CALL FOR PAPERS: Critical Approaches to Hip-Hop and Religion
CALL FOR PAPERS Critical Approaches to Hip-Hop and Religion
American Academy of Religion Annual Meeting
November 23–26, 2013, Baltimore, Maryland.
Paper Proposals are due March 1, 2013
In hip-hop, the cipher is a locale where artists of various backgrounds,commitments, and training come together in a linguistic battle ofwit and passion, where “aporetic flow” erupts into competing normsand continuous ad hominem assault. To “cipher” is to decipher the
motivations, positionalities, concerns, and roadblocks that make upthe discursive power arrangements of a community. It is to “play” a linguistic game of one-upmanship through deconstruction of your opponent and to embody and speak into existence the “possibility of the impossible” task of what might be of critical, productive discourse — scholarship. Click here [http://youtu.be/aOoruUopgpM] for an example of a cipher in the hip-hop context.
Thinking of the session as an academic cipher of various disciplinary examinations of the hip-hop cipher (i.e., “playing” with the two
definitions of “cipher”), specific paper topics and research questions
might include but are not limited to:
The role of specialized, constructed lexicons and vocabularies in the
production and maintenance of communities of discourse, including their sizes, shapes, concerns, and interests.
The cipher’s “sacred” status in hip-hop culture and the privileging of
discourse within the academic cipher as necessitating a rethinking over how we treat the impact of languages and vocabularies used to study hip-hop.
The “art” of ciphering as technology of the self. What new models and methods of critical engagement can be gleaned from the hip-hopcipher? How might interpreting the hip-hop cipher model the relationship between experience qua experience and experience as object of intellectual interest?
Or alternatively, are there examples of cipher amongst hip-hop locales that call into question the characterization of cipher as "masculine" and oriented around confrontation? If so, what might various positions on cipher (e.g. cipher as battle, cipher as empathic community) contribute to critical approaches to hip hop?
For a possible cosponsored session with the Religion and the Social
Sciences Section, the meaning of methods — social scientific approaches to religion, theology, and hip-hop. The burgeoning field of religion, theology, and hip-hop has worked hard to expand the object(s) of inquiry beyond a sole focus on rap music. While this expansion has provided form, content, and structure for the making of religion and hip-hop scholarship, less attention has been given to the methodological tools necessary to provide a rigorous account of the ways in which these endeavors are taken up in hip-hop material culture. We seek papers from leading scholars working with various methodologies from fields such as sociology, anthropology, psychology,and cultural studies for the study of religion, theology, and hip-hop culture.
For a possible cosponsored session with the Study of Islam Section,
Islam and hip-hop.
Please submit paper abstracts by March 1, 2013 though the PAPERS system:
Questions? email Christopher Driscoll, Rice University,
firstname.lastname@example.org or Monica Miller, Lewis and Clark College,
WHERE WOULD HIP HOP BE WITHOUT COLLEGES AND UNIVERSITIES?
BY ERIK NIELSON
In an interview with Fuse last year, Kendrick Lamar—who just took the top spot in MTV’s annual “Hottest MCs in the Game" list—revealed that his greatest regret in life was that he never attended college when he was younger. "Now all these years have passed, and I done got deep into a career, a music career," he said. "It’s gonna be hard to find time unless I really put my focus into it."
It might seem strange that a rapper at the top of his game would place such importance on going to college, especially coming from a genre that prizes street knowledge over formal education. And yet a glance just a bit further down the “Hottest MCs” list reveals that the ivory tower has been a stop along the path to stardom for some of today’s biggest names, including Rick Ross, 2 Chainz, and Kanye West.
In fact, this has been true throughout most of hip hop’s 40 year history. While traditional narratives tend to present early hip hop solely as the product of marginalized urban youth, cut off from elite social institutions, it’s hard to deny that colleges and universities have played a critical role in the early formation, and continued evolution, of hip hop as well.
Perhaps the most obvious illustration can be found in the formation of Def Jam Recordings. In 1983, Rick Rubin, an NYU student at the time, aspired to break into the burgeoning hip hop industry, so he borrowed $5000 from his parents and recorded “It’s Yours” by T La Rock and Jazzy Jay. When the song became a dance hit, he came up with the Def Jam label and began running it out of his dorm room. Shortly thereafter, he teamed up with Russell Simmons—himself a former college student—who had already begun signing the big names in hip hop that would eventually put Def Jam on the map. Among them were Kurtis Blow, rap’s first major-label artist, and Run DMC, easily one of the most influential groups in rap history. Like Def Jam’s founders, these artists also attended college, something D.M.C. (Darryl McDaniels) explicitly brags about on the 1984 song “Sucker MCs”: “I’m D.M.C. in the place to be. / I go to St. John’s University. / And since kindergarten I acquired the knowledge, / and after 12th grade I went straight to college.”
On its way to becoming the premier hip hop label in the business, Def Jam went on to sign more successful college-student-turned-rappers, including the Beastie Boys (two of whom attended college) and Public Enemy. In the case of Public Enemy, college turned out to be more than just a stop on the way to a hip hop career—Adelphi University in Long Island provided the creative environment that brought together Chuck D and Flavor Flav, as well as producers Hank Shocklee and Bill Stephney. And since then, the genesis of groups like dead prez, Blue Scholars, Kidz in the Hall, and Das Racist can also be traced to college campuses, where group members met one another as students.
These examples are hardly isolated. Indeed, over the decades a long list of hip hop’s biggest and most respected names can also claim ties to the academy, including …
CALL FOR PAPERS - A SPECIAL ISSUE OF WOMEN AND PERFORMANCE: A JOURNAL OF FEMINIST THEORY
Call For Papers
A Special Issue of Women and Performance: A Journal of Feminist Theory.
