This week we are discussing Hip-hop's impact on theater and performance practices. We can broadly understand "mainstream" and/or "Western" concepts of theater as those that adhere to a linear narrative and plot. Hip-hop Theater often disrupts this linear storytelling to employ other devices such as circular storytelling, abstract characters and the incorporation of inter textual references and artistic devices such as media, dance, politics, etc. As you blog on the words Hip-hop Theater and Performance, think about the ways that Hip-hop Theater incorporates many of the themes and subjects of Hip-hop music and culture. Some prompts that may help you craft your response are: How does African griot storytelling shape Hip-hop Theater if at all? How do Hip-hop Theater artists use the theater space to perform personal narratives of struggle, identity, etc.? How do Hip-hop Theater performers sample from Hip-hop's elements using their voices and bodies?
Eisa Davis, author of “Found in Translation: The Emergence of Hip-Hop Theatre,” describes hip-hop theater as something that “still brings people together, recognizing that the separation of hip-hop from theatre to begin with as an unnecessary, artificial split” (Chang 71). Davis also describes hip-hop theater as the child of theater and hip-hop, making it “more than the sum of its parts” (Chang 71). In class, we discussed how hip-hop theater has emerged from African-American/black theater traditions, and how it isn’t just a “hip-hop” version of a classical play, because hip-hop culture has its own stories to tell.
ReplyDeleteOne of the most important aspects of hip-hop performance and theater is the social and political statements made by the artists. Sarah Jones’ “Your Revolution” discusses the issues of femininity and the role of women in African American culture. Sarah Jones samples from an earlier work of performance by Gil Scott-Heron, and makes it clear that she will not become the stereotypical black woman that is taken advantage of by men. Jones’ performance doesn’t just apply to black women, but it is polycultural by crossing racial and ethnic lines – women of all races, ethnicities, and social classes have the same issues of feminism to deal with.
Tosin Morohunfola: Music and theatre are inextricably connected, especially in Hip Theatre. Hip Hop Theatre is defined as “writing plays with hip-hop in them” (Chang, 70) or as Danny Hoch says, plays “by, about and for the Hip hop generation.” (Hodges Persley, lecture) And since the basis of Hip hop is music, we would be remiss in seeing the connection. They both deal with many of the same areas of stage presence. This is no different with Hip-hop Theatre and Performance, particularly musical performance. Examples of attributes of Hip Hop Theatre are to have political stances in the piece, to break the fourth wall a lot, and to often be individual/solo performance. (Hodges Persley, lecture) In truth, the “separation of hip-hop from theatre to begin with was an unnecessary, artificial split.” (Chang, 71) They both have a heavy emphasis on bogy, language and voice. The Hip Hop Performance aesthetic relies heavily on Call and Response with the audience (breaking the 4th wall), Narratives and the disruption of linear narratives (stock characters, i.e. the pimp, the playa, the gangsta), references to the African Diaspora and Black subjectivity and addressing civil rights. (Hodges Persley, lecture) Regina Taylor’s Drowning Crow literally remixes Anton Chekhov’s The Seagull in a very Hip hop fashion and depicts an “aesthetic war between traditional and hip-hop theatre.” (Chang, 74) And even though the performance is different than traditional theatre—since “He recites blank verse and rhyme to a beat, dancing expressively as he speaks” —it counts as viable, relatable, new-age Hip hop theatre. (Chang 74)
ReplyDeleteIn Found in Translation: The Emergence of Hip-Hop Theater, Eisa Davis claims that Hip-Hop Theater is essentially plays with hip-hop in them(70). Danny Hoch says, "Hip-hop theater must fit into the realm of theatrical performance, and it must be by, about, and for the hip-hop generation, participants in hip-hop culture or both" (356). Hip-Hop Theater is tied to Black/African American Theater practices such as: call and response traditions, the disruption of linear narratives, referencing relationships to Africa, the African Diaspora, and/or Black subjectivity, addressing social, cultural, economic, and political states of consciousness of African Americans in the US, addressing civil rights and their systematic denial through acts of racism, sexism, and classism, using theater as a site to suggest theories and practices for social justice and social, economic, and cultural freedom, and using theater to problematize how history is recorded and remembered(Lecture 11/9). All hip-hop theater and performance artists rely heavily on the body, voice, and language, in their performances. Hip-hop theater performances focus on hip-hop's ability to connect diverse racial and ethnic audiences. Hip-Hop theater artists take a specific social and political stance in their work while performing. Performers may even break the "fourth wall" by talking directly to their audience (Lecture 11/9). Hip-Hop theater is very diverse, so it may not be correct to list as purely an African American, Asian American, or Latino 'slot' (356).
