Suchergebnisse

Notice de Vincent Dubois dans "Dictionnaire des politiques culturelles de la France depuis 1959".

According to its practitioners, hip hop is a holistic culture that encompasses numerous artistic elements and even knowledge and teaching. Rap, one of element of hip-hop culture, became the most profitable and popular musical genre in the United States in 2017. Despite its global origins, diverse manifestations, and myriad social engagements, commercial rap is often metonymic with hip-hop culture as a whole, despite its espousal of problematic messages, reinforcement of racist stereotypes, and enrichment of exploitative corporations. Using multi-sited ethnography and bibliographic research conducted between 2010 and 2019, this dissertation documents, analyzes, and amplifies selected initiatives in education and social engagement in hip-hop culture in a global context. These ethnographies describe: how engaged hip hop artists use breakdance and Hip-Hop Based Education to critique political corruption and empower handicapped youth in Malta; the history of political graffiti in Haiti, and how artists use it to resist the predatory neoliberal interventions that continue to dominate reconstruction following the earthquake of 2010; and confront and resist the legacy of Settler Colonialism in the United States, and how Indigenous artists are using hip hop to combat cultural appropriation, structural racism, and white supremacist border politics in the US state of Arizona. Finally, a critical reflection chapter uses Freire's concept of engaged pedagogy to make connections among the preceding ethnographies, discuss related projects beyond the geographic boundaries of the three main ethnographic chapters, interrogate the researcher's positionality and experiences, and investigate the interplay of commercialization and engagement to propose a new aesthetic theory for hip-hop culture. This research demonstrates that hip hop is indeed much more than a business, an art, or even a culture. It is a transformative and intersectional framework for human rights and empowerment that transcends not only languages and cultures, but ...

According to its practitioners, hip hop is a holistic culture that encompasses numerous artistic elements and even knowledge and teaching. Rap, one of element of hip-hop culture, became the most profitable and popular musical genre in the United States in 2017. Despite its global origins, diverse manifestations, and myriad social engagements, commercial rap is often metonymic with hip-hop culture as a whole, despite its espousal of problematic messages, reinforcement of racist stereotypes, and enrichment of exploitative corporations. Using multi-sited ethnography and bibliographic research conducted between 2010 and 2019, this dissertation documents, analyzes, and amplifies selected initiatives in education and social engagement in hip-hop culture in a global context. These ethnographies describe: how engaged hip hop artists use breakdance and Hip-Hop Based Education to critique political corruption and empower handicapped youth in Malta; the history of political graffiti in Haiti, and how artists use it to resist the predatory neoliberal interventions that continue to dominate reconstruction following the earthquake of 2010; and confront and resist the legacy of Settler Colonialism in the United States, and how Indigenous artists are using hip hop to combat cultural appropriation, structural racism, and white supremacist border politics in the US state of Arizona. Finally, a critical reflection chapter uses Freire's concept of engaged pedagogy to make connections among the preceding ethnographies, discuss related projects beyond the geographic boundaries of the three main ethnographic chapters, interrogate the researcher's positionality and experiences, and investigate the interplay of commercialization and engagement to propose a new aesthetic theory for hip-hop culture. This research demonstrates that hip hop is indeed much more than a business, an art, or even a culture. It is a transformative and intersectional framework for human rights and empowerment that transcends not only languages and cultures, but ...

According to its practitioners, hip hop is a holistic culture that encompasses numerous artistic elements and even knowledge and teaching. Rap, one of element of hip-hop culture, became the most profitable and popular musical genre in the United States in 2017. Despite its global origins, diverse manifestations, and myriad social engagements, commercial rap is often metonymic with hip-hop culture as a whole, despite its espousal of problematic messages, reinforcement of racist stereotypes, and enrichment of exploitative corporations. Using multi-sited ethnography and bibliographic research conducted between 2010 and 2019, this dissertation documents, analyzes, and amplifies selected initiatives in education and social engagement in hip-hop culture in a global context. These ethnographies describe: how engaged hip hop artists use breakdance and Hip-Hop Based Education to critique political corruption and empower handicapped youth in Malta; the history of political graffiti in Haiti, and how artists use it to resist the predatory neoliberal interventions that continue to dominate reconstruction following the earthquake of 2010; and confront and resist the legacy of Settler Colonialism in the United States, and how Indigenous artists are using hip hop to combat cultural appropriation, structural racism, and white supremacist border politics in the US state of Arizona. Finally, a critical reflection chapter uses Freire's concept of engaged pedagogy to make connections among the preceding ethnographies, discuss related projects beyond the geographic boundaries of the three main ethnographic chapters, interrogate the researcher's positionality and experiences, and investigate the interplay of commercialization and engagement to propose a new aesthetic theory for hip-hop culture. This research demonstrates that hip hop is indeed much more than a business, an art, or even a culture. It is a transformative and intersectional framework for human rights and empowerment that transcends not only languages and cultures, but also the physical spaces of its participants. ; Selon ses adeptes, puisqu'elle touche à plusieurs domaines de connaissance tels que les arts et l'enseignement, la culture hip-hop peut être qualifiée de holistique. Le rap, qui est un des éléments que renferme la culture hip-hop, est devenu le genre musical le plus populaire et rentable aux États-Unis en 2017. Malgré ses origines diverses, ses différentes manifestations, et son caractère parfois engagé, le rap commercial est souvent métonymique de la culture hip-hop en entier. Les artistes de rap commercial abordent, pour la plupart, des thèmes qui renforcent des stéréotypes racistes et enrichissent les grandes entreprises et les sociétés d'exploitation. À l'aide de travaux ethnographiques multi-sites menés de 2010 à 2019, cette thèse documente, analyse et dissémine certaines manifestions éducatives et engagées de la culture hip-hop dans son ensemble. Ces études ethnographiques ont permis de réfléchir : comment des artistes engagés utilisent le breakdance et la pédagogie hip-hop pour critiquer la corruption politique et renforcer l'autonomisation des jeunes handicapés à Malte ; l'histoire des graffitis politiques en Haïti, et comment les artistes s'en servent comme outil de résistance face aux interventions néolibérales propulsées par la nécessité de reconstruire le pays après le tremblement de terre de 2010 ; le Settler Colonialism américain, ainsi que la façon dont les artistes autochtones utilisent le hip hop pour combattre l'appropriation culturelle, le racisme structurel et les politiques suprématistes blanches qui régissent les limites frontalières en Arizona. Une section de réflexion critique clos finalement ce travail d'analyse dans la tradition de pédagogie engagée de Freire. J'y fait des liens entre ces ethnographies et discute des projets connexes qu'ils ont engendrés, interrogeant la positionnalité et les expériences du chercheur. J'investigue également dans cette section l'interaction entre l'industrie du rap et l'engagement militant, en proposant une nouvelle théorie esthétique de la culture hip-hop. Les données recueillies par cette étude démontrent que le hip hop est bien plus qu'une entreprise, un art ou même une culture. C'est un cadre transformateur et intersectionnel qui valorise les droits de l'homme et favorise l'autonomisation en transcendant l'espace physique entre les artistes et leurs publics.