Hip-Hop as Cosmopolitan Citizen Media

    by David Sasaki
    December 29, 2009

    Seeking greater social inclusion through new communication technologies is a strategy with a long and accomplished history that has persisted through waves of new inventions including the telegraph, radio, television, satellite, and of course, the Internet. Many such projects are highlighted in Alfonso Gumucio’s Making Waves: Stories of Participatory Communication for Social Change, which was published in 2001 and features more than 20 case studies of participatory communication projects that use video, radio, theater, and the Internet. Similar projects are featured every week on the websites of the Communication for Social Change Consortium, Internews, The Communication Initiative Network, Panos, and Rising Voices.

    But perhaps the most successful experiment in bringing so-called marginalized communities to the attention of the mainstream came not with community radio or the Internet, but rather the cassette tape and the boombox. With roots in the traditions of griots in West Africa, work songs from the Mississippi Delta, and dancehalls from the Caribbean, the birth of Hip-Hop as we know it today is generally credited to the Jamaican-born DJ Kool Herc (Clive Campbell) who organized parties at 1520 Sedgwick Avenue in the Bronx, New York where he joined two turntables to mix rhythmic beats with funk music. Partygoers were invited to grab the microphone and rap on top of the music as a way to creatively express themselves and show off their verbal dexterity. Those early parties on Sedgwick Avenue helped form the sound and community that would influence what are now seen as the pioneers of hip-hop: Grandmaster Flash, Afrika Bambaataa, and The Sugarhill Gang.

    In the early 1990’s hip-hop’s center of gravity migrated from New York City to Los Angeles, where N.W.A., Ice T, and others popularized gangsta rap as a genre of hip-hop that focused on the violence, partying, and hustling on the rough streets of Compton, California. It was only with the release of “Enter the Wu-Tang (36 Chambers)“ in 1993 that New York City was once again nationally recognized among hip-hop fans.


    From Hong Kong to Staten Island to Liberia

    Global Voices co-founder Ethan Zuckerman recently caught an interview on Tom Ashbrook’s public radio program, On Point with Wu Tang Clan leader Robert Diggs, also known as “the RZA.“ During the interview we discover an unlikely intersection in the 1980’s between the lives of Ashbrook, a Yale graduate and career journalist, and Diggs, a poor, aspiring rapper in Staten Island who sought shelter in a seedy movie theater that specialized in pornography and kung fu flicks. Ashbrook, it turns out, was a foreign correspondent at the time based in Hong Kong where he supplemented his income as a journalist by dubbing kung fu movies into English. It is entirely likely that one of the many kung fu films that influenced the Wu Tang Clan’s unique style of hip-hop featured the voice of public radio’s effusive Tom Ashbrook.

    New York City’s outer boroughs today are barely recognizable yuppie incarnations of their former selves. Gentrification has taken over Brooklyn and is increasingly creeping into the Bronx. In fact, a long and costly protest campaign has sought to protect 1520 Sedgwick Avenue, the birthplace of hip-hop, from being converted into a new development. But Park Hill, the home community of the Wu Tang Clan, has changed far less than neighboring Brooklyn across the Verrazano-Narrows Bridge. While tourists often take the free Staten Island Ferry from Manhattan for its uninterrupted views of the Statue of Liberty, rarely do they spend anytime exploring Staten Island itself.

    One of the most sudden changes to the island’s demographics came in the late 1980’s and early 1990’s when civil war broke out in Liberia, a West African country that was founded by freed American slaves. Liberian refugees fled violence that was stirred up by the American-educated warlord, Charles Taylor, and arrived to Staten Island by the thousands. They now make up the largest community of Liberians living outside of Liberia and their troubles in assimilating to a New York state of mind have been featured in Mother Jones, The Village Voice, WNET, and twice in the New York Times.


    Ruthie Ackerman is a freelance journalist who is currently writing a book about the social impact of the Liberian Civil War and the integration of Liberian refugees in the same Park Hill community that gave rise to the Wu Tang Clan so many years ago. But rather than merely speaking on behalf of Liberians Ackerman decided to launch Ceasefire Liberia, a citizen media project which teaches Liberians living in Monrovia and Park Hill how to use digital media to tell their own stories.

