Name the Four Hiphop Inner City Manifestations of the Arts

The answer is all of the above—and more than. Hip Hop embraces these artistic elements, nearly definitely. Simply information technology as well has blended and transcended them to go a means for seeing, celebrating, experiencing, understanding, against, and commenting on life and the world. Hip Hop, in other words, is a way of living—acivilisation.

The elements of Hip Hop came together in the Bronx borough of New York Urban center. It was the early 1970s and times were tougher than usual for the poorer parts of urban America. From a whole lot of zip—and a whole lot of imagination—Hip Hop took form.

DJ Tony Tone and DJ Kool Herc, 1979 © Joe Conzo

DJ Kool Herc is credited with throwing the switch at an Baronial 1973 dance bash. He spun the aforementioned record on twin turntables, toggling between them to isolate and extend percussion breaks—the near danceable sections of a vocal. It was a technique that filled the floor with dancers who had spent days and weeks polishing their moves.

The event that night was electric, and soon other DJs in the Bronx were trying to outdo Herc. It was a lawmaking that has flowed through Hip Hop always since: 1) Apply skills and whatsoever resource are available to create something new and cool; two) Emulate and imitate the genius of others but inject personal style until the freshness glows. Competition was, and remains, a prime motivator in the Hip Hop realm.

Like a powerful star, this dance-party scene speedily drew other art forms into its orbit. A growing movement of hopeful poets, visual artists, and urban philosophers added their visions and voices by whatever means bachelor. They got the word out well-nigh what was happening in their neighborhoods—neighborhoods much of mainstream, middle-class America was doing its best to ignore or run down. Hip Hop kept coming, kept pushing, kept playing until that was no longer possible.

Today, some Hip Hop scholars fold as many as six elements into Hip Hop culture. They include:

• DJing—the creative handling of beats and music
• MCing, akarapping—putting spoken-give-and-take poetry to a vanquish
• Breaking—Hip Hop's dance grade
• Writing—the painting of highly stylized graffiti
• Theater and literature—combining Hip Hop elements and themes in drama, verse, and stories
• Knowledge of cocky—the moral, social, and spiritual principles that inform and inspire Hip Hop ways of being.

From its work-with-what-you-got epicenter in the Bronx, Hip Hop has rolled outward to become a multibillion-dollar concern. Its sounds, styles, and fashions are now in play around the world. DJs spin turntables in Sao Paulo, Brazil. MCs rap Arabic in the clubs of Qatar. B-boys and b-girls bosom baby freezes in Finland. Graffiti rises on the Great Wall of Mainland china. Young poets slam poetry in D.C.

So what is Hip Hop? All of the to a higher place and more—any we dearest enough to bring.

The Evolution Of Hip Hop [1979-2017]

Breaking: The Dance Style of Hip Hop

Prototype via Creative Commons; flickr.com user Néstor Baltodano

Richard Colón was just ten when his cousin took him to his first schoolyard bash in 1976. "Ah, I was just diddled away," he says in Jeff Chang's history of Hip Hop,Can't Stop Won't Stop. "I only saw all these kids having fun...checking out the whole scene, and it was my outset fourth dimension watching the trip the light fantastic toe with the music existence played...I merely immediately became a function of it."

He soon became alarge part of it. By his early on teens, the boy now immortalized every bit "Crazy Legs" became a trendsetter for breaking—a trip the light fantastic revolution nonetheless popping, locking, and rocking the world.

Making a B-line from the Bronx

As Hip Hop culture rose from the streets of the Bronx, breaking spun up and stepped out from the physical itself. Early b(reaker)-girls and b-boys like Crazy Legs and his Rock Steady Crew earned their skills on that hard ground, admiring each other'due south cuts, bruises, and "battle scars" every bit they pushed one another to evermore audacious displays of style and guts.

