Blog 3 - Ethnicity & Hip-hop: Finding the Filipino Funk (S.B.)

First learning how to bgirl.

               A loud sound emanated from the room that would become my second home in the weeks to come.  I could easily hear the bass thump as I inched closer to the door.  Hesitant to twist the doorknob as if it were electrified, I waited a few moments, unsure of what to expect.  I slowly entered, and I was greeted with a wall of "destiny" written in different languages.  Advancing a few steps, I could see the spacious studio complete with mirrors and artwork that catch your attention with ease, laid atop a bring neon green background.  But this was no funhouse.  Not an ordinary one at least; in fact, it was better by a long shot.  Instrumental beats that speak stories without a word, various canvasses proudly displaying a great deal of talent to make one ponder each enigmatic illustration, and people that move as hard-hitting as Muhammad Ali with the acrobatic skills of a circus performer, I knew that I would love this place.  As soon as I stepped through the door I was immersed in an urban lifestyle that I've learned to appreciate for its uniqueness.  And so the journey begun.

                As a second generation Filipino-American, I had felt disconnected from my culture to a certain extent. My parents and siblings were born in the Philippines, myself being the only child to be born here, have little understanding of the Ilocano language, and dislike certain ethnic foods.  I definitely felt more American than Filipino, to my parents' dismay.   When I was young, I instead found a fascination with the Japanese culture as I grew up with English dubbed anime to first spark my affinity for drawing.  From the traditional art and style of dress to sushi, every aspect piqued my interest.  Although there have even been times others had mistaken me to be Japanese, one thing was certain: I knew more about another culture than I did about my own.  I would have rather have identified myself under the general term of Asian, not under the mistaken negative stereotype of "dog eater."

                My senior year of high school was when everything changed.  As electronic dance music's popularity began to skyrocket, it was not my kind of scene.  Attending my first bboy jam opened my eyes.  Fresh Cafe was hosting the United Styles bboy competition, and I assisted at Diverse Art Center's booth.  With wood-printed linoleum taped to the floor, breakbeats blasting enough to break through the doors, the emcee hyping up the crowd, and the intensity of the bboys exemplified through power and style, I couldn't help but be completely mesmerized by the scene - to think that throughout all these years, I have been missing out.  Forced to stand atop my chair in an attempt to watch the battles, I scanned the mob of spectators and bboys.  I realized that a majority of them were Filipino.  After getting to know a few of them, I learned that multiple crews hailed from Kalihi, Waipahu, and Ewa Beach: areas that are not known to be the wealthiest, but also have a large Filipino population.  Having been raised in Nuuanu and as an alumni of Roosevelt, I had to take it upon myself to discover and become exposed the scene. It begged the question, why are so many hip-hop heads Filipino? Was it just pure coincidence?

First art show in 2011, & for a good cause.

                It wasn't until my junior year of college that I decided to register for a Filipino culture class to delve deeper.  We were challenged to consider rather dark topics, such as the morality of the Europeans who once put our people on display like a circus act, the long-standing Spanish occupation, rituals consisting of self-harm, and the troubles of discrimination that plagues immigrants.  At the same time, we learned about festivals, full of life and exuberant colors emanating from the streets.  We eventually covered the topic of art and its importance in the Filipino culture.  When suppression had taken its toll, many looked toward art. It was a means of rebellion for the voice of the people - just like hip-hop.  Artistry appears to be in our blood.  Even without wealth, we make the best from what we have, including having sessions on the concrete.

                A friend of mine, who also happens to be Filipino, makes his living off of his dancing ability.  His life path has definitely not been the easiest a person could have, alongside the rest of his crew, who I also know personally.  From issues in school to losing a close loved one or being detached from one’s family due to relationship issues, dance has been their therapy.  He had recently traveled to the Philippines in order to teach free dance workshops at a church.  In spite of being unable to speak with them verbally, he was still able to “reach out to the community” and did not allow the language barrier to deter him.  Instead, he let his body language do all of the talking.  When he teaches classes locally, he makes sure not to solely teach dance, but lecture on life lessons.  He uses his own experience and advises the youth if they are veering off life’s tracks, making certain that they have a community, or rather a dance “family” to rely on and assure that they are not alone.

                Some see hip-hop as a simply a genre of music.  To others, it is that and beyond.  Hip-hop is an unlimited outlet of self-expression and a lifestyle. For myself, it helped me to find who I am, discover my potential, and perhaps most importantly, take pride in my heritage.