ReplyDeleteWe discussed in lecture that the hip hop theater became a theater for change. It became a way for hip hop artists to speak about their past and to speak about their struggles, just like the 4 elements of hip hop did. Theater, along with the other elements of hip hop, allow artists to use hip hop themes, like sampling, to express the these ideas. In Found in Translation, Elisa Davis says talks about theater's use of sampling: "There's an inter-generational dialogue that's going on with hip-hop theater...but it's a dialog that is entirely welcome, and it has to do with the conscious relationship that hip-hop has already has to the past. When you sample old records and quote lyrics, you're not just stealing; you're showing respect" (Chang 73) Davis shows here that hip hop performers use sampling in their performance to create art and to relate to their audience.
ReplyDeleteHip hop theater is unique because theater is typically seen as being for higher class citizens, however, hip hop theater has created a new theater audience. Hip Hop's theater audience may be identified as low to moderate income youth of the hip hop generation. (Hodges Persley Lecture) Danny Hoch says that hip hop theater is by, about, for and near the hip hop generation. Hip hop theater makes theater accessible for all citizens. The theater also highlights hip hop's capacity to connect diverse racial and ethical audiences. (Hodge Persley Lecture)
In summary, hip hop theater is a new way for artists to express their thoughts. It is a way for artists to connect with the hip hop generation and make their work accessible to these youth.
Within Hodges lecture, she emphasized the ways in which theater and Hip-hop can be viewed as a form of expression, as theater is commonly known as a form of expressing oneself. As Chang explained, theater is a way for artists to incorporate different aspects of themselves within Hip-hop such as acting it out, sampling, DJing and so fourth to become an inter-related form of expression through performance, while still creating a useful way to attract the audiences. For example, when African griots tell their stories, they use their musical talents as a way of recounting their life stories. The same stands true for theater/performance within the Hip-hop world. Whether it’s a personal story, or a fictional story, these actors and actresses express themselves through a different lens evolving themselves into a different persona, while still expressing their desire through the musical aspect. Not only do these actors use their voices, and acting skills as a form of self-expression but they use their body language as a form of identity, and a means of different levels of power while still expressing themselves to their audience. It shows who is dominant, and who is not. With that said, Hip-hop Theater continues to be a way for artists to express themselves through much thought and dedication towards their talent.
ReplyDeleteMany spoken-word performances bare resemblance to African griot story telling. One person telling anecdotal-type passages that are meant to resonate with an audience and are generated to inspire change, while exhibiting tidbits of history (in which the recollection of the facts may be intensified to make a point). This type of stage performance can often rely on call-and-response interaction, which is also a characteristic from traditional African diaspora. Hip-hop theater performances also often incorporate dance and body movement to represent originating African dances and street-style movements that Hip-hop is known for (eg. breaking), which as we know, elements of breaking and Hip-hop dance can be traced back to African heritage. The struggle Hip-hop theater performances face is the determinant of whether this type of performance is authentic to the stage, and the type of performances it has traditionally held. Some critics see Hip-hop theater to be regular street animation with no credibility to take the stage.
