302/402 - University of Hawaii

PASI 302
engaging narratives: hip hop, diaspora, and
imagination in the pacific
24 points
_____________________________________________________________
Image of The Feelstyle in Samoa, Festival Mushroom Records ©2004
Coordinator:
Lectures:
April Henderson, [email protected]
6 Kelburn Parade
Room 206
ext 5829
Tuesday, Wednesday 3:10-5:00pm, Murphy 632
For additional information:
Diana Felagai
6 Kelburn Parade
Room 101
ext 5830
In this paper students will explore a central question—“What are the stakes involved in
narrativisation?”—through an examination of the cultural forms of hip hop and the specific ways that
those forms are embraced, contested, practiced and lived in the Pacific.
Hip hop culture is an important global cultural development of the late 20th-early 21st centuries. Hip hop
culture is deeply significant for many Pacific peoples, especially young people in the transplanted
Pacific populations of Aotearoa New Zealand, Australia, Hawai’i, and the continental United States.
Additionally, hip hop has had a prominent impact on indigenous Maori, Hawaiian and Aboriginal
cultural production, and has varying degrees of influence on people in island nations such as Samoa,
Tonga, and Fiji.
This paper looks at some of the numerous narratives of hip hop culture—the competing conceptions of
what hip hop is, where it comes from, who it belongs to and who belongs to it—and explores how these
multiple definitions typically mark a complex weave of assumptions about race, class, gender, power,
authenticity, and belonging. Students will be asked to read Pacific narratives of hip hop culture
alongside non-Pacific narratives, and expected to develop an ability to critically situate Pacific
narrativisation practices within global contexts, as well as explore the uneven translations of localism
across space and time. What are the current debates about hip hop in some of the key Pacific locations
1
where it is actively practiced? How is hip hop culture practiced differently in different Pacific locales,
and what relationship do these differences bear to local politics, economics, and histories? How do
Pacific hip hop artists situate themselves and their work locally, regionally, internationally, and with
respect to the competing conceptions about authenticity so prevalent in both Pacific and hip hop
“communities”?
In this course, particular attention will be paid to Pacific peoples in Aotearoa New Zealand, Hawai’i,
and the continental United States—especially Samoans—whose participation in hip hop culture is
inextricably linked to a history of labour migration and urban settlement. Given this context of
movement, this paper delves into the topic of diaspora as a fraught but potentially useful concept for
exploring narratives of belonging in hip hop, in the Pacific, and in the hip hopping Pacific.
This is a reading and writing intensive paper.
Course Aims and Objectives
Students who pass this paper:
•
•
•
•
•
•
•
•
•
•
will keep up with assigned readings;
will attend seminars regularly;
will bring with them analytical tools and historical/cultural understanding gained from PASI 101,
PASI 201, and other approved courses for the PASI major;
will become "close readers" of texts;
will contribute to seminars sincerely and conscientiously, knowing that they are enjoying the
privilege of both creating and revising the field of Pacific Studies;
will be able to identify the ways that individual and collective acts of narrative-making articulate
social relationships, and are deeply invested in struggles over power and representation;
will understand some of the key debates over authenticity and belonging in hip hop culture, and
will be able to coherently situate Pacific narratives amidst these debates;
will understand some of the key debates over authenticity and belonging in Pacific cultures, and
will be able to coherently situate contemporary popular cultures such as hip hop amidst these
debates;
will be able to present their research and original ideas in a scholarly fashion both in writing and
in formal seminars;
will develop a strong sense of intellectual community with other seminar participants and guest
speakers.
Workloads
The workload for PASI 302 is consistent with other departments within the Faculty of Humanities and
Social Sciences 24 point courses. You are expected to allow on average 12 hours per week of reading
and engaging with the material for this paper.
Required Texts:
• Multilith of course readings (available for purchase from Student Notes).
• Audiovisual materials screened in class. Many of the videos and DVD screened in class are
personal copies of the lecturer and will not be available at the A/V Suite. It is imperative that you
attend class to see this material.
2
•
Class handouts.
