TONIGHT: Holidaze II - BTHH, Fighting for Futures, & Toys-for-Tots Fundraiser

Tonight (December 10th) at The Bowery Poetry Club The (Bigger Than) Hip Hop Project is collaborating with Fighting for Futures and Toys-for-Tots in order to raise awareness about our projects and funds to carry out our 2011 projects.

Performances by: Otis Clapp, Scienze, Baxter Wordsworth, Sleep Walkas, OISD and more!

Doors at 8pm.

Show at 10pm.

Admission is $10.

(Bigger Than) Hip Hop Project launches Program at Jennie Clarke Residence

Harlem, NY — On September 27th at 6:30pm, the (Bigger Than) Hip Hop Project, will have an orientation for students to launch its empowerment and hip hop based program at the Jennie Clarke Residence located in East Harlem at 183 East 100th St.

The (Bigger Than) Hip Hop Project aims to provide personal and educational empowerment in an environment of intergenerational learning for young people and, at the same time, increase the unity and positivity of hip-hop. We aim to do this by organizing and facilitating workshops that teach the elements of hip-hop – namely deejaying, emceeing, and creating graffiti art. We got our first funding in Spring 2009 and since then have been working to establish a concrete foundation to begin our programs with. The program will include workshops after school at the Jennie Clarke Residence every other Monday beginning October 4th from 6:30-8pm. The (Bigger Than) Hip Hop Project is the first student-run hip hop based organization in New York City. It is the only organization that focuses on education and incorporates all elements of hip hop throughout the entire year. It pairs New York Hip Hop artists from all genres, facets, and elements, with 6-12 year old students to teach and mentor them in their respective crafts.

On September 27th, New York local emcees, deejays, and graffiti artists will provide a show for students as an introduction into the program.

Show and Prove: Hip Hop Academic Studies

On September 18th, New York University hosted a conference called "Show and Prove" about hip hop academia. I try to go to any event that discusses hip hop in a manner that I may not receive at your average show or open mic. This was just that. I couldn't stay long, but the two sessions I sat through were filled with a significant amount of thought provoking information.

The first session I attended was entitled Methodology, Pedagogy, & Educational Practice where people presented papers examining the academic possibilities of hip hop in education, methodology, and pedagogy, from high school to graduate school. The presenters were:
• MiRi Park, “Using Academic Oral History Methodology in Hip Hop Scholarship”
• Jen Johnson, “Hip Hop in Competitive Academic Policy Debate – Cultural Resistance, Code-Switching, and Speaking Truth to Power, From the Streets to the Academy”
• M.C. K~Swift, “Hip Hop Contains Pedagogy”
• Dr. Johan Söderman, “Academic rap! Strategies towards incorporating the hip-hop culture at the university”
Dru Ryan was the respondent for that session. The first woman I heard speak was Jen Johnson who has worked with youth debate teams across the country. She spoke about using hip hop in the forum of debate as a tool of empowering youth and providing a comfortable place for youth to present their knowledge. For young people raised under the umbrella of hip hop, rapping knowledge could be easier than presenting a speech and if it's as compelling and thought provoking as someone else's traditional speech, shouldn't that count for something?

After Jen spoke, MC K-Swift spoke about hip hop being a pedagogy of it's own. In addition to giving his experience in hip hop, he presented examples of hip hop having "teachas" a la KRS ONE and MCs are constantly "dropping knowledge." Therefore by facilitating the education of hip hop, educators are leading students to important knowledge. Another example of hip hop being pedagogy is seen is the knowledge we gain through "code talk" when we acquire the ability to speak standard english, black english, and hip hop. K-Swift reaffirmed what we, at (Bigger Than) Hip Hop are doing. We're facilitating workshops leading students to knowledge of the elements of hip hop and by doing that, we're doing so much more.

After everyone spoke, the respondent gave some compelling questions for consideration:
-Who owns and defines hip hop?
-By "purifying" hip hop, are we impressing our education on youth? Are we creating education?
-Is it academic if we're not challenging students? How can hip hop challenge students?

The other session I experienced was Aesthetic Dimensions of Hip Hop where people presented papers analyzing rap, graffiti, popping, and performative identities and exploring the varied qualities of Hip Hop’s aesthetic dimensions. Presenters included:
• Joshua Bennett, “I Love it When You Call Me Big (Poppa)”
• Jens Althoff, “The Influence of Blaxploitation on Hip Hop Music”
• Jessica N. Pabón, “Aesthetic Liaisons: Feminism and Masculinity in Graffiti Art”
• Naomi Elizabeth Bragin, “Popping and Other Dis/Appearing Acts”
Dr. Jenny Stoever-Ackerman was the respondent.