In keeping with Hip Hop's ethic of improvisation, breaking is often a create-on-the-fly dance manner. Information technology mixes super-quick footwork with body-torquing twists. Robotic movements period into smooth whole-body waves before dropping into acrobatic leg flares that suddenly halt in mid-spin freezes that seem to defy gravity. Breaking is the ultimate 3-D dance—flipping high, spinning low, and putting a premium on physical imagination and bravado.

Getting on the Good Foot

Breaking has copied from many dance styles to generate this uniqueness. These styles include the Charleston from 100 years agone that loaned its feature leg kick and arm swing as a top-rocking move. The ad-libbing of the Lindy Hop, popular from the 1920s on, also lives in breaking'southward fashion. For individual inspiration, though, no one tin can all-time soul singer James Chocolate-brown. His loftier-energy trip the light fantastic toe moves in the 1960s and 70s have inspired b-boys and b-girls ever since, and his song "Get on the Skillful Foot" is one of breaking's early anthems. Tap, steppin', ballet, disco, and modern all continue to contribute.

Breaking has rummaged beyond the trip the light fantastic toe floor and phase to detect many of its most dramatic moves. The whirling torsos and legs of gymnasts on the pommel horse are seen in leg flares, for case. Down-rocking reflects techniques from gymnastic floor routines.The world of manus-to-paw combat has also provided inspiration for b-boys and b-girls. Hip Hop scholars oft link breaking withcapoeira, a martial arts dance with roots in Republic of angola and Brazil that displays acrobatics, grace, and ability. A full-blown showdown makes it clear why breaking contests are referred to as "battles" as dancers mix dance moves with shadow kicks, leg sweeps, and false attacks in the faces of the competition.

Breaking is much more than a sum of moves from diverse dances and disciplines, though. It is a living, breathing fine art form unique every time dancers take their turn in a cypher (see sidebar). Through the years the Stone Steady Coiffure, the Mighty Zulu Kings, the Lockers, the Electric Boogaloos, and thousands of other individuals and crews have continuously renewed and refreshed the style with original spins, fresh freezes, and new twists on power moves—frequently laced with body-angle humor. Contest and innovation in breaking—as with all things Hip Hop—is essential and inspired, and today its manner inspires wherever people dance.

Flying Legs Crew: Kings of New York

Hip Hop Vocabulary

B-Terms to Know

The bones vocabulary of breaking—Hip Hop's dance style include:

popping  fluid movements of the limbs, such as moving arms similar an sea wave, that emphasize contractions of isolated muscles
locking  snapping arms or legs into held positions, oftentimes at sharp angles, to accent a musical rhythm
pinnacle-rocking fancy footwork performed upright
downwardly-rocking dance moves performed on or close to the ground
up-rocking martial arts strikes, kicks and sweeps built into the dance steps often with the intent of "burning" an opponent
power moves  acrobatic spins and flares requiring speed, strength, and agility
freeze sudden halt of a dance footstep to concur a pose, often while balanced on a hand, shoulder, or caput
nix group of b-boys/b-girls taking turns in the center of the trip the light fantastic floor

DJing: The Artist at the Turntable

Image via Creative Commons; flickr.com user Fora do Eixo

DJs are the soul behind the beat that pleases, surprises, and puts people on the dance floor. The all-time DJs have an almost mystical sense of mood at a party or club. They sense the right moment to cue the right song using the right technique to take the party where it'southward ready to go. It is that insight, a passionate knowledge of music, and technical know-how that make DJing one of the pillars of Hip Hop civilization.

Working the Sound System

A DJ's sound organisation is a laboratory for making music magic. Twin turntables are standard, allowing the DJ to switch easily betwixt songs, or spin and manipulate records in tandem to create furnishings or unique musical combinations. The turntables are wired to a receiver, amplifier, and earthquake-causing speakers. The DJ may use headphones to cue up the next song or song segment as the current music plays. And then he or she uses a mixer, or fader, to make transitions from one turntable to the other—hopefully without missing a trounce. Today's DJs ofttimes contain digitized and computerized components, besides. But most Hip Hop purists frown on DJs who button-push preprogrammed playlists. Hip Hop culture saves its greatest praise for inspired improvisation.

