Nonesuch/Warner Records, 2022, CD.
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1