Media Hip Hop: A Culture of Vision and Voice
The elements of hip hop came together in the Bronx borough of New York City in the early 1970s. From a whole lot of nothing鈥攁nd a whole lot of imagination鈥攈ip hop took form.
Follow thirteen spoken word poets as they come together as part of the Kennedy Center’s An American Playlist and Verse. These video segments present their onstage performances, as well as interviews and clips that offer insights, background, and visions for the future.
With ferocity, compassion, and humor, these performers address pressing issues of our time with intensity unique to the spoken word style. Some explore deeply personal subjects including body image, identity, grief, and love. Others lament and glare at the pain of ingrained injustice and prejudice, raising their generation’s alarm at Islamophobia, climate change, sexism, racism, and poverty. The poets are at turns musical and lyrical, and always evocative and provocative. The show finishes with a driving live rendition of The Roots’ “The Next Movement.”
Before you start, think of what you already know about spoken word as a form of expression. Keep this in mind as you watch and listen.
Find out what the dreams of the featured performers are and how they hope to achieve them.
List the different styles and techniques employed by the performers. Keep another list of the topics and themes in their performances.
How do the different performers use sensory detail—descriptions of taste, scent, touch, sound, and sight—in their pieces? How do they try to get a laugh or shock the audience?
What are their words about?
What do you see and hear?
What do you have to say?
PushYourself!
Think about the different performers and performances. If you were scheduling the show, what order would you put them in? Why?
This video explores the performances of many young poets at the Kennedy Center’s An American Playlist, part of the Center’s Arts in Crisis program. Students performed original spoken word pieces in front of an audience while working with Questlove and Black Thought of The Roots, as well as other performers and artists.
Viewers should focus on:
Instructional Strategies
The video lends itselves to large-group or individual listening and to both individual and group research.
Before presenting the video, share the following quote from Garth Ross, Director of Performing Arts for Everyone:
“We talk about the economy, and we talk about manufacturing and trade, but we never talk about our cities and our culture. Culture is a compass showing us the way forward. We hope evenings like this can show the strength of our culture and show us the way forward.”
Have students respond in an essay about what they believe to be the “challenges of the day” and how they think that the arts are a means through which Americans can address them.
Ask students, alone or in teams, to create playlists of actual songs that address some of the issues raised by the spoken word poets in their performances (e.g., the environment, racism, feminism, etc.).
Encourage your students!
More resources for your students:
Writer
Sean McCollum
Producer
Kenny Neal
Updated
January 21, 2020
The elements of hip hop came together in the Bronx borough of New York City in the early 1970s. From a whole lot of nothing鈥攁nd a whole lot of imagination鈥攈ip hop took form.
You鈥檙e in the studio and at the mixing console with Motown historian Harry Weinger and Questlove of The Roots as they unpack classic tracks including Marvin Gaye鈥檚 1971 chart-topper 鈥淲hat鈥檚 Going On鈥 and The Supremes' 1966 hit 鈥淵ou Can't Hurry Love.鈥
On the flip side of many 45 RPM records made by African Americans in the '40s, '50s and '60s, there are Civil Rights songs that no one has ever heard.
Billie Holiday had a hit record with the song 鈥淪trange Fruit鈥 in the 1930s, bringing light to the horror of lynching in the American South.
How do fables and myths explain the unknown and preserve cultures? What makes a good story? How do plays comment on societal issues? Grab a pencil and prepare to create original poems, experience the Civil War through letters, and parse symbolism and metaphor in this exploration of language arts.
In this video series, turntablist Kuttin Kandi, one of the best battle DJs in the game, demonstrates the basics of her instrument.
This performance explores the hip hop dance and music movement including beat boxing, breaking, locking, floor work, and top rock.
Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.
Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;
Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..
The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.