Earlier the rise of Hip Hop, the DJ's basic part was relatively elementary—spin records at a party, club, or on the radio. DJ Kool Herc'due south keen observations inverse that game. He noticed the energy on the dance floor went off the charts during the "breaks" of songs. Breaks are the instrumental sections in many popular and rhythm & blues numbers that highlight percussion and rhythm.

Herc experimented with methods to extend these sections by playing the aforementioned tape on both turntables, a technique refined past fellow pioneering DJ Grandmaster Flash. With needle-fine timing, they switched back and forth between the turntables to multiply the suspension. Crowds, especially dancing b-boys and b-girls, couldn't go enough. Since the start, Hip Hop DJs have been instrumental in channeling youthful energy away from problem and toward creative fun.

Skilful DJs constantly explore means to pleasantly shock their audiences. They may give people the songs they expect, planning out smooth transitions by matching beats and musical keys from one number to the next. They also introduce by listening for songs inside songs, lifting and linking snippets to take the music somewhere new.

In the never-ending quest to distinguish their mix, DJs often haunt used-tape stores. They are on the prowl for long-lost songs or sounds they can make new once more through the magic of Hip Hop. Legendary DJ and accommodating Hip Hop luminary Afrika Bambaataa is famous for creating sets that spin from the Pink Panther theme to Kraftwerk to calypso to speeches of Malcolm X and Martin Luther Rex, Jr. All that is good from the past and present has a identify at the Hip Hop turntable.

Scratching and Turntablism

As role of the Hip Hop fashion of life, DJs are constantly experimenting to set themselves autonomously from competition. One technique DJs embraced is scratching. To scratch, the DJ physically manipulates the tape below the needle. G Wizzard Theodore stumbled on the technique in the mid-70s. He was a immature teen blasting his music when his mom scolded him to turn it down. He fumbled the needle, liked the effect, skilful information technology, and began using information technology in shows. Other DJs chop-chop added scratching to their repertoire as a way to inject more than personal fashion into the music flow.

More recently, turntablism has get an phenomenal source of new way. It involves extensive real-time sampling from spinning records to create something funky and fresh. Watching an experienced turntablist create in real time is an awe-inspiring feel.

Kool Herc "Merry-Get-Round" technique

Hip Hop Vocabulary

DJ-Terms to Know

The basic vocabulary ofDJing—Hip Hop's music style include:

dorsum spinning turntable technique that quickly "rewinds" a department of a recording
beat juggling manipulating two or more recordings to create a unique musical arrangement
beat matching following a vocal with another that uses an identical or similar rhythm
pause, or breakbeat  instrumental section of a song that emphasizes percussion and rhythm
cue positioning a recording to play at a specific point
DJ short for "disc jockey," a person who plays recorded music for an audience
pulsate auto, or beat box  electronic device used past DJs to synthesize pulsate beats
looping replaying a section of a song to extend it
sampling lifting a section of a recording and using information technology in a different number or recording
scratching technique of physically manipulating a recording to create a unique effect
turntablism alive and extensive manipulation of recordings to create a unique song

MCs: Masters of Rhythm, Rhyme, and Flow

Image via Creative Eatables; flickr.com user Coupdoreille.fr

Today, MCs like Jay-Z, MC Lyte, and Kendrick Lamar fly high profiles in the world of Hip Hop. Just that wasn't always the case for the poets of the microphone.

In Hip Hop's early years, its music scene focused on the disc jockey and the dance floor. The MC—brusque for "master of ceremonies"—was often a kind of sidekick to the DJ. InYeah Yep Y'all, an oral history of early Hip Hop, Grandmaster Caz describes the rise of MCing this way: "The microphone was just used for making announcements, like when the side by side party was gonna be, or people'southward mom's would come up to the party looking for them, and yous accept to announce it on the mic."