Recommended Texts:
• Jeff Chang, Can’t Stop Won’t Stop: A History of the Hip Hop Generation. New York; St.
Martin’s Press, 2005
• Martha Cooper, Hip Hop Files: Photographs 1979-1984. Cologne, Germany; From Here to Fame
Publishing, MZEE Productions, 2004
• Gareth Shute, Hip Hop Music in Aotearoa. Auckland; Reed Publishing, 2004
• Readings on reserve at the Library;
Assessment
Coursework
• 10 weekly response papers
• Research assignment
• Class seminar presentations and participation
100%
30%
40%
30%
 Weekly Response Papers (30%)
A total of ten response papers must be submitted over twelve weeks. You are
free to choose which two weeks you will not submit a response paper. These
response papers must be handed in each Tuesday, at the beginning of the week
Explanation: Often, as a student, you take for granted that what you read in your classes is a
transparent representation of fact. It is only when you read two differing accounts of the same
event or people that you begin to realize that any written history or account of a culture is not so
much a transparent and unquestionable record of “how things were” or “how things are,” but
rather a carefully constructed narrative which seeks to take something very messy and openended (real life) and reduce it to something very tidy and orderly (a written history, or an
ethnography, for instance).
To give you an opportunity to “engage narratives” and become critical readers of texts, each
week, you are required to prepare a 400-500 word response paper that critically compares at least
two of the required readings for that week. Please note that summarising of the texts should be
kept to a minimum – two or three succinct sentences situating the central arguments. The
majority of your response paper should specifically focus on comparing the texts as
constructed narratives, in other words, certain types of stories which emphasise particular
versions of history or particular conceptions of identity. Reflect on questions such as: Who is
constructing each story? When? Where? How? What elements seem especially crucial to each
narrative? Who and what is particularly important in each piece of writing? Who or what is
emphasised? Who or what is unimportant? How do the two different readings differ in the claims
they make about truth or “the way things were/are”? Students may be asked to read or speak
about their response papers at random throughout the term.
 Research assignment
(40%)
Your research for this course will be an important contribution to the developing field of Pacific
Studies.
•
Step 1: Choose a topic - For this research assignment, you will develop a topic drawing
on significant themes in this course; that is, a topic that engages with any aspect of hip
3
•
•
hop culture in the Pacific -or- engages with issues of diaspora, culture, and/or identity in
the Pacific. Let me repeat, you do not have to write your research essay on hip hop if
you do not want to. The broader themes and methods of critical engagement emphasised
in this course are broadly applicable to any topic you choose. Keep in mind that a non-hip
hop topic may require some additional work sourcing relevant materials for your
bibliography.
Step 2: Gather materials – Identify a body of sources relevant to your topic. Your
bibliography should have a minimum of ten sources, with at least six printed sources. The
remaining sources may include internet sites, audiovisual materials, and other sources.
Step 3: Engage narratives – This is the tricky part! Rather than simply compose a
standard research essay, where you pull data from your variety of sources to write a
(hopefully cohesive) narrative of “how things were/are,” this assignment asks you to do
something different. Building upon the skills you’ve developed writing your weekly
response papers, your research essay will engage and examine the body of relevant
sources you’ve gathered, identifying narrative patterns (common themes or ways of
explaining “how things were/are”) and significant divergences. Do you note sharp
distinctions between the accounts of history and/or culture presented in the range of
materials? What elements are important in each account? Situate your detailed analysis of
these accounts within a general argument about “the stakes” involved in their
composition; in other words, why and how does it matter that these various
representations are being made? Why and how do they matter for Pacific peoples?
Initial Draft of Essay (10%) Due Friday 23 September by 4:00pm to 6KP
This initial draft of your research essay should be developed as fully as possible, and feature
proper formatting, citation style, and a bibliography. This initial draft will be marked, and
returned for revision. Assessment will be based on the degree of development of the topic, and
effective organization and exposition of content. The more work you put into the initial draft, the
better your final essay will be, so take the draft seriously.