    As the above video shows, Liberian refugees have had a difficult time assimilating to Park Hill’s established community and culture. But music – especially hip-hop – has been an effective channel to help narrow the cultural divide. Genocide Records is a collective of Liberia-born rappers and MC’s whose music is clearly influenced by New York’s hip-hop legacy, but with lyrics that emphasize the struggle of West Africans living in the United States. They performed this past July at Park Hill Day:

    From New York to Mongolia, Madagascar, Colombia, Bolivia, and the World

    As noted above, those early hip-hop parties hosted by DJ Kool Herc at 1520 Sedgwick Avenue were most definitely influenced by his early years in Jamaica were DJs at dancehall parties would talk over the records they were playing. Hip-hop then evolved further in New York during the 1980’s and it hasn’t stopped evolving in its spread from New York to California to Mongolia and Madagascar. Zuckerman notes in his post that shortly after the release of Wu Tang Clan’s “Enter The Wu Tang (36 Chambers)” he began seeing graffiti all over the world – including Mongolia – celebrating the hip-hop group.


    Wu Tang graffiti in Ulaanbaatar.

    Hip-hop’s universal appeal has made itself apparent in countless blog posts across many of the Rising Voices citizen media projects. In Bolivia both Cristina Quisbert and La Mala Palabra of Voces Bolivianas honored the life of Aymara rapper and El Alto resident Abraham Bojorquez (the post has also been translated into Aymara).

    In Madagascar Tahina, Joan, and Stéphane of Foko Madagascar have each highlighted some of the impressive Malagasy hip-hop acts, including Raboussa:

    You can learn more about Malagasy hip-hop at the excellent blog HH Dago. Tahina also recommends “Zazavavin-drap” by Malagasy female rappers Nah and Bug:

    The award-winning Colombian citizen media project HiperBarrio even has a rapper among its members. Last year Jorge Jurado used his rhyming skills to compose a song about citizen media and its link to his community’s graffiti culture. Henry Barros from HiperBarrio also produced two short documentary videos about rappers in San Javier La Loma.

    Finally, from the REPACTED project in Nakuru, Kenya blogger Eric Owanyama says that hip-hop is the “single biggest movement that allows youths to explore their creative minds independent of class rooms and allow them to learn from the society and speak philosophies that have proven to teach more than most educational systems and syllabus teach.”

    As awkward as it may be, even Vladimir Putin has recognized the importance of hip-hop as a medium of communication with young people around the world. Whether “hip-hop is dead” as some have argued of late remains to be seen, but its global domination over the past twenty years reveals just what can be accomplished when a culture of remix, creative expression, and technology collide.

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    Tagged: bolivia citizen journalism colombia hip-hop Madagascar

    3 responses to “Hip-Hop as Cosmopolitan Citizen Media”

    1. Vusi says:

      Great article, which touches on many deep topics! What resonates most to me was the confirmation of hip-hop’s undeniable global cultural influence, and strained relations between Africans and African-Americans.

      Hip-hop, to me, is human relations 101 – struggle and triumph, pain and pleasure, introspection, retrospection, prospection, are common threads in hip-hop, AND life, regardless of geography. In regards to Africans and African-Americans, in hip-hop, the past meets the future; the roots meet the outstretched branches – at least in art and theory. In reality, the clip in which the woman says [paraphrase], “if Africans would reach one, teach one, instead of mimicking…we already know we’re lost,” is more indicative of general race relations between the two estranged kin. Africans see how African-Americans have thrived in the face of hostility, including creating an art that has become a global voice for the disenfranchised initially, evolving into an avenue of pure expression.

      I feel like there’s so to talk about in this article! I feel like it’s the tip of an iceberg …thanks for writing.

    2. Thank you for including the bit about 1520 Sedgewick. It is SO important to keep that place from destruction.

    3. Brannu says:

      Good article. One thing to consider: it wasn’t “only” Wu-Tang Clan that got hip-hop fans nationally recognizing New York. Digable Planets – New Refutations … , KRS – return of the boom bap, ATCQ – Midnight Maruaders, Black Moon – Enta Da Stage. All of these are historical classics that are largely popular albums. To give one group the credit, undermines the other legends. Plus, there were other dope albums that came out that year, just not as great as the aforementioned joints.

      Word up. But, good article, nonetheless.

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