One of the first papers presented was about the influence of blaxploitation on hip hop. Hearing the connections that Althoff made caused me to do a lot of personal exploration. He mentioned the idea that "being black and being rich means something wheras being black and being poor means nothing." As much as I dislike capitalism and the negative effects it has on society, he had a point. The truth in his statement was quite upsetting. As he continued his presentation, one question that came up for me was:
-Why is blaxploitation an acceptable cultural art form when the same elements in some facets of hip hop are chastised/degraded?
I still haven't answered that question.

I guess there's a lot of questions that I still haven't answered but sometimes it's important to remember that water's wet and that's it, so for now I'm caught in the chasm between curiosity and acceptance, but with the knowledge and need for exploration I gained Saturday, I go into this launching of (Bigger Than) Hip Hop with more of a commitment to positive change than ever.

-Alicia

Welcome!

Thank you for visiting (Bigger Than) Hip Hop's Blog. What is this you ask. Well, the (Bigger Than) Hip Hop Project is a not-for-profit organization started by a small group of New York University students with varying backgrounds and talents, all unified by Alicia Bell, the founder. Alicia embodies everything this organization strives for in meaning. Three of her life’s passions are people, education, and hip-hop. These three entities encapsulate everything she does in her life, whether it is pursuing a career in social work, volunteering at educational facilities, or inspiring other artists in their mediums of expression. Having found a desire to be more of a leader in society, she combined these passions to create an environment in which to forward society, creating what is now known as (Bigger Than) Hip Hop.

Our Vision
The (Bigger Than) Hip Hop Project envisions a time when hip-hop, as a widely accepted form of expression, can further society by empowering youth and revolutionizing the way we view education, equality, and empowerment.

Our Mission
The (Bigger Than) Hip Hop Project aims to provide personal and educational empowerment in an environment of intergenerational learning for young people and simultaneously increase the unity and positivity of hip-hop. We aim to do this by organizing and facilitating workshops that teach the elements of hip-hop – namely deejaying, emceeing, breakdancing, and creating graffiti art.

Our Partners
Community Partners: BTHH will partner with three different types of organizations in order to carry out our mission: middle schools, shelters for young people experiencing homelessness, and correctional facilities for youth.
Fundraising Partners: BTHH will partner with clothing designers to develop a line of BTHH goods to sell during fundraisers and community showcases. We also have connections with venues that will host our fundraisers.

In addition to Alicia, (Bigger Than) Hip Hop consists of the following people:
Bridget Rochios, Co-Director, is a junior at NYU’s College of Arts and Science majoring in Sociology and minoring in Public Health & Policy. She has worked with the American Group Psychotherapy Association and has been an active member of community outreach throughout the San Francisco Bay Area. Examples of her exemplary community involvement include creating camps for youth, organizing events, and supplying necessities and blankets for patients at Children's Hospital Oakland. She has been active in the hip-hop community in both New York and Oakland. She brings her organizing experience and musical passion to (Bigger Than) Hip Hop.

Pamela Nguyen, Director of Finance, is a third-year marketing and management student at New York University Stern School of Business. She is also seeking a minor degree in Public Policy and Management. Pamela has spent most of her college career fighting the political and social injustices of the underprivileged in America. Her academic work in social entrepreneurship has been recognized by the Berkley Center of Entrepreneurship in NYU, and she has been highly involved in the education publishing industry through Scholastic Corporation. Pamela will bring her not-for-profit development and curriculum development experience to (Bigger Than) Hip Hop.

Mustafah Greene, Director of Design, is a graduate of Kingsborough Community College. After refining his eye for quality design aesthetic and artistry, he earned his degree in graphic design. Since graduating, he’s used what he’s learned to influence the world around him through visuals – creating the company FunkTheFormula Inc. is one such venture. FunkTheFormula is a fashion line that not only is looking to set the next standard in trendy, fashionable, funky clothing, but is also a manifestation of hi multifaceted creative expression, the culmination of Mustafah’s identity. He will bring his aesthetic eye to (Bigger Than) Hip Hop.

The (Bigger Than) Hip Hop Project is a movement. We are all (Bigger Than) Hip Hop.