Final Draft of Essay (30%) Due 14 October by 4:00pm to 6KP
The final draft of your research assignment will be assessed as much on form as it will be on
content. Assessment will be based on relevance, accuracy, effective organisation and exposition
of content, use of appropriate academic citation formats, and provision of a bibliography. Marks
will also be awarded for the absence of typographical errors.
 Class seminar presentations and participation
(30%)
Class seminar presentations (20%) sign up for a total of two
Sign-ups for class seminar presentations will take place in Week 1, with the first seminars taking
place in Week 2. Each person will give 2 seminar presentations over the course of the trimester.
In each seminar presentation, you will:
a)
briefly summarise and respond critically to at least two of the week’s required
texts, and;
b)
lead seminar discussion by preparing questions or exercises for the entire class.
Seminar presenters will be expected to briefly but adequately summarize readings and draw out
critical elements from each reading’s arguments. Your short seminar presentations may draw
upon and elaborate on your weekly response paper. Seminars should be approximately 15
minutes in length, with subsequent time allowed for discussion. Presentations will be marked on
relevance, organization, accuracy, and ability to stimulate discussion.
4
General class participation (10%)
General participation marks are earned over the course of the term through your conscientious
contributions to both group exercises and general seminar discussion. To best equip you to
receive general class participation marks, attend class and do your reading.
GENERAL UNIVERSITY POLICIES AND STATUTES
Students should familiarise themselves with the University's policies and statutes, particularly those
regarding assessment and course of study requirements, and formal academic grievance procedures.
Student Conduct and Staff Conduct
The Statute on Student Conduct together with the Policy on Staff Conduct ensure that members of the
University community are able to work, learn, study and participate in the academic and social aspects
of the University's life in an atmosphere of safety and respect. The Statute on Student Conduct contains
information on what conduct is prohibited and what steps can be taken if there is a complaint. For
queries about complaint procedures under the Statute on Student Conduct, contact the Facilitator and
Disputes Advisor. This Statute is available in the Faculty Student Administration Office or on the
website at:
www.vuw.ac.nz/policy/StudentConduct.
The policy on Staff Conduct can be found on the VUW website at:
www.vuw.ac.nz/policy/StaffConduct.
Academic Grievances
If you have any academic problems with your course you should talk to the tutor or lecturer concerned
or, if you are not satisfied with the result of that meeting, see the Head of School or the relevant
Associate Dean of your faculty. Class representatives are available to assist you with this process. If,
after trying the above channels, you are still unsatisfied, formal grievance procedures can be invoked.
These are set out in the Academic Grievance Policy which is published on the VUW website:
www.vuw.ac.nz/policy/AcademicGrievances.
Academic integrity and Plagiarism
Academic integrity is about honesty – put simply it means no cheating. All members of the University
community are responsible for upholding academic integrity, which means staff and students are
expected to behave honestly, fairly and with respect for others at all times.
Plagiarism is a form of cheating which undermines academic integrity. Plagiarism is prohibited at
Victoria.
The University defines plagiarism as follows:
Plagiarism is presenting someone else's work as if it were your own, whether you mean to or not.
‘Someone else’s work’ means anything that is not your own idea, even if it is presented in your own
style. It includes material from books, journals or any other printed source, the work of other students or
staff, information from the Internet, software programmes and other electronic material, designs and
ideas. It also includes the organization or structuring of any such material.
Plagiarism is not worth the risk.
5
Any enrolled student found guilty of plagiarism will be subject to disciplinary procedures under the
Statute on Student Conduct (www.vuw.ac.nz/policy/studentconduct) and may be penalized severely.
Consequences of being found guilty of plagiarism can include:
•
an oral or written warning
•
suspension from class or university
•
cancellation of your mark for an assessment or a fail grade for
the course.
Find out more about plagiarism and how to avoid it, on the University’s website at:
www.vuw.ac.nz/home/studying/plagiarism.html.
Students with Disabilities
The University has a policy of reasonable accommodation of the needs of students with disabilities.