B#2 Hip-Hop's Multicultural Movement and China's Average Lifestyle

          The Hip-Hop movement has overrun the world.  Rap, b-boying, DJ-ing, and graffiti, the four elements of this artistic form, reach as far as the winds blow.  Although predominantly associated with African Americans, Hip-Hop has always had a multiethnic facet within its history, sometimes veiled and sometimes explicit.  The advent of the Internet has added fuel to Hip-Hop’s movement introducing a plethora of cultures to its ways of expression, and we can see rap in many different languages today.  The world is sharing this “revolutionary aesthetic…about unleashing youth style as an expression of the soul, unmediated by corporate money, unauthorized by the powerful, protected and enclosed by almost monastic rites, codes, and orders.” (Chang 111)  Socially conservative countries seem to be especially drawn to this movement with the youth using Hip-Hop as a way to rebel against outdated institutions and ideas.  Let’s use China as an example.

          Although there is good freedom of expression in China, some outdated ways of life aren’t easy to kill.  To illustrate this point, here is a rap that is a satirical social commentary on China’s people by the Taiwanese rapper MC Hotdog:

差不多先生 (Cha Bu Duo Xian Sheng) – MC Hotdog

http://www.youtube.com/watch?v=mrqKvu-rqIc

This song repeats the phrase ‘差不多’meaning “almost” or “good enough” many times.  Referencing the 20^th century poet Hu Shi, MC Hotdog is talking about how everything the Chinese do is just “good enough.” (ReadChinese)  He laments how this mentality still persists to this day to the extent that people eat dishes that are “good enough,” have sex in “good enough” positions with a “good enough” partner, and live another year that is just “good enough.”  Describing a man who is innately average or “good enough” in his song, he goes on to say that this man is “naïve” to think that there is any worth in this average life, and because he’s naïve he is “scum.”  Using Hip-Hop as a medium to express his frustration with this human condition, MC Hotdog attempts to inspire his peers so that they won’t live an average life.

          The Hip-Hop movement inspired MC Hotdog.  In the music video you can see how he imitates the styles of Hip-Hop in the way he dresses, moves and flows.  Using the context of his own culture, he has innovated the Hip-Hop art form into his own style.  This development can be seen all over the globe.  First, Hip-Hop inspires, making people want to imitate, ultimately causing people to innovate, eventually creating a style that is personal and unique.  Hip-Hop is a global movement that is incorporating multiple ethnicities and multiple cultures, and today, it’s observed on every continent because I bet you there is a scientist in Antarctica listening to some 50 Cent, or rap in their own language.

References:

Can’t Stop Won’t Stop – Jeff Chang

http://www.readchinese.net/chabuduoxiansheng

A. Tao

Hip Hop in Aotearoa

In Aotearoa – New Zealand, only about 3% of the population speaks Maori. The colonization and rapid change in society has resulted in a disconnection between the traditional Maori culture that the older generation grew up in and the younger generation in the modern, Western culture. One of the bridges is hip hop. When hip hop was introduced to Aotearoa, the younger generation immediately gravitated towards this new identity. But recent adaptations of hip hop have featured Maori musicians and artists including the Maori language into the songs. The blend of hip hop rap and culture with traditional Maori is an example of the adaptability of hip hop and the impact it can have on the rest of the world.

Breakdancing was introduced to Aotearoa in 1983 from Western Samoa. This was quickly adopted by the Maori youth, who saw breakdancing as a way to form an identity. Kopytko argues that breakdancing was a way to earn recognition when they were not able to from education and other traditional methods. After breakdancing came rap and other parts of hip hop that attracted the youth. Soon African American music, films, TV shows and clothes started becoming part of the Maori youths' identity. This was in part due to the lack of exposure of traditional Maori culture on these mass media centers. The Maori youth were looked down upon if they incorporated Maori patterns on their clothes because it was seen as “prostituting the culture or selling out”. So ironically the African American symbols and culture was seen as appropriate.

   

The first major Maori hip hop hit was “Poi E” by the Patea Maori Club in 1984. It utilized traditional Maori chants and the use of poi dancing with rap and breakdancing. But New Zealand artists are pressured to produce “radio-friendly, pop-oriented singles” rather than Maori rap and other music genres. The radio often plays US R&B and when it does play New Zealand music, it often does not include Maori lyrics. This music filtration system has kept many Maori artists from getting airtime but this has not stopped certain groups such as Upper Hutt Posse and Iwi from incorporating Maori into their lyrics.

Hip hop in Aotearoa is still a work in progress. The traditional Maori people do not want the Maori culture to be shown on clothing, calling it culture prostitution. This has alienated the youth who see hip hop as a substitute and adopt the African American style of clothing. The radio stations have filtered out the music that includes Maori lyrics, enforcing the colonialism that started generations ago. But Maori artists still use Maori in their lyrics as a sign of national pride and rebellion. The Maori hip hop is still localized within Aotearoa - New Zealand since there is little exposure outside. But hopefully it will one day spread throughout the Pacific and the rest of the world. 