ReplyDeleteHip-hop theater is defined as theater that references hip-hop elements or narratives in a theater space (Lecture 11/9/2009). Hip-hop elements can either be directly present on the stage or abstractly referenced within the performance. Many narratives used in hip-hop theater are borrowed from black and African-American theaters of the past including: call and response, referencing Africa and the African Diaspora, and addressing social issues such as African-American culture and politics (Lecture). Eisa Davis mentions in her article “Found in Translation” that “some [playwrights] are interested in innovative theatrical form, utilizing one or more of the four elements for storytelling and form, and others are more interested in innovative narrative, making use of the sensibility, language, and stories of the hip-hop generation for content” (Chang 72). Davis explains the hip-hop theater today is trying to break the stereotype that all hip-hop plays have to include at least one of the four elements directly to be categorized as hip-hop. Also, the idea that hip-hop theater can only be produced and performed by African-American artists is being discredited. Hip-hop theater is a type of art that is “by, about, for and near the hip-hop generation”, not just people of color (Lecture). An example of hip-hop theater as being polycultural is the Broadway production “In the Heights”. “In the Heights” showcases a cast of various ethnic groups portraying hip-hop style and culture. “In the Heights” also exemplifies the influence that Hispanic culture had on the beginnings of hip-hop and how it continues to impact the culture today (“In the Heights” clip”). In the article “From the Dope Spot to Broadway”, the panelists explain that hip-hop theater is defined by the voice and the style used in performance, not about the categorization of the art (Chang 80).
ReplyDeleteIn class, we discussed how hip-hop theatre pulls from all aspects of hip-hop culture to create a creative and different style of stage performance. One of these aspects is the continuous theme of storytelling that can also be seen in hip-hop music. The storytelling is apparent in the one-man shows that narrate their lives.
ReplyDeleteHip-hop theatre artists use the theatre space in many ways to express their struggles and identity. In the videos that were shown in class, there was an obvious difference in hip-hop theatre and traditional theatre. The first was that many acts, from the larger production of “In the Heights” to the one-man show of the actor who shared his life-story on stage, all included some form of hip-hop dance (Lecture). The artists also used the space to include music. One of the artists in a video we saw incorporated a DJ into their entire performance, including him in the act as not only as a DJ but also as a “greek chorus” (Lecture).
Sampling, another continuous theme of hip-hop, can also be seen in hip-hop theatre. Artists use their voices and words to express their struggles, identity and more. In Sarah Jones’ “Your Revolution,” she samples from popular hip-hop culture. She quotes artists like LL Cool J and makes references to De La Soul, Common and the Roots. They also use their bodies in dance to express their emotions.
Hip-hop and Hip-hop Theater are similar in a sense that they both strive to convey a message. Often times, these messages are also the same. These messages may include poverty, race, and more. Hip-hop Theater and Performance are also linked with the African Griot. In lecture, we learned that Griots are “story tellers who have the ability to comment on the history of a community.” People who participate in hip-hop theater or performances are just another type of “storyteller”. They have a “stage” or different form of space to express their message to the audience. In “From the Dope Spot to Broadway,” Javier talks about how “hip-hop is about consciousness and chorus, as in the unison of the cause. Theatre is the responsibility in what you say and work you have to put in to best convey the message” (Chang 81). This quote by Javier is just another example of how hip-hop and theatre are closely connected. The members of “the chorus” in theatre gather together to tell the audience what they want to get across.
ReplyDeleteIt was stated that Hip-hop theater was not spontaneous in nature and that it had been happening for years (Chang: Found in Translation). The art form is more than just a contemporary "remix" of previous theatrical works and it goes beyond the "four elements" of storytelling to provide that raw emotion (Chang: Round table). It was described to be a hybrid of articulate theater (where there is a one-to-one correlation of thought and speech) with the lyrics, and inarticulate theater (where thought and emotion is implied. (Chang: Found in Translation). Although it has become more mainstream, there is a decline in the interest of Black/Hip-hop theater because the audience that it is aimed toward has a lack of access (Chang: Roundtable). Would it be black theater's responsibility to restore the interest?
ReplyDeleteIn Danny Hoch’s article, ‘A Manifesto for the Hip Hop Arts Movement’ he spends much time discussing how Hip hop theater must, or must not define itself, as this definition can be both empowering and limiting. Hip Hop Theater continues the traditions of the music by telling the story, often struggles, of those in the very much polycultural modern Hip Hop community. Although it does not have as distinct a face, Hip-hop Theater faces similar resistance to Black theater performance during the civil rights movement. Hip hop pieces of work often struggle to find theaters to perform in even today, although it is becoming increasingly mainstream. Hoch also emphasizes Hip hop theater must work to define itself, and not allow itself to be defined by outside critics, much as the music has been stereotyped. As we could see from some of the clips shown in class such as ‘Your Revolution’ By Sarah Jones, which itself gave me chills as I stood before the class presenting; Hip Hop Theater provides a forum for powerful story telling. It is not simply a Rap version of Shakespeare, although it can be such as the internationally successful ‘Bomb-itty of Errors, a rap adaptation of ‘Comedy of Errors’. Hoch criticized performances such as ‘bomb-itty of errors’ as suggesting Hip Hop theater has no stories of its own to tell, and must attach itself to an established work in order to gain success.
