Reference no: EM133777669
Assignment:
Drawing on course lectures, assigned readings, and media materials, discuss the idea of counter-hegemony in the study of race, racism, and popular culture. What kinds of counterhegemonic expressions might we find in popular culture (refer to specific examples)? Given such forms of popular culture, what might it mean to also think of popular culture as a site of "cultural struggle", as Stuart Hall once suggested?
References:
Many of this course's modules up to this point have been, broadly, about the hegemonic - about how discourses of race by and large get circulated and normalized in all sorts of popular culture forms. And for many scholars that study popular culture, this is a key point of focus. But there is another dimension of popular culture to consider. When and how might popular culture feature, not just hegemonic expressions, but also counter-hegemonic ones? Counter-hegemony, as it might sound, refers to expressions that actually question and counter otherwise accepted/normalized ideas. Can popular culture be counter-hegemonic? Can popular culture be a source of critique and questioning?
There is much to suggest that it can, and this Module will consider some forms of cultural expression from across 20th century North American popular culture that might be seen as counter-hegemonic. This includes looking back at some of the conversations and debates between Black intellectuals and artists in the early 20th century (especially the iconic voice of W.E.B. DuBois, and some artists of the Harlem Renaissance). Other forms of counter-hegemonic cultural expressions might be seen in the works of Afrofuturist writers (Black science fiction - see also next Module), late 20th Black satirical comedy, and, of course, the advent of hip-hop in the 1970s. All these areas of artistic/popular culture production have histories of questioning, analyzing, and critiquing the racism of 20th century North American society.
Rose, Tricia. (1989). "Orality and technology: rap music and Afro-American cultural resistance". Popular Music & Society 13(4):35-44.
Get Out (2017, dir. J. Peele)
Sorry To Bother You (2018, dir. Boots Riley):
Grandmaster Flash and the Furious Five's "The Message" (1982) - youtube
Grandmaster Flash & The Furious Five - The Message (Official Video)
"Hank Shocklee - We All Had a Role in Creating Music For Public Enemy" - youtube
"Hank Shocklee - 'Rebel Without a Pause' is one of Public Enemy's Most Significant Record". - youtube
Hank Shocklee - "Rebel Without A Pause" Is Public Enemy's Most Significant Record (247HH Exclusive)
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