Abstract
Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.
Highlights
It is widely accepted in the hip-hop world that the culture is constructed of four main representational elements—DJing, B-boying, emceeing, and graffiti writing, underpinned with the fifth element of knowledge.1 Since the embryonic years of hip-hop culture during the 1970s, the already established graffiti movement operated as a complimentary visual practice to hip-hop’s music and dance elements
“Sputnik” does much to challenge the perceived embroilment of class system and misogyny which coexisted in hip-hop even before its commercialization, capitalist exploitation of hip-hop’s values has amplified these negatively in an attempt to contain the productions of hip-hop as popular, lowbrow culture
I have exhibited a snapshot of key fine art metaphors and references within lyricism and graffiti throughout the golden and new school ages of hip-hop culture
Summary
It is widely accepted in the hip-hop world that the culture is constructed of four main representational elements—DJing, B-boying, emceeing, and graffiti writing, underpinned with the fifth element of knowledge. Since the embryonic years of hip-hop culture during the 1970s, the already established graffiti movement operated as a complimentary visual practice to hip-hop’s music and dance elements. These are hugely significant statements which aver the value of embodied African cultural capital, and of particular relevance to this article is the weight with which westernized hijacking and siloed categorization of the holistic practices of arts and humanities are exposed and rejected To this end, it is not any named artist from the canon of western fine art which takes a position in hip-hop, but the universal notion of creative culture itself. With a mic I’m the Black Michelangelo”, again amplifying the intertextuality inherent in the languages of visual art and hip-hop lyrics, and juxtaposes the western canonical figure of Michelangelo with African spirituality The result of this comparation makes clear Rakim’s understanding of cultural attitudes to artforms within the context of hip-hop culture, promoting a heritage-driven form of cultural capital
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