ReplyDeleteIn class on Monday we discussed the roots of Hip Hop Theatre and how it relates to Black/African American Theatre. They are similar in that they are both trying to get out the same message whether they use call and response traditions; address social, cultural, economic, and political states of consciousness; or address civil rights that affect all African Americans in the United States (Hodges Persley Lecture). All Hip Hop Theatre and performance artists use this art to portray the struggles of those in the Hip Hop community and rely on the body, voice, and language in their performances in order to get this message across. They often try to break the fourth wall as said in lecture, so that they can talk directly to the audience and forge a connection to the past and the present urgency of now. Eisa Davis describes hip hop theatre as an act that still brings people together (Chang 71), however many people are unable to afford many of these performances, even though hip hop theatre artists strive to highlight hip hop’s capacity to connect different racial and ethnic audiences (Hodges Persley Lecture). These are all messages that hip hop theatre artists strive to get across to their audience today.
ReplyDeleteIn class, Group B traced the history of Hip-hop theatre, beginning with black theatre and ending with today’s slam poetry and slowly emerging Broadway Hip-hop influenced plays. In Hip-hop theatre, the four components are not necessarily or explicitly represented. Instead, the theatre represents Hip-hop through the performances; these performances tell the story of the African American diaspora and the related Latin communities.
ReplyDeleteKamilah Forbes highlights the purpose of Hip-hop in performances by saying how putting minorities on stage with historically white productions does not change the content of it. The production still does not tell the story of the minorities, but the Hip-hop theatre allows these stories to be told (pg. 86).
In my opinion, using the theatre and performance to tell Hip-hop stories is a way to “legitimize” the Hip-hop movement and show that it was not a haphazard fad. In class, it was said that Broadway is the most important with regards to theatre and performance. For over thirty years, Hip-hop theatre pushed to be part of this larger, more “normative” group. Now that there are Hip-hop inspired productions featured on Broadway, Hip-hop theatre is becoming more “legitimate.”
However, due to its forging of street art and high art (lecture, 11/9), the Hip-hop theatre performances are not completely normative and still hold on to the roots from which it came.
Hip-hop theatre, like all theatre, has its roots in an oral tradition. Cultural tales have been passed from generation to generation; told by their resident storytellers. Hip-hop theatre depicts the African-American narrative in a presentational manner so the stories of its people can be shared by a larger audience. A stage presents a medium where high art can meet street art. A skilled story teller, like Sarah Jones in "Your Revolution", takes ideas that can be construed as crude or lower class and turns them into high poetry that even the most elite snob can appreciate.
ReplyDeleteThe ability to take 'street art' and turn it into 'high art' is something that every successful artist must learn to do. In order to become a financially secure working artist, an artist has to understand how the game works and how their audience perceives their work. Hip-hop theatre, when successfully done, manipulates the rules of street art in order to present it in a non-traditional way while still keeping some vestige of being authentically raw enough to capture true emotions.
Hip-hop theater can justifiably be called one of the most progressive aspects of modern hip-hop because the element of performance is brought to the foreground and actively manipulated to make an artistic statement. In essence, hip-hop theater can address any or all of the four elements, but - crucially - these references can be abstract or indirect (Hodges-Persley lecture). Another way to look at this is to consider its choice of subject matter as sampling hip-hop itself; because of this, it is no longer possible to dispute the genre's breadth of subject matter of possibilities for creative reappropriation. When Harry Belafonte admonished a panel of hip-hop artists, "Y'all gotta define yourselves. Until you do, they will" ("Toward a Hip-hop Aesthetic" 363), he was speaking to hip-hop's unique capacity for reimagining cultural identifications. This is accomplished in theater by breaking the fourth wall, sampling sociopolitical luminaries, and actively reaching out to a broader and traditionally unwelcome audience (Hodges-Persley lecture). This self-aware metanarrative process subsumes outmoded and inaccurate depictions of African-American life that plagues the black community for years.
