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Keepin' it real: Towards an Afrocent...

Stephens, Ronald Jemal.

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Keepin' it real: Towards an Afrocentric aesthetic analysis of rap music and hip-hop subculture.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Keepin' it real: Towards an Afrocentric aesthetic analysis of rap music and hip-hop subculture./
Author:	Stephens, Ronald Jemal.
Description:	389 p.
Notes:	Source: Dissertation Abstracts International, Volume: 57-06, Section: A, page: 2540.
Contained By:	Dissertation Abstracts International57-06A.
Subject:	American Studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9632098

Keepin' it real: Towards an Afrocentric aesthetic analysis of rap music and hip-hop subculture.
Stephens, Ronald Jemal.

Keepin' it real: Towards an Afrocentric aesthetic analysis of rap music and hip-hop subculture. - 389 p.

Source: Dissertation Abstracts International, Volume: 57-06, Section: A, page: 2540.

Thesis (Ph.D.)--Temple University, 1996.

This study examined the historical and cultural significance of rap music and hip-hop subculture. The primary theoretical perspective employed was Afrocentrism, although ideas from Cultural Nationalism and Neo-Marxism were ultilized to advance a trans level of analysis. An Afrocentric African-American aesthetic paradigm, involving historical, rhetorical and aesthetic tools as advanced by Diop, Asante, Welsh-Asante, Gates, Smitherman, Collins, Hooks, Hudson-Weems, and several African-centered critics, including Keto, Walters, and Henderson, were used to develop the paradigm. Beyond these insights, the study evaluated current Afrocentric articulations, different schools of thought, and then analyzed the personas of skillful rap music artists from a rhetorical and folkloric perspective. Hip-hop subculture was studied from the perspective of a homology, which claims the values, attitudes and lifestyles of a subculture are maintained through rap music, and dialectical materialism to describe the interaction between culture, capitalism and materialism.Subjects--Topical Terms:

1017604
American Studies.

Keepin' it real: Towards an Afrocentric aesthetic analysis of rap music and hip-hop subculture.
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100 1 $a Stephens, Ronald Jemal. $3 1684826
245 1 0 $a Keepin' it real: Towards an Afrocentric aesthetic analysis of rap music and hip-hop subculture.
300 $a 389 p.
500 $a Source: Dissertation Abstracts International, Volume: 57-06, Section: A, page: 2540.
500 $a Adviser: Kariamu Welsh-Asante.
502 $a Thesis (Ph.D.)--Temple University, 1996.
520 $a This study examined the historical and cultural significance of rap music and hip-hop subculture. The primary theoretical perspective employed was Afrocentrism, although ideas from Cultural Nationalism and Neo-Marxism were ultilized to advance a trans level of analysis. An Afrocentric African-American aesthetic paradigm, involving historical, rhetorical and aesthetic tools as advanced by Diop, Asante, Welsh-Asante, Gates, Smitherman, Collins, Hooks, Hudson-Weems, and several African-centered critics, including Keto, Walters, and Henderson, were used to develop the paradigm. Beyond these insights, the study evaluated current Afrocentric articulations, different schools of thought, and then analyzed the personas of skillful rap music artists from a rhetorical and folkloric perspective. Hip-hop subculture was studied from the perspective of a homology, which claims the values, attitudes and lifestyles of a subculture are maintained through rap music, and dialectical materialism to describe the interaction between culture, capitalism and materialism.
520 $a Three methodological approaches were used to execute this study. The ethnographic applied, historical-critical descriptive, and Afrocentric narrative approaches were employed. The ethnographic applied approach was used to determine meanings in the subculture, as well as the importance of themes in rap lyric-songs from the perspective of local rap artists and fans in three states. Pennsylvania, New York, and Michigan were selected as the geographical locations for this study. Data were collected from selected populations in Philadelphia, Pennsylvania; Harlem, New York City, New York; and Detroit, Lansing, Muskegon, Grand Rapids, Kalamazoo, Ludington, Scottsville, Baldwin, and Idlewild, Michigan. National and local popular and underground rap artists, and hip-hop fans and critics were interviewed and observed in a variety of settings to identify subcultural identity. The historical-critical descriptive approach was used to investigate the emergence of the rap music tradition, and to verify certain historical and rhetorical facts about the subculture and the artistry. The culturalist narrative approach was employed to analyze the personas of popular rap artists.
520 $a The contribution this dissertation makes not only involves the utility of theory and methodology, analyses of rap music and hip-hop subculture, but also in terms of implications for future research, and recommendations for social practice.
590 $a School code: 0225.
650 4 $a American Studies. $3 1017604
650 4 $a Black Studies. $3 1017673
650 4 $a Anthropology, Cultural. $3 735016
650 4 $a Folklore. $3 528224
650 4 $a Music. $3 516178
650 4 $a Women's Studies. $3 1017481
650 4 $a Mass Communications. $3 1017395
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710 2 $a Temple University. $3 959342
773 0 $t Dissertation Abstracts International $g 57-06A.
790 1 0 $a Welsh-Asante, Kariamu, $e advisor
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791 $a Ph.D.
792 $a 1996
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9632098