The policy aims to give students with disabilities an equal opportunity with all other students to
demonstrate their abilities. If you have a disability, impairment or chronic medical condition
(temporary, permanent or recurring) that may impact on your ability to participate, learn and/or achieve
in lectures and tutorials or in meeting the course requirements, please contact the Course Co-ordinator
as early in the course as possible. Alternatively you may wish to approach a Student Adviser from
Disability Support Services to confidentially discuss your individual needs and the options and support
that are available. Disability Support Services are located on Level 1, Robert Stout Building:
Telephone: 463-6070 Email: [email protected]
The name of your School’s Disability Liaison Person is in the relevant prospectus or can be obtained
from the Administrative Assistant.
Student Support
Staff at Victoria want students' learning experiences at the University to be positive. If your academic
progress is causing you concern, the following staff members will either help you directly or quickly put
you in contact with someone who can.
FHSS
Law
Science, and
Architecture and Design
Commerce and Administration
Kaiwawao Maori
Manaaki Pihipihinga
Victoria International
Staff member
Dr Allison Kirkman,
Assoc. Dean (Students)
Kirstin Harvey
Liz Richardson
Location
Murphy Building, room 407
Colin Jeffcoat
Liz Rawhiti
Melissa Dunlop
Anne Cronin
Railway West Wing, room 119
Old Kirk, room 007
14 Kelburn Pde, room 109D
10 Kelburn Pde, room 202
Old Govt Building, room 103
Cotton Building, room 150
The Student Services Group is also available to provide a variety of support and services. Find out
more at: http://www.vuw.ac.nz/st_services/ Email: [email protected].
VUWSA employs two Education Cooordinators who deal with academic problems and provide support,
advice and advocacy services, as well as organising class representatives and faculty delegates. The
Education Office is located on the ground floor, Student Union Building:
Telephone 463 6983 or 463 6984 Email: [email protected].
6
PASI 302/402
weekly schedule
week one
Introductions; Course Overview; What do we mean by ‘narratives’?
5/7 Session 1 – Introductory exercise; Course Overview
6/7 Session 2 – Lecture , “What do we mean by ‘narratives’?” ; Group
exercise and discussion
weekly readings
302/402
1. Rosaldo, Renato, “Narrative Analysis” in Culture & Truth: The
Remaking of Social Analysis. Boston, Beacon Press, 1989: 127-143
2. Ang, Ien, “Identity Blues” in Paul Gilroy, Lawrence Grossberg and
Angela McRobbie, eds, Without Guarantees: In Honour of Stuart Hall.
London: Verso, 2000: 1-13
3. Jeff Chang, “Prelude” in Can’t Stop Won’t Stop: A History of the HipHop Generation. New York; St Martin’s Press, 2005: 1-3
402
White, Hayden, “The Value of Narrativity in the Representation of Reality”
in The Content of the Form: Narrative Discourse and Historical
Representation. Baltimore, MD: The Johns Hopkins University Press, 1987:
1-25
White, Hayden, “Historical emplotment and the problem of truth,” in The
Postmodern History Reader. London, Routledge, 1997: 392-396
7
week two
Imagining Oceania, Part I
12/7 Session 1 - Lecture, “Diaspora(s)”; Group exercise and discussion
13/7 Session 2 - student presentations___________________________________
___________________________________
Discussion
weekly readings
[handout] Campbell, Malcolm, “Diasporas,” New Zealand Journal of
History Vol. 37 No. 2 (2003): 125-129
302/402
4. Clifford, James, “Travelling Cultures,” in Routes: Travel and
Translation in the Late Twentieth Century. Cambridge: Harvard University
Press, 1997: 17-46, 349-350
5. Salesa, Damon, “’Travel-Happy’ Samoa: Colonialism, Samoan
Migration and a ‘Brown Pacific’,” New Zealand Journal of History Vol. 37
No. 2 (2003): 171- 188