Before long, though, MCs wanted to showcase their ain talents. Grandmaster Caz continues: "Dissimilar DJs started embellishing what they were maxim. I would make an announcement this way, and somebody would hear that and they add together a little bit to it. I'd hear it over again and have information technology a little pace further 'til it turned from lines to sentences to paragraphs to verses to rhymes."

More than and more, MCs earned the right to grab the mic using freestyle skills to entertain and command a live audience. A "master of ceremonies" might make all the needed announcements; but the job of an MC then and now is to guide everyone'due south expert time with their energy, wit, and ability to interact with people on the floor. And good MCs don't simply demand the mic—the audience honors their skills by enervating they take information technology.

Rappers emerged as a somewhat distinct grouping as rap gained commercial success. They were the voices and characters that created and sold the records. In some ways, the talents and responsibilities of rappers overlap with MCs, and an MC might also rap. The interaction with the audience is the big difference.

In 1979, a trio of MCs rapped over the interruption from Chichi's "Expert Times." The result was The Sugarhill Gang's "Rapper's Please," rap's first hit. Iii years later, Grandmaster Wink & the Furious V releasedThe Message, a funky but unblinking business relationship of difficult times in an inner-city neighborhood. As the 1980s unrolled, MCs and rappers rose rapidly from second fiddles to big dogs including Rakim, Big Daddy Kane, Run DMC, and Public Enemy. They created personas, cooler-than-life characters that might be super-smooth or gangland tough. They boasted about their style and talents and made sure to honor the DJ. MCing and rapping went from sideshow to master upshot as one of Hip Hop'southward essential elements.

Hip Hop'due south Rapping Poets

An MC or rapper's "period" is crucial to his or her operation. The flow is the combination of rhyme and rhythm to create the rap's desired effect: fluid and soothing to communicate romance, for example; staccato and harsh to signal anger and conflict.

Earlier Hip Hop and rap took hold in the United States, spoken-word verse occasionally worked its way into jazz performances. Many history-minded rappers also connect their fine art to The Last Poets, a Harlem-based group, and The Watts Prophets out of Los Angeles. Both emerged in the belatedly-1960s and paired political poetry with improvisational jazz. Gil Scott-Heron'due south "The Revolution Will Not Exist Televised" resembles rap before it got the proper noun.

Increasingly, students of Hip Hop civilisation recognize the best MCs as accomplished formal poets. They rap circuitous rhyme schemes, well-nigh built on a rock-solid four-shell rhythm, or meter. Just again, a skillful MC surprises audiences with syncopation and other off-the-trounce techniques. Hip Hop aficionados reserve special respect for MCs with freestyle skills—the power to improvise fresh rhymes while standing in the heat of the spotlight.

The Sugarhill Gang - Rapper's Delight

Hip Hop Vocabulary

MC-Terms to Know

The bones vocabulary ofMCing—Hip Hop'south vocal mode:

end rhyme rhyming words at the stop of lines
flow a rapper's vocal way
freestyle improvised rapping
griot (gree-OH) oral storytellers and historians of West Africa
internal rhyme rhyming words within the same line
MC short for "master of ceremonies"; also performer who uses rap techniques to interact with an audience
meter rhythm of a poem
persona character assumed past a performer
rap spoken-word lyrics performed to a beat; one of the elements of Hip Hop
rapper performer that rhymes lyrics to a rhythm
spitting speaking, performing a rap
syncopation shifting a rhythm away from the normal beat

Writing: Graffiti and Hip Hop Culture

Paradigm via Creative Commons; flickr.com user urbanartcore.eu

I element of Hip Hop predates the music and dance scene itself—graffiti writing, or simplywriting as the artists themselves call it. But it blossomed at the same time the music and dance scenes were finding their feet, and its wild and color-outside-the-lines improvisational way were influenced and inspired past the desire to create something new and fresh.