ReplyDeleteHip-Hop theater, which emerged throughout the 1970s, pulls a lot of its influence from Black theater and traditional African performance. As proclaimed by Danny Hoch, hip-hop theater is black theater for the hip-hop generation. As far as the performance aspect of the theater, it pulls a lot of its influence from traditional African griots and often mirrors the idea of hip-hop’s MCs. Continually, hip-hop performance is linked to other aspects of the culture, similar to MCs, like boasting and braggadocio, as mentioned in class. Furthermore, hip-hop theater and performing artists generally take a specific political stance; this is illustrated in Sarah Jones performance piece, “Your Revolution,” where she talks about the empowerment of women. This is, in part, a way to portray their message so that it is hidden in a performance manner and therefore more people will pay attention to it, even if it subconsciously. It goes along with the statement, “define yourself, because until you do, they will.” The political messages in hip-hop theater and performance are aimed at making the hip-hop culture stronger in every aspect.
ReplyDeleteArt and expression are tied in as one, without one the other one is hard to achieve. I like to think that African Griot’s started the elements of hip-hop. There is more than one-way to tell a story, which we have seen through out this course. Theatre is another way to engage and express a story, as did the African Griot’s. I believe they shaped hip-hop theatre enormously. They started the storytelling and as it was passed through the generations no additions were added, new exaggerations, I believe it started the whole idea expressing a story through acting. Theatre is another way to give someone the spot light to express what they are feeling just as breaking, MCing, DJing, and graffiti artists did. Theatre almost pushes their point a little further. When watching someone act, their emotion reflects on the audience to the points were they could relate. Theatre also includes many elements of hip-hop including breaking (or sampling) and DJing. Not all theatre is just complete stage oriented. Spoken word poetry is very theatrical and has it ambience. It is also very similar to MCing, telling a story through voice. Many issues refered to is race, poverty, sexism, classism and many others. This pattern has been similar through all elements of hip-hop.
ReplyDeleteTheater and Hip hop came together under one roof and become a community before it was actually called hip hop theater. In the article “Found in translation” by Eisa Davis stated that she has been living and writing hip hop before they called hip hop theater. When she heard that it was actually called that it blew her mind. (Chang p.70) Crews and group were already common in hip hop and now they can have crews in the theater. This brought people together to rejoice hip hop in theater and be proud of it. There has always been a kind of performance and theater to hip hop when listen to it and see it. They story tellers and the rappers and the poets of hip hop all have a story to tell. Hip hop theater started around some people think around back of the time of Amiri Baraka ‘s Dutchman, the last Poets, and Ntozake Shange which were works from the 60’s and 70’s. (Chang p.71) When storytellers come tougher they come give their ideas and give their thoughts on poetry, economics, government, or anything that has them thinking at the time. We as an audience take it and mix it up in our head remix different ways. This is a lot of the hip hop nation does with many things. The article speaks on how people show their respect by sampling or quoting from old records or old stories. (Chang p.73) Some may think hip hop theater is not real and not alive but it is very much alive and kicking in some areas. Some people think it is a low class form of theater towards the maybe the lower class but it actually opens the eyes and doors to all classes. (Lecture) It shows all ethnicities and all classes that hip hop belongs in theater and should be in theater for a long time.
ReplyDeleteHip-hop Theater has many different styles from spoken word poetry like Def Jam Poetry to solo performances and even musicals. Like many theater performances the goal is to tell a story, although in hip-hop’s case a Griot. Hip-hop Theater and the term Griot link back to African traditions of story-telling while addressing social, cultural, economic and political issues within the region, state, nation or world. Hip-hop performances usually try to break through the “fourth wall” communicating with the audience to initiate a call and response feel just like a MC would (Hodges Persley Lecture). In class on Monday we discussed a question about whether or not it is the Theater’s responsibility to create interest about the Theater for the youth. I think that it is up to the theater to keep changing like the world of hip-hop is to better capture the interest of the youth. It is also very important that Hip-hop Theater becomes very active in their community and with youth to keep kids away from gang activity and such just like the Clowners do.
