![]() What if people had said, ‘we shouldn’t study Toni Morrison or Hemingway or Emily Dickinson because they’re too new?" he continued to USA Today. ĭiehl introduced a course on Lamar in 2014, and today lectures on hip-hop at Augusta University. Good kid, m.A.A.d city has themes of "gang violence, you’ve got child-family development in the inner city, you’ve got drug use and the war on drugs, you’ve got sex slavery, human trafficking - a lot of the things that are hot-button issues for today are just inherent in the world of Compton, California," Georgia Regents University instructor Adam Diehl told * USA Today. Lamar is among the artists who exemplify the way hip-hop culture transcends genre and form, whose work is a living document of society. Decades after Howard University began talking about hip-hop studies in 1991 and the University of California, Berkeley created a course to study the late rapper Tupac Shakur in 1997, 17-time GRAMMY winner Kendrick Lamar is now the subject of dedicated college courses around the country. The study of hip-hop has also experienced significant development - from history-focused socio-cultural studies, to deep dives on specific artists. He cites Brown University professor Tricia Rose’s 1994 book Black Noise: Rap Music and Black Culture in Contemporary America as a key breakthrough to pave the way for hip-hop scholarship. He comes from a generation that had no context for it being somewhat academic."Ĭharnas certainly isn't the first academic to study hip-hop. "When I was on last year, he’s like, ‘So you teach hip-hop, what’s that like?’ It was such a weird question! He says when he was a student at Tisch, where I teach, hip-hop was the thing you did instead of school. "It’s funny," he continues, citing an episode of podcast. So teaching hip-hop is just teaching history," Charnas tells, adding that not incorporating hip-hop into his curriculum would "be an incomplete education of our world. "Hip-hop is just part of a longer popular music tradition which sits very squarely in any history - cultural, music or otherwise. Dilla - who produced for artists including A Tribe Called Quest, Common and Janet Jackson - inspired Charnas to write the New York Times bestseller Dilla Time. His popular course on the late producer and composer J. Dan Charnas, Associate Arts Professor at New York University, suggests that hip-hop is crucial in overall education. What hip-hop artists have been expressing about race, violence, economic class and beyond for the past 50 years is used as a powerful education tool in the present. ![]() From dancing and rhyming in K-12 classrooms to university-level classes and archives, artist-centric studies and fellowships, the use of hip-hop in education has evolved significantly over the decades. Despite the mainstream forces that long sidelined hip-hop its rightful impact for decades, what began as a cultural expression now has significantly impacted business, music and culture on a global scale.īeginning in the 1990s, hip-hop music and culture emerged as a key pedagogical tool in education at all levels. In its 50th year, hip-hop is in a remarkable place of leadership.
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