Graffiti has been effectually since humans first painted, etched, or carved on stone walls. Merely urban youth put a new spin on it in the 1960s. In 1967, a Philadelphia teen named Darryl McCray spray painted his alias "Cornbread" wherever he could achieve on walls and trains. (He was striving to impress a girl named Cynthia.) In 1968, the budding art form made the bound to New York City. The names JULIO 204, TRACY 168, and TAKI 183 became familiar sights here, there, and increasingly everywhere.

Writing'southward Heyday

The number and talents of writers spiked in the mid-1970s as Hip Hop's competitive bulldoze kicked in. They added illustrations and 2d colors to outline stylized bubble and block lettering. The writers—many if non most of them young teens—jumped the limits of size, complication, and color. Their finest designs seemed to bring life to whatever they graced. They chosen itwild manner—and it was.

They besides jumped over fences, sneaked into subway tunnels, and trespassed in nighttime yards where subway cars slept. There, they good their art with blank walls and unstained trains as their canvases. When opportunities arose, they painted the whole sides of subway cars and even entire 10-automobile trains with their elaborate, colorful designs.

They had no illusions their creations would last long. Simply the opportunity to see their art rolling through the subway was the ultimate payoff for writers like DONDI, LADY Pink, FAB FIVE FREDDY, KASE2, and ZEPHYR. It was outrageous to think thousands of New Yorkers saw their creations each day in one of the richest cities in the world. "If art like this is a crime let god forgive me!" wrote the writer known equally LEE of the Fabled Five crew. They embraced the identity of outlaw artists and admitted the dangers and thrills were part of the appeal. They were on missions to prove they were not just the almost imaginative and talented writers in their neighborhood, simply the nigh fearless.

Not surprisingly, NYC officials were not tickled. Cops croaky downwards on writers, and train yards were encircled with new security. At the same fourth dimension, the fine art globe was catching on that something fresh was happening in the city beyond their fancy uptown galleries. Graffiti-inspired exhibitions popped up, and some writers took the opportunity to commit their passion to canvas instead of granite and steel.

Wild, Hungry, Inspired

Writing'south place in Hip Hop civilisation was cemented past the early 1980s. Early rappers used wild mode on their album covers. Writers painted cool kids' clothes with designs and got paying gigs painting murals. And ii movies—Style Wars andWild Fashion—debuted. The films fabricated the case that a similar hungry, inspired creativity flowed through writing equally well as Hip Hop'due south music and dance scene.

Today, graffiti-influenced writing styles prove up worldwide in graphic design, fashion, and street art. Outlaw artists like Banksy are all the same out there painting trouble. Just the vision, passion, and humour the best of these writers display—legit or not—give people the chance to encounter the work-a-day world in new ways. They seem to say if we pay attention, nosotros tin can find beauty, pregnant, and art most everywhere we wait.

Dan One: Alphabetical Engineer

Hip Hop Vocabulary

Writing Terms to Know

The bones vocabulary ofwriting graffiti—Hip Hop'south visual art include:

all urban center being known for one'due south graffiti throughout a city; originally referred to the artwork on subway cars appearing in all five New York Urban center boroughs
seize with teeth to steal another writer's design or style
black volume sketchbook used by graffiti writers
bombing to pigment many surfaces in an area
burner  elaborate, large designs
crew team of writers that often work together
gettin' upward developing i's reputation or "rep" through writing graffiti
graffiti writing, or drawing on surfaces in public places, ordinarily without permission
kings orqueens highly respected, experienced writers with most tags
piece brusque for "masterpiece," a large, complex graffiti design
stencil graffiti premade designs of paper or cardboard that permit quicker, more verbal transmission of images or lettering
tag orscribble stylized, but basic graffiti author's signature
throw up  quick execution writing; generally ane color outline and one color filled in
toy inexperienced author
wild fashion style of writing that ordinarily involves assuming, interlocked letters
writergraffiti artist who has a distinct way they blueprint their messages

Noesis: A Philosophy of Hip Hop

Afrika Bambaataa at Bronx River Projects, photo by Sylvia Plachy

The 1970s were lean, mean years in sections of New York Metropolis. This was particularly true in the Bronx and the city's other depression-income areas. Much of the optimism of the 1960s Civil Rights Motion had faded. New York was broke. City officials sliced and diced basic services, schoolhouse funding, arts pedagogy programs, and job training. Life-destroying drugs and crime haunted the streets. Absentee landlords neglected properties until building after building brutal into busted or went up in flames.