ReplyDeleteHip-Hop Theater, according to all three readings and Dr. Hodges-Persley's lecture, is a natural symbiosis of two seemingly disparate types of performance. Both hip-hop and theater involve the embodiment, whether through the use of physicality or voice, of various cultural ideals. The cross-over between the two seems obvious.
ReplyDeleteAs an appeal to hip-hop culture, Hip-Hop Theater often invokes hip-hop (and African-American) traditions, such as call and response, non-linear narrative structure akin to sampling, alternative histories (to the dominant western white narrative), etc. Using the established elements of hip-hop (that have been largely debases by the rampant commercialization of the genre) has the potential to revitalize both genres, according to Eisa Davis in her article "Found in Translation: The Emergence of Hip-Hop Theatre." By the fusion of these two, both may benefit. In the roundtable on hip-hop theatre, four different artists involved in hip-hop theater discuss the cross-over between the elements of hip-hop, and how neatly they coincide with the tenets of compelling dramatic (and every other type) theatre.
Hip Hop theater and performance has been my most favorite topic so far. The article by Eisa Davis “Found in Translation: The Emergence of Hip-hop Theatre” described hip hop theater as, “ascriptive, voluntary, and utilized by a self described hip hop generation that speaks through theatre, and we are found in translation.” Hip hop theater is so creative and really reaches out to a different audience especially the younger generation. When Amiri Barata came to the University of Kansas, it was very interesting to see him incorporate elements of hip hop in current issues facing the world today. Through spoken word is a form of mcing to me because of the lyrical creativeness brought out, and how there is a message between the words of that poet. Sara Jones “Your Revolution” is an example of how hip hop remakes something, and still make it unique. Her poem “Your Revolution” was a remake of Gil Scott Heron who wrote “The Revolution will not be televised”. Gil Scott Heron was a black panther and that history is really part of the foundation of hip hop. I can compare the black panthers to hip hop groups like Public Enemy on how violent and blunt they were, from creating a new stance in America to vocally and lyrically expressing views on America.
ReplyDeleteHip-hop in theatre has given the theatrical form a new and innovative light on performance. It has highlighted Hip-hop’s capacity to connect diverse racial and ethnic audiences (Lecture 11/9/09). In Eisa’s article, Found in Translation: the Emergence of Hip-hop Theatre, she states “I like the name hip-hop theatre because when it’s ascriptive, voluntary, and utilized by a self-described hip-hop generation that speaks through theatre, we are found in translation” (Chang 73). The theatre, in regards to Hip-hop theatre, is a way of identity for the performers and for the audience. It carries the roots of Black/African American theatre by practices such as: call and response, referencing relationships to Africa/African Diaspora, and addressing social, cultural, economic and political ideals of African Americans in the U.S. (Lecture 11/9/09). It is a form of language (using Hip-hop as the primary instrument) for the performers to communicate pieces of their history and ideals to the audience. Along with this, in most cases, Hip-hop theatre tries to convey the narrative through the call and response; talking to the audience and reeling them into the performance. This is known as “breaking the fourth wall” in theatre. These connections to Hip-hop theatre and it’s originality of the performance make Hip-hop theatre such as powerful tool. In 2008, In the Heights won the Tony Award for Best Musical, which was a stepping stone for Hip-hop and Latino performances around the world to be welcomed into the Broadway/Hollywood scene. This proves the fact that Hip-hop theatre truly has shed innovative light on our culture, as well as given hope to those who dream of becoming Hip-hop theatrical performers.
ReplyDeleteChang talks in his article that despite popular belief, hip hop theatres is alive and kicking in areas all around the country. Hip Hop theatre uses Hip Hop devices, such as creating a call and response with the elimination of the fourth wall. (lecture) Is it the responsibility of Theatre or is it a larger cultural responsibility to generate interest in the hip hop community for hip hop theatre performances. Hip Hop culture has reached Broadway with Sean "P. Diddy" Combs starring in "A Raisin in the Sun."