6. Figiel, Sia, “Dawn Approaching I Think Of a Friend,” in Noralynn
Schubert Kanemura and Eveline Woo, eds, Tatou Tusitala: Let’s Write
Stories: An Anthology of Samoan Writings. Honolulu: Samoan Arts and
Language Program, University of Hawai’i, vol 1, no 1, Spring 1999:126127
402
Clifford, James, “Valuing the Pacific - An Interview with James Clifford,”
in Robert Borofsky, ed., Remembrance of Pacific Pasts: An Invitation to
Remake Pacific History. Honolulu: University of Hawai’i Press, 2000: 9299
Hall, Stuart, “Cultural Identity and Diaspora,” in Jonathan Rutherford, ed.,
Identity: Community, Culture, Difference. London: Lawrence & Wishart,
1990: 222-237
week three
Imagining Oceania, Part II
19/7 Session 1 – Lecture, “Culture and Identity”; Group exercise and discussion
20/7 Session 2 - student presentations___________________________________
8
___________________________________
Discussion
weekly readings
302/402
7. Ngan-Woo, Feleti E., “Introduction,” in Fa’aSamoa: The World of
Samoans. Auckland: Office of the Race Relations Conciliator, 1985: 9-11
8. Wendt, Albert, “Towards A New Oceania.” Mana Review vol 1, no 1,
1976: 49-60/ Reprinted in Seaweeds and Constructions 7: 71-85
9. Wendt, Albert, “The Contest.” Landfall vol 40. no 2, June 1986: 144153
Dening, Greg, “Empowering Imaginations.” The Contemporary Pacific vol
9, no 2, 1997: 419-429
402
Greg Dening, “History In the Pacific,” in David Hanlon and Gregory M.
White, eds, Voyaging through the Contemporary Pacific. Lanham; Rowman &
Littlefield, 2000: 135-138
Sharrad, Paul, “Imagining the Pacific.” Meanjin vol 49 no 4, 1990: 597-606
week four
Imagining Hip Hop, Part I
27/7 Session 1 – Lecture, “Hip hop histories”; [video] excerpt from The Freshest Kids –
A History of the B-Boy (2002) dir. By Israel
28/7 Session 2 – [video] Nobody Knows My Name (1999) dir. Rachel Raimist
student presentations___________________________________
___________________________________
Discussion
302/402
weekly readings
10. Steven Hager, “Prologue,” and “Ch.1 The Bronx on Fire,”in Hip Hop:
The Illustrated History of Breakdancing, Rap Musioc, and Graffiti. New
York; St Martin’s Press,1984: ix-x; 1-11
11. Jim Fricke and Charlie Ahearn, eds, “Chapter Two – The Forefathers:
B-boy and DJ Culture in the Bronx,”in Yes Yes Y’all: The Experience
Music Project Oral History of Hip Hop’s First Decade. Cambridge. MA: Da
Capo Press 2002: 23-65
12. Jeff Chang, “Making a Name: How DJ Kool Herc Lost His Accent and
Started Hip-Hop,” in Can’t Stop Won’t Stop: A History of the Hip-Hop
Generation. New York; St Martin’s Press, 2005: 66-85
9
13. Verán, Cristina “First Ladies,” in Rob Kenner, ed, VIBE Hip Hop
Divas. New York: Three Rivers Press, 2001: 4-19
402
14. Tricia Rose, “‘All Aboard the Night Train’: Flow, Layering, and
Rupture in Postindustrial New York,” in Black Noise: Rap Music and Black
Culture in Contemporary America. Hanover, CT: Wesleyan University
Press, 1994: 21-61
Paul Gilroy, “Jewels Brought From Bondage: Black Music and the Politics
of Authenticity,” The Black Atlantic: Modernity and Double
Consciousness. Cambridge, MA: Harvard University Press, 1993: 72-110
Some suggested internet links:
http://www.daveyd.com/daveyhistorylinks2002.html
http://www.cantstopwontstop.com
http://www.mrwiggleshiphop.net/
http://www.b-boys.com
http://www.hiphopliveshere.com
week five
Imagining Hip Hop, Part II
2/8 Session 1 – Lecture, “Hoods and Ghettos: Geography as Authenticating Discourse”;
Group exercise and discussion
3/8 Session 2 – [video] excerpts from My Crasy Life (1992) dir. By Jean-Pierre Gorin
student presentations___________________________________
___________________________________
Discussion
302/402
weekly readings
15. Murray Forman, “Space Matters: Hip-Hop and the Spatial Perspective,”
in The ‘Hood Comes First: Race, Space, and Place in Rap and Hip-Hop.
