The Research
A Window to OUR WORLD
An overview of Aotearoa Hip Hop - as seen by the Hip Hop community and young people. 'from a Hip Hop participant's point of view' By Sara Tamati (AKA SPEXONE) (2004). Synopsis written by Bonnie Flaws.
Although academic research into worldwide Hip Hop culture and even local Hip Hop culture is common-place these days, what makes this research interesting and unique is that it has been written by an 8 year long participant in the culture itself, Sara Tamati. Through her intimate perspective on Hip Hop, we get an insider's guide about the development and importance of this global culture, migrating to the shores of Aotearoa New Zealand. Furthermore, content covers many debates within the existing community.
The value of this research is self-evident, being perhaps one of the only such documents written from the point of view of an insider. In this sense Sara's work is an important piece of research that holds unique benefits for those who value this culture's significance, both personally and as a tool to further youth development.
This research revisits current interpretations of Hip Hop's journey to Aotearoa New Zealand and also explores how the four elements, DJing, MCing, B-Boying/B-Girling and Graffiti, have been moulded to suit the New Zealand context.
What follows is a brief synopsis that highlights some of the themes and findings of Sara's research. Hopefully this will encourage you to read the full text and investigate how this research may be of use to you in whatever capacity you may wish to use it. Since the introduction of Hip Hop to New Zealand shores in the early 1980s its popularity has risen and fallen with the tides of fashion. However, a handful of the original pioneers stuck with it.
Since the introduction of Hip Hop to New Zealand shores in the early 1980s its popularity has risen and fallen with the tides of fashion. However, a handful of the original pioneers stuck with it. Instead of practicing the art forms out on the street, they continued to practice in private where those involved honed their skills and kept the various art forms alive.
The recent re-emergence of Aotearoa New Zealand Hip Hop in the late 1990s has given rise to a whole spate of new young practitioners. Not only has this been a result of the continual efforts of long-time practitioners like DLT and DJ Sirvere (and many more) but also, it appears that the same old things that initially got kids into Hip Hop in Aotearoa have been driving the current wave. Namely, it's fun, and it gives the disenfranchised something to feel proud about.
The worldwide commercialisation of Hip Hop culture has meant that many practitioners can make a living from their art forms these days. In Aotearoa New Zealand there are also positive initiatives by active participants. Some of these initiatives are:
- Dawnraid Entertainment
- Disruptive Magazine
- Back 2 Basics Magazine
- Floorworks Productions
- Annual Hip Hop Summit
Hip Hop culture has long been a tool of activism. In Aotearoa, Hip Hop has been used to express discontent, but the flava has been local, and is associated with specific artists like Te Kupu. The incorporation of social issues into Hip Hop culture means that Hip Hop becomes a voice for those people to comment on the social climate whether it be political, racial or economic in nature.
The extent to which academia takes an interest in Hip Hop culture is on the rise, and some academic texts provide really relevant information. This is a good example by Zemke-White:
'rangatahi, or youth, use the rap genre.as a political and aggrieved voice of sometimes voiceless people.'
However, many in the Hip Hop community question the validity of such research when it's based on an outsider's point of view, feeling that academics lack a full understanding of the breadth of Hip Hop culture. Another point of interest is that the exclusivity of academic language often alienates those for whom it has the most value.
It's well known that society has had a predominantly negative view of Hip Hop culture in the past. This research highlights subtle shifts in the prevailing attitudes, especially in the last 3 years. Local initiatives do seem to be having some positive effects on the overall perception of Hip Hop.
How does Hip Hop get passed on to the up and coming?
There is an innate and intuitive mentoring system in Hip Hop. People with skill will take the student and show them some foundational techniques in the specific element of interest.
Youth in Hip Hop have a lot to say about Hip Hop, and as young people are getting involved all around the country, they all have different perspectives about what Hip Hop is and how it relates to them. Although issues and opinions differ from region to region, the research has definitely identified that there are universally held views on Hip Hop, no matter what part of the country you come from. Some of these are:
- That there are four elements in Hip Hop culture
- The importance of Rap/Poetry
- The importance of fashion/style as an identifying feature
- The importance language/slang as an identifying feature
It's pretty well established nowadays, that Hip Hop is a universal subculture, which the internet has helped to open to the world and to Aotearoa. Every age group is accessing the internet to find information about Hip Hop culture. It seems anything that you wanted to know about Hip Hop exists somewhere on the net.