ReplyDeleteHip hop theater and performance is much like hip hop and its relation to the four elements. Theater with hip hop culture can be traced back to works from the 1960s and 1970s from Amiri Baraka’s Dutchman, the Last Poets and Ntozake Shange (Chang 71). Since then, hip hop theater has adopted ways of expression such as sampling, much like the other four elements. The performances that are created by hip hop artists and put into theater target different audiences. Today, the target audience is low to moderate income youth of the hip-hop community. These audiences are able to connect with performers to relate and reflect on the culture and diversity within the hip hop community. Theater is a way to connect with an audience to form emotion and feelings.
ReplyDeleteHip Hop Theater and Performance correlate several themes and subjects of hip-hop music and culture. The soul of an emcee’s stage presence exemplifies the art and culture of African griot storytelling. The delivery of a story can be expressed and remixed in countless spoken manners. “Some [artists] are more interested in innovative theatrical form, utilizing one or more of the four elements for storytelling and form, and others are more interested in innovative narrative, making use of the sensibility, language, and stories of the hip-hop generation for content”(Chang 72). Slam poet artists, such as Saul Williams, have a unique style of theatrical performance and stage presence when delivering African griot like storytelling to the stage. “With hip-hop theatre, we have what rapper KRS-ONE calls ‘edutainment’” (Chang 72). Through this educated entertainment artists can express themselves in the manner in which African griots and emcees have done in the past. In the beginnings of rap to Russel Simmons Def Jam Peotry, hip-hop theater and performance continues to create and remix themes and subjects of hip-hop music and culture from past to present.
ReplyDeleteAccording to lecture, Hip-hop theatre and performance addresses several areas contained within Black theatre practices such as call and response traditions, and also social, cultural, and political freedoms (Hodges lecture). Another powerful claim to Hip-hop theatre is the use of disordering linear narratives as demonstrated by Jerry Quickly during the “Washington City Paper: Hip-hop Theatre Fest” (Youtube). Javier Reyes who is the artistic director of Colored Ink of Oakland, California claims in the article “Found in Translation: The Emergence of Hip-Hop Theatre,” that Hip-hop theatre is merely a family reunion of talented artists whom encompass body, voice, and language, as well as the four elements of Hip-Hop into their performances (Chang 71, Lecture Notes)These combined theatrics enable performers like Sarah Jones to connect to diverse audiences and have an impact on societal issues as a whole.
ReplyDeleteHip-hop theater is not just a hip-hop version of existing works of theater; it is its own entity and category in itself. In lecture hip-hop theater was described as "theater that references hip-hop elements or narratives". And Danny Hoch describes hip-hop theater as theater, "by, about and for the hip-hop generation". So that being said, hip-hop theater is uniquely different as it tells it's own generations narratives in a way familiar to tem using element of hip-hop familiar to them. Often times the performances are rhythmic and contain a D.J. and the performer is like the MC. This is still a burgeoning form of theater performance and working on ways to tell its narrative but is often not looked at as high art. Marc Bamuthi said it best in the video we watched in class, "I have convinced the performing arts machine that I am both high art, and hip-hop". Many critics do not believe it is a form of high art though they are expressing their narrative and experiences in a way familiar and close to them.
ReplyDeleteHip-hop theatre has been influential because it has opened the sophisticated world of theatre that has been otherwise unreached by the black youth. Elsa Davis explains how hip-hop and theatre have an “unnecessary and artificial” separation, but has the ability to “bring people together” in her article, “Found in Translation: The Emergence of Hip-Hop Theatre” (Chang). Hip-hop in a way “remixes” the traditional theatre by incorporating standard elements of hip-hop in its performance (Hodges Persley Lecture). Hip-hop theatre incorporates things such as the call and response effect, distribution of linear narratives, reference to Africa and the African Diaspora, and the address of social, cultural, economic, and political issues in the United States (Hodges Persley Lecture). For example, in Sarah Jones “Your Revolution,” she breaks the “fourth wall” in theatre, the imaginary wall between the audience and the actor, by addressing the audience and encouraging the call and response effect from them (Hodges Persley Lecture). Hip-hop uses theatre to tell its stories and revolutionizes the way in which the urban youth think about and appreciate theatre and performance.
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