Middletown, CT: Wesleyan University Press, 2002: 1-34; 349-350
16. Raquel Z. Rivera, “Whose Hip Hop?: The Late 1980s and Early 1990s,”
in New York Ricans From the Hip Hop Zone. New York: Palgrave
Macmillan, 2003: 79-96
10
402
17. Miller, Ivor L., “E Pluribus Unum?: Flippin’ the Script on the Dominant
Order,” in Aerosol Kingdom: Subway Painters of New York City. :24-49
Murray Forman, “Welcome to the City: Defining and Delineating the
Urban Terrain,” in The ‘Hood Comes First: Race, Space, and Place in Rap
and Hip-Hop. Middletown, CT: Wesleyan University Press, 2002: 35-67;
349-350
week six
In the Airwaves, On the Ground: California, Part I
9/8 Session 1 – Lecture, “Talkin’ ‘Bout the West Coast”; [video] excerpts from Breakin’ and
Entering (1984) dir. By Topper Carew
10/8 Session 2 – [video] excerpts from The Freshest Kids: A History of the B-Boy (2002)
dir. by Israel; student presentations___________________________________
___________________________________
Discussion
weekly readings
302/402
18. Kelly, Raegan, “Hip Hop Chicano: A Separate But Parallel Story,” in
Brian Cross, It’s Not About a Salary: rap, race + resistance in Los Angeles
London: Verso, 1993: 65-75
19. Higa, Ben, “Electric Kingdom.” Rap Pages Special Dance Edition,
September 1996: 52-52-67
20. Higa, Ben, “Early Los Angeles Hip Hop,” in Alan Light, ed., The VIBE
History of Hip Hop. New York, Random House, 1999: 111-119
402
Cross, Brian, “L.A. Hip Hop: A Brief History,” in It’s Not About a Salary:
rap, race + resistance in Los Angeles London: Verso, 1993: 5-39; 48-64
Kelley, Robin D.G., “Kickin’ Reality, Kickin’ Ballistics: ‘Gangsta Rap’
and Postindustrial Los Angeles,” in Race Rebels: Culture, Politics, and the
Black Working Class. New York,: Free Press, 1994:183-227
11
Image of B-boy 01 by DEAP © 2004
Suggested internet link:
http://www.daveyd.com/historyphysicalgrafittifabel.html
mid term break
15 August – 26 August
week seven
In the Airwaves, On the Ground: California, Part II
30/8 Session 1 – [video] Omai Fa’atasi (1974) dir. By Takashi Fujii, prod. By Visual Communications;
Group exercise and discussion
31/8 Session 2 – [guest presenter] Kosmo Fa’alogo; [video]Tribal Scars (2003) (Boo-Yaa
T.R.I.B.E. documentary trailer); Bang On music video; Discussion
weekly readings
302/402
21. Janes, Craig R., “Settling In: Opportunities, Challenges, and Stresses,”
in Migration, Social Change, and Health: A Samoan Community in Urban
California. Stanford, CA: Stanford University Press, 1990: 44-61
22. Excerpt from Asian Americans and Pacific People: A Case of Mistaken
Identity. Report of the California Advisory Committee to the U.S.
Commission on Civil Rights. February 1975: 52-57
23. Koria, Samoa “Who Are Samoans and What Are They Doing in the
U.S.?.’GIDRA1990: 28-29
12
24. Interviews with “Boo-Yaa T.R.I.B.E.,”“Matt Robinson,” “Kid Frost,”
and “Matthew McDaniel,” in Brian Cross, ed., It’s Not About a Salary: rap,
race + resistance in Los Angeles London: Verso, 1993: 149-152; 174-177;
190-195; 227-230
25. JR, “Real Talk: An Interview with Godfather of the Boo-Yaa Tribe.”
San Francisco Bay View. Accesed at
http://www.sfbayview.com/082703.shtml on 01/09/03
Some suggested internet links:
http://www.gawtti.com/gawtti.htm
http://www.polycafe.com
week eight
In the Airwaves, On the Island: Hawai’i,
6/9 Session 1 - Lecture, “Hawai’i, at the Crossroads”; [video] Fa’aSamoa, Yesterday and
Today (1993) dir. By Fabio Golombek and Greg Neri, prod. by Octus Productions
7/9 Session 2 - student presentations___________________________________
__________________________________
Discussion; Group exercise and discussion.