In the face of all that, all the same, the energy of urban youth refused to close downward. Young people, many of them teens, created new ways of spinning records and dancing. They experimented with new styles of poetry and visual art that revealed their thinking and feelings. Eventually, the elements grooved together into a culture. A proper noun started to stick to it:Hip Hop.

The Fifth Element

Hip Hop's fifth element of "cognition" teaches the Hip Hop community about its identity and ways to limited that identity. It places great importance on claiming a stake in one's own instruction. "Knowing where YOU come from helps to show YOU where Y'all are going," writes legendary MC KRS-One. "Once you know where you lot come from you and then know what to learn." (By the way, "KRS" stands for "Knowledge Reigns Supreme.")

Hip Hop believes that people can take control of their lives through self-knowledge and self-expression. Noesis influences style and technique and connects its artists under a collective Hip Hop umbrella. It engages the earth through Hip Hop'southward history, values, and ideas, and adds intellectual muscle to support and inform its music and moves and its poesy and art. Most chiefly, information technology allows for a shared experience confronting an uncertain world.

Bambaataa Brings It

Afrika Bambaataa deserves much credit for putting this concept of knowledge into discussion and activity. Bambaataa is a pioneering DJ and MC from the Bronx. A one-time teen leader of a gang, Bambaataa had universal respect and a powerful power to make peace with and between enemies. His legendary music and dance parties brought together rivals to party in peace. "Costless jam!" his flyers announced. "Come one come all, leave your colors at home! Come in peace and unity."

The young Bambaataa was also a devoted student of history. He absorbed the tactics and strategies of historical leaders—from the French emperor Napoleon to the South African chieftain and war machine commander Shaka Zulu. He grasped the power of music as a strategy for clearing barriers that divided people, whatever their backgrounds.

By the 1980s, Bambaataa and his large and growing crew had founded the Universal Zulu Nation. Dedicated to Hip Hop values, the system's motto is "Peace, Love, Unity, and Having Fun." They developed "Infinity Lessons"—principles and codes of conduct for living an honorable Hip Hop life. They emphasize community, peace, wisdom, freedom, justice, dearest, unity, responsibility, respect for others, and respect for self. He put his knowledge into words, and the words radiated around the Bronx, throughout New York, and across America.

Boogie Down Productions - My Philosophy

Hip Hop Vocabulary

Cognition Terms to Know

The basic vocabulary ofknowledge—Hip Hop'due south philosophy include:

culture the behaviors and beliefs of a item group of people
didactic intended to teach a lesson, especially a moral lesson
empowerment increasing of economical, political, social, educational, gender, or spiritual force of individuals or communities
praxis process when a theory, custom, or lesson is practiced
society social, economic, and cultural system
strategy plan to reach a desired outcome
worldview ideas nearly how the globe works

Hip Hop Theater and Literary Arts

Image via Creative Eatables; flickr.com user Elvert Barnes

"Be warned, thisis theater—but it'sHip Hop theater," a loud voice booms earlier the mantle rises forInto the Hoods. This show has been blowing abroad London audiences since 2008. Information technology is an urban re-visioning of the fairy tale-genre, following a pair of school kids into a tough office of boondocks instead of a haunted woods. Merely equally with all fairy tales, non everything or everyone is what they seem. Ultimately the stage blazes with wild manner art, DJ voiceovers, beats from multiple musical styles, b-boys and b-girls breaking in high-flying choreography, and fresh takes on familiar characters. (DJ Spinderella or Rap-On-Zel ring a bong?)