A. Chang

Samoan Diaspora and the Globalization of Hip-Hop

Growing up in American Samoa I noticed first hand the influence of Hip-Hop (in the form of dancing and Gangster Rap) had on not only the youth but also majority of the population. Samoans are no strangers to Hip-Hop, and one of the biggest influences that attribute to this association was those initial emigrants living in the urban ghettos and low-income housing. You don’t have to be a Native of the island to recognize this globalization of hip-hop, as the diaspora is evident in Samoans living abroad as well. As Samoans migrated from the two islands (Western & American Samoa) and created this diaspora, they initially began their immigration to the U.S. with living in the urban ghettos; Living mainly in Hawaii, California, and the pacific west coast.

Samoans in the Urban Suburbs of Carson, CA.

 In April Henderson’s paper “Dancing Between the islands” it opens with the story of Kosmo and how he visited his family in California and learned how to dance (popping) and then returned to New Zealand with this newfound dance. “Kosmo learned the dance while staying with aiga (family) in the city of Carson, a community which drew large members of Samoans relocating from the islands” (P.181). So his influence of dancing came from his family in California and he took that back with him to Christchurch, NZ. If you didn’t already know, Carson is one of many ghetto suburbs in Los Angeles with a large population of African Americans and Latino’s. So it’s no surprise where Samoans gained this Hip-Hop influence of dance (popping/locking) and Gangsta Rap. Also out of Carson came a Samoan rap posse formed by the Devoux brothers called BOO-YAA T.R.I.B.E. who were natives of Carson. In her paper Henderson mentions them and how they grew up in the hood learning to pop/lock and how they loved listening to P-FUNK.

As Samoans began their journey in these urban settings, it paints the picture of a connection to the social-economic conditions of the Bronx in New York, Samoans in these ghettos would associate with Hip-Hop because they were going through the same exact struggle, and through dance/song they could express themselves and use Hip-Hop as their outlet away from the harsh realities.

Boo Yaa Tribe: Samoan Rappers out of Carson, CA

The interesting part is the Native Samoans from the islands (that haven’t emigrated ) and how for the most part they (myself included) did not grow up in these harsh realities (living in the ghetto’s) so why is the Hip-Hop presence just as strong? Its almost as if we have made Hip-Hop a sub-culture and the two go hand-in-hand. It goes back to Kosmo and how he connected Hip-Hop from Cali-NZ; the same concept goes for how Hip-Hop ended globalizing the natives of American Samoa. “ Many Samoans in Los Angeles County struggled in school, but excelled in athletics and dance” (P 181) This statistic is not only evident in Los Angeles but other places where Samoans dwell. They are better known for their cultural expression through the arts of song/dance. Samoans can relate to dancing as an illustration of culture because its already embedded in our way of life, so even though it’s a different form (popping/locking), they can still associate and use this art form of expression. So although initial exposure to Hip-Hop for Samoans stemmed from the migration of the natives into the urban areas of the United States, that did not stop the globalization of hip-hop from reaching the native islanders of Samoa.

Members of the Scott Park Piru: Notorious Samoan Gang

 Dance crew in Samoa (2011)

Example of Samoan rap (native islanders)

  Rafe B

Aboriginal Hip Hop by Denni M

It has been established that since its beginning, Hip Hop has always been a multiracial construction. Hip Hop is often understood as a process that is constantly being created, changed and recreated. The meaning of Hip Hop changes among the cultures that are exposed to it and to it each culture contributes its own understandings and interpretations. Different cultures utilize the elements of Hip Hop (be it graffiti, breaking, emceeing or DJing) for different reasons. The perverseness of mainstream American Hip Hop has created the image of Hip Hop as a medium for hostile opposition towards the dominant society. This new image contrasts the roots of Hip Hop which largely began as a way to identity and give voice to a community largely abandoned by society. This image has been forsake for images portrayed by such Hip Hop performers such as 50 cent who glorify a fabricated image of a ‘gangsta’ or ‘thug’ lifestyle. It is this image that is being condemned by mainstream society and it is also this image that is being shown to viewers across the world through their television screens.

One such place in which these images are filtering through is in Australia. As an indigenous peoples living with the reality of settler colonialism, the experience Australian Aboriginals differs from the experience of the minority communities in America. Their realities are more on par with the experiences of other such indigenous peoples such as Native Americans and Native Hawaiians. Instead being used as a tool of confrontation Hip Hop, and with respect to Aboriginal culture the practice of emceeing is used as a means of self – reflection and self – identification. George Stavrios from the University of Melbourne wrote an article detailing his analysis of Hip Hop culture as it has been constructed with the Aboriginal community. From the interviews emerges an insight into how Hip Hop culture is formulated outside of the U.S.  