Issue Guest Editors: Shanté Paradigm Smalls (University of New Mexico) and Jessica N. Pabón (New York University)
Submission deadline: May 1, 2013
Women and Performance invites submissions for a special issue, “All Hail the Queenz: A Queer Feminist Recalibration of Hip Hop Scholarship.” The editors welcome scholarly articles and performative texts that foreground feminist and queer performance studies approaches to hip hop culture, consumption, and production.
Contemporary rap music, as a stand-in for hip hop culture and production, is virtually synonymous with misogyny and homophobia in the mainstream US and academic imaginary. We want to explore the range of understandings and theories that inform how women and queers experience hip hop culture and performance; this issue underscores the multiplicity of hip hop culture and rejects a myopic totalizing view of what “the culture” does and is. We seek to engage with the wide range of hip hop scholars and practitioners working at the intersections of various methodologies not always associated with scholarly considerations of hip hop (including psychoanalysis, feminist and queer theory, and performance theory), as well as methods typical to hip hop studies—sociology, Black studies, literature, history, musicology, and urban studies. An emerging class of hip hop scholars pressure the givens of race, gender, performance, sexuality, region, nationality, artistry, and iconography—as a culture that has been in a state of constant development for the past forty years, hip hop scholarship is more than due for a queer feminist remixing and reimagining.
As coeditors, we challenge the readers of Women & Performance to ask: What would a specifically queer feminist performance studies approach to hip hop’s culture and production generate in terms of scholarship? How does a queer feminist experience and critique revise hip hop studies? Why has performance studies had so little to say about hip hop, what interventions does performance studies yield? The issue’s focus on producing knowledge about hip hop culture that centralizes women, girls and queer people will include a range of elements, both popular and subcultural: DJ culture, dance, graffiti, human beat boxing, rap music, as well as fashion, media and print, organizing, and other forms of knowledge production. No matter the genre, hip hop is often conceived and misrepresented as a male-dominated culture which casts women and girls as an addendum to hip hop rather than as primary producers, critics, and consumers. Within the pages of this issue, contributors revisit the centrality of feminist and queer artists to the production of all elements of hip hop culture and of feminist and queer critique to hip hop scholarship. “All Hail the Queenz” intends to tease out the nuanced negotiations women, girls, and queer people develop as hip hop artists, critics, and consumers participating within this climate.
Through re-centering feminist and queer critiques and female and queer performance, “All Hail the Queenz” recalibrates hip hop’s center. By recalibrating the center, contributors to this issue refashion hip hop historiography and hip hop aesthetics beyond the art of rapping by the cisgendered male body. In a kind of textual reperformance, this issue takes its title from Queen Latifah’s lyrical demands for respect on her first womanist rap classic album, “All Hail the Queen,” and reminds readers once again that “stereotypes, they got to go!”
· Alternate Hip Hop historiographies
· Artist Scholars
· DJing, technology, gender, sexuality
· Feminist, queer, trans* aesthetics
· Feminist, queer, trans* pedagogy
· Graffiti and gender/sexuality
· Hip Hop culture and dis/ability
· Hip Hop diasporas
· Hip Hop fashion
· Hip Hop feminism
· Hip Hop festivals
· Hip Hop’s hybridity
· Human Beatboxing
· Media culture and social networking
· Nation, Empire, and hip hop
· Queer feminist hip hop critique
· Queerness and/in/of hip hop
· Trans* in/and hip hop
Article submissions should be 6-8,000 words in length and adhere to the current Chicago Manual of Style (CMS), author-date format. Performative texts should be 2-3,000 words and in any style the author chooses (same CMS style as above if using citations). Photo essays are welcome. Questions and abstracts for review are welcome before the final deadline.
Complete essays and texts for consideration must be submitted by 11:59 PM EST, May 1, 2013.
CALL FOR CONTRIBUTORS - THE ORGANIC GLOBALIZER: THE POLITICAL DEVELOPMENT OF HIP HOP
Call for Contributors
The Organic Globalizer: The Political Development of Hip Hop
Editors: Christopher Malone and George Martinez
Deadline for proposals: May 31, 2013
The editors are soliciting proposals for full-length chapters (roughly 7,000-8,000 words) to be included in a volume on the political development of hip hop and its prospects for global transformation. The deadline to submit proposals is May 31st, 2013.
In 2010, Christopher Malone and George Martinez co-authored a journal article titled “The Organic Globalizer: The Political Development of Hip Hop and The Prospects for Global Transformation” (New Political Science, Volume 32, Number 4, December 2010, 531-545). In the piece, Malone and Martinez argued that hip hop should be viewed as an “organic globalizer.” No matter its pervasiveness or its reach around the world, hip hop ultimately remains a grassroots phenomenon that is born of the community from which it permeates. The authors identified three stages in its development: (1) the cultural awareness and emergence stage marked by the identification and recognition of voices of marginalized communities through music and art; (2) the social creation and institutionalizationstage, marked by the development of independent alternative institutions and non-profit organizations in civil society geared toward social and economic justice; and (3) the political activism and participation stage, marked by demands made on the state by group actors, and the recognition of hip hop’s ability to affect electoral outcomes through political participation. While hip hop in the United States developed rather linearly over time, the authors contended that its political significance lies in understanding hip hop’s ability to at once raise cultural awareness, expand civil society’s focus on social and economic justice through institution building, and engage in political activism and participation.
The Organic Globalizer will be broken into three parts, roughly along the lines of the three stages outlined above. Thus, proposals which broadly focus in an original way on hip hop’s cultural strength, social muscle, and/or political potency both in the United States and abroad are preferred.
Proposals should be no more than 200-250 words. Please email it along with a short biography of the author(s) to: Dr. Christopher Malone, email@example.com.