weekly readings
26. Yim, Susan, “Proud to Be From Kalihi.” Honolulu February 1996: 2432Honolulu
302/402
27. Honolulu Advertiser newspaper articles, “Samoans walk a line between
two worlds.” 28 march 1999: A1, A8-A9; “The New Villages” 28 March
1999: E1, E8: “American justice often contradicts Samoan way.”29 March
1999: A1, A6
[handout] Halifu Osumare, “Global Breakdancing and the Intercultural
Body,” Dance Research Journal Winter 2002 vol 34 number 2: 30-45
28. Kilby, Jess, “Hip Hop Honolulu.” Honolulu Weekly vol 9, no 27, 7-13
July 1999: 5-7
13
Some suggested internet links:
http://www.hawaiihiphop.com
http://www.eliteempire.com
week nine
In the Airwaves, On the Island: Samoa and Amerika Samoa
13/9 Session 1 –Lecture, “Hip Hop in the Samoas”’ group exercise and discussion
14/9 Session 2 - student presentations___________________________________
___________________________________
Discussion
Reminder: Initial Draft of Essay due next Friday, 23 September, by 4:00pm to 6KP
weekly readings
302/402
29. Linkels, Ad, “Part I. General Information,” in Fa’a-Samoa: The Samoan
Way…..between conch shell and disco. Tilberg: Mundo Étnico Foundation,
1997: 5-24
30. Booth, Robert, “The Two Samoas: Still Coming of Age.” National
Geographic vol 168, no 4, October 1985: 4452-473
31. Iyer, Pico, “Whose nation is it anyway? A half Polynesian idyll, half
Rotary club protectorate. (Pago Pago, American Samoan).” Time 15 May
1989, accessed on
http://www.highbeam.com/library/doc3.asp?DOCID=1G1:7576739&print=yes
32. Figiel, Sia, “In the wind, in the dark,” and “Le Au Giusila,” in Where We
Once Belonged. Auckland: Pasifika Press, 1996: 21-33. 39-44
33. Macpherson, Cluny, “Transnationalism and Transformation in Samoan
Society,” in Victoria S. Lockwood, ed., Globalization and Culture Change in
the Pacific Islands. Upper Saddle River, NJ; Pearson Prentice Hall, 2004: 165181
week ten
In the Airwaves, On the Ground: Aotearoa, Part I
20/9 Session 1 - Lecture, “Between Our Islands We Dance” ; group exercise and
discussion
21/9 Session 2 – [video] excerpts from Aotearoa hip hop documentaries
student presentations___________________________________
14
___________________________________
Discussion
Reminder: Initial Draft of Essay due this Friday, 23 September, by 4:00pm to 6KP
weekly readings
34. Urale, Makerita, “Godzone.” New Internationalist no 291, June 1997:
22-23
402 302/402
[handout] Excerpts from Mark Scott, Streetaction Aotearoa. Auckland:
Arohanui Publications, 1985
35. Kopytko, Tania, “Breakdance as an Identity Marker in New Zealand.”
Yearbook of Traditional Music vol XVIII, 1986: 21-27
36. Shute, Gareth, “Ch. 1 Stirrings in the Capital,” in Hip Hop Music in
Aotearoa. Auckland; Reed Publishers, 2004: 13-15, 18-19, 21-22
37. Ihaka, Jodi, “Why the Kids Wanna Be Black.” Mana no 3,
August/September 1993: 10-15
Mitchell, Tony, “Kia Kaha! (Be Strong!): Maori and Pacific Islander HipHop in Aotearoa-New Zealand,” in Tony Mitchell, ed., Global Noise: Rap
and Hip-Hop Outside the USA. Middletown, CT: Wesleyan University
Press: 280-305
Some suggested internet links:
http://www.hiphopnz.com
http://www.thenext.org.nz
week eleven
In the Airwaves, On the Ground: Aotearoa, Part II
27/9 Session 1 – Lecture, “Aotearoa Hip Hop Now”; group exercise and discussion
28/9 Session 2 -[video] selection of NZ music videos
student presentations___________________________________
___________________________________
Discussion
Reminder: Work on revising Final Draft of Essay
weekly readings
15
38. Zemke-White, “Keeping It Real (Indigenous): Hip Hop in Aotearoa as
Community, Culture, and Consciousness,” in Claudia Bell and Steve
Matthewman, eds, Cultural Studies in Aotearoa New Zealand : Identity,
Space, and Place. London; Oxford Univ Press, 2004: 205-228
39. Lyrics to King Kapisi’s “Screams From the Old Plantation.” (Urale, B.
and K. Futialo) Savage Thoughts, Festival Mushroom, 2000
40. Paligaru, Clement and King Kapisi, “King Kapisi and the Rise of
Samoan Hip-Hop (Interview).” Australian Broadcasting Corporation, 2001,
accessed at http://www.abc.net.au/arts/music/stories/s440020.htm: 1-4
41. Gibson, Lorena, “Negotiating Gender in Aotearoa Hip-Hop,” in
Versioning for the love of it: Hip-Hop Culture in Aotearoa. Unpublished
MA Thesis (Social Anthropology), Massey University, Palmerston North,
New Zealand: 71-92
42. McAllister, Janet, “Home Girls.” Weekend Herald January 15 2005: 1013
402 302/402
43. Wain, Richard, “Polynesian Styles.” Rip It Up, no 285, February/March
2002: 37-47
44. Verán, Cristina, “Hip-Hop’s Pacific Promised Land.” Oneworld
April/May 2002: 84-91
45. Black Dog Bone, “New Zealand.” Murder Dog vol 8, no 4, October
2001: 80-87
46. Schmidt, Veronica, “Not Many, If Any.” NZ Listener vol 191, no 3320,
27 December 2003 – 2 January 2004: 14-17
Edgar Tamieni Bennet, selections from “Scratchin' the surface : hip-hop
and the social construction of Auckland's urban-Polynesian youth
identities.” MA Thesis (Geography), University of Auckland, 2002
[handout]
week twelve
In the Airwaves, On the Ground: Elsewhere in Oceania, and Rap Up
4/10 Session 1 – [video] Island style: young people forging a unique identity (1998) dir. Carla
Drago ; prod. by Liz Watts; discussion
4:10-5:00 pm, class will join ARTH 112 for lecture, “Visual Culture: The Case of Graffiti”
5/10 Session 2 – student presentations______________________________
______________________________
Discussion and Rap-up
Reminder: Final Draft of Essay due next Friday, 14 October, by 4:00pm to 6KP
16
302/402
weekly readings
47. Gareth Shute, “Studying Hip Hop Music in Aotearoa,” in Hip Hop
Music in Aotearoa. Auckland; Reed Publishing, 2004: 163-164; 166-167;
169-173
48. Gibson, Lorena, “Jandals With Soles: History and Hip-Hop in
Aotearoa,” in Versioning for the love of it: Hip-Hop Culture in Aotearoa.
Unpublished MA Thesis (Social Anthropology), Massey University,
Palmerston North, New Zealand: 31-51
49. Wendt, “Novelists and Historians and the Art of Remembering,” in
Antony Hooper, Steve Britton, Ron Crocombe, Judith Huntsman and Cluny
Macpherson, eds, Class and Culture in the South Pacific. Auckland: Centre
for Pacific Studies, and Suva: Institute of Pacific Studies, 1987: 78-91
50. Jim Fricke and Charlie Ahearn, eds, “Epilogue: No Boundaries,”in Yes
Yes Y’all: The Experience Music Project Oral History of Hip Hop’s First
Decade. Cambridge. MA: Da Capo Press 2002: 334-340
17