One way in which the Aboriginal community utilizes Hip Hop is by using it as a means in which to come to terms with a Native identity. As most children of mixed or multiracial ancestry Little G a female rapper in Australia was able to embrace her Aboriginal identity through rap music. Little G herself stated that she had once denied her indigenous identity and took direct measures in order to hide it from her peers (Stavrios, 47). Instead of denying her status as an Aboriginal, Little G now had the means and desire to express her roots and to encourage others in similar situations to identify themselves.

The other two interviewees MC Wire and Morganics took a similar approach to Hip Hop but wanted to use as a means in which to educate the youth within the Aboriginal community. As a ‘settler’ or non – Native inhabitant of Australia MC Wire has found a welcoming attitude within the Aboriginal Hip Hop community and is actively engaged in various Hip Hop workshops as a means of outreach to help steer the indigenous youth into a new communal consciousness and inspire hope in the new generation of Hip Hop performers (Stavrios 50, 55).

             

           Through these examples Hip Hop as global culture develops a local context and continues its function as a socio – historical process, shaping and reshaping as the reaches of its influence expand across the globe.  

B#1 Reggae and its Socia-Historical Context

Trenchtown sound system party

Jamaica, cracked from the aftershocks of independence and post-colonialism after 1962, reached out for a better government, economy, and way of life to lead them through the transition.  At first the people placed their hopes in politics because all great change needs is better policies to represent the times.  However, the two opposing political parties, the conservative Jamaica Labour Party (JLP) and the socialist People’s National Party (PNP), used underhanded political moves and violence to gain power making the people of Jamaica “disgusted with where politricks had led the country.” (Chang 33)  Thus, the people turned to the powerful music of Reggae coming from sound systems around the block to make their voices heard.

            After independence from Great Britain, Jamaica went into an economic depression from the lack of colonial funds.  Two political parties rose to prominence to replace what was once the job of Great Britain, the JLP and the PNP; it was the JLP who first came into power.  Edward Seaga, a leading member of the JLP, was appointed as Minister of Community Development and Welfare and destroyed a neighborhood that supported the opposing political faction by force, setting the tone for how things got done.  In line with his position, he then constructed a model community called Tivoli Gardens and placed “armed young badmen to protect the area and expand JLP turf.” (Chang 26)  Gangs backed by the two political parties led this turf war and conflicts were never far away, especially around election time.

            The people were tired of the violence and destruction of their island nation as their pleas to political powers for progress went unheard.  So, the people turned their voices to the music of Reggae. The Jamaican music scene sent out messages reflecting the thoughts and feelings of the people. Seaga, once a music executive, knew “it was hard to tell where the politics ended and the music began.” (Chang 23)  The political factions saw the power of music and used it to gain support, which left the people disgusted.  Reggae was now being used as support for political factions as well as to express the real disgust and changes that people wanted in the country.

            Through the use of politricks, the socialist PNP came into power, which caught the attention of the CIA who were drowning in their communist red scare.  With the help of the CIA’s influence, investors stopped investing in Jamaica in fear of them becoming like Cuba, and sent the country into deeper economic devastation.  These economic pressures brought violence to a climax and the people kept on relying on the solid rhythms of the music and the hopeful poems in the lyrics to keep steady.

            The unfaltering music of Jamaica, called Reggae, was created in the destruction of their country.  It came at a time when expression was limited and progress didn’t exist.  The people placed their hopes in the music and the music answered their hopes.  Bob Marley brought the two heads of the opposing political factions together during one of his concerts, and “culture, it seemed, had transcended politics.” (Chang 38)  Today, Reggae is internationally recognized and associated with Jamaica, somehow growing out of the worst environment possible for culture to thrive.

A. Tao

blog four

Gangsta rap is a sub genre of hip hop music. It started out as an underground art form that exposes our own critical issues when  it comes to politics. When we think of  gangsta rap we allegedly associated  it with: crime, serial killing, violence, profanity, homophobia, racism and vandalism. we identify gangsta rap as an exposed contradiction with the scope of American culture.

Gangsta rap cannot be understood unless it is studied without the frame of its historical and social context. The music reflects its origins in the hip hop culture of young urban working  African Americans. with in the global aspects of gangsta rap it has been a world wide phenomenon.  with in every ethnic group you will find a person representing a certain style.

In samoa  we find that culture dictates on tradition of what the public will want to hear.  Take for instants Lupe  Fiasco a Samoan  rapper that has created  himself as a pioneer of the conscious hip hop movement. Fiasco focuses on social issues with in his lyrics. He talks about absent parenting, terrorism, religion and war.  His interest lye in his own social beliefs, bet rejects the idea of misogyny in hip hop, he strongly opposes censorship when to express how he is feeling on a particular topic.
when it comes to manufacturing any style of being gangsta rap  you can't depict Every style of rap is unique on to it self.
C.E.R