More than and more than, the stage has been welcoming Hip Hop's elements, energy, and earth view. Graffiti writing may splash across the scenery. DJing, rapping, and breaking are likely to take turns in the spotlight. Some shows, similarInto the Hoods, tell their tales mainly through dance and music, while others lay Hip Hop mode over more traditional scripts. Hip Hop artists are tackling drama, one-act, and tragedy, and some classic material is getting the Hip Hop makeover. Will Power'southwardThe Seven, for instance, retells the ancient Greek tragedySeven Confronting Thebes by Aeschylus using a DJ and rapping bandage.

Collaboration and Content

Collaboration is a core ingredient for nigh Hip Hop theater groups. In the tradition of the culture, producers, directors, and playwrights stress input and participation past stakeholders—the very people the play is intended to speak to and entertain. Long-time Hip Hop theater writer/player/director Danny Hoch says it this fashion: "Hip-hop theatre… must beby,mostandfor the hip-hop generation, participants in hip-hop culture, or both."

This collaborative procedure conspicuously informs the content in Hip Hop plays and musicals. Plots often tackle current social issues, peculiarly as they relate to urban communities, with characters exploring the strengths and limits of activism and empowerment. Questions of identity are frequently front and center, including race, grade, gender, sexuality, and annihilation regarded every bit "unlike." The struggle between the individual and society is a fundamental theme as characters seek to create meaning in their lives while struggling to merits their place in the world.

Hip Hop in Prose and Poetry

MCs tell complex stories in rhythm and rhyme. Rappers write and polish their lyrics earlier delivering them in raps. The cloak-and-dagger is out: Hip Hop poets love words. "The toughest, coolest, most dangerous-seeming MCs are, at heart, basically just enormous language dorks," cracks music critic Sam Anderson. "They love puns and rhymes and slang and extended metaphors …." These skills tin can translate smoothly into literary forms—curt stories, novels, scripts, poetry, and comic book-manner graphic novels. Some works relate the gritty realities of poverty or inner-city living; others find the humor in that location and wherever; all describe trying to survive and thrive in a rapidly irresolute globe.

Rapped aloud or published on paper, Hip Hop-influenced literary forms take roots in the Black Arts Movement of the 1960s. BAM inspired a generation of African American, Latino, and feminist writers, including Amiri Baraka, Maya Angelou, Nikki Giovanni, Sonia Sanchez, the Last Poets, and many others, to share stories and views ofttimes disregarded or outright rejected by mainstream America. Along the manner, spoken word—a forerunner of rap—injected energy into performance. Through verse slams, it has developed its ain fans with its forceful, fun wordplay.

As in theater, the literary world is making more space for Hip Hop fashion, subjects, and themes. Scholars Andrew DuBois and Adam Bradley recently edited and publishedThe Anthology of Rap, a huge collection of lyrics. Says Bradley: "[R]appers are perhaps our greatest public poets, extending a tradition of lyricism that spans continents and stretches dorsum thousands of years… They expand our understanding of human feel past telling stories nosotros might not otherwise hear."

Some Hip Hop-savvy teachers are bringing the all-time of Hip Hop literature into their classrooms. And writers for kids, teens, and immature adults are telling Hip Hop tales in books similarThink Once more by Doug E. Fresh, Debbie Allen'sBrothers of the Knight, and theHip-Hop Kidz serial by Jasmine Bellar.

Hip Hop Vocabulary

Theater and Literary Terms to Know

The basic vocabulary ofHip Hop theater and literary arts include:

choreography organisation of dance moves
collaboration  working together
content subject or information
genre category of literature, such as fairy tales or celebrated fiction
lyricism  poetic or musical style
metaphor symbolic effigy of speech
scenery backdrop for a theater production
stakeholder someone who shares involvement or responsibility

All The Way Live - Hip Hop Connections

• Author

  Sean McCollum

• Editor

  Lisa Resnick

• Producer

  Kenny Neal

• Updated

  October thirty, 2019

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