Description
Book SynopsisIn a cultural moment where racial identity is performed through Hip-hop culture's resistance to the status quo and complicity in maintaining it, Hodges Persley asks us to consider who has the right to claim Hip-hop's blackness when blackness itself is a complicated mixtape that offers both consent and resistance to transgressive and inspiring acts of performance.
Trade Review“Hodges Persley’s passion for Hip Hip as a cultural aesthetic and methodology is second only to the fascinating case studies she analyzes. Like no other scholar before her, her multimodal engagement of Hip Hop pushes the field of theater studies and race to new heights.”– E. Patrick Johnson, Northwestern University
Table of Contents
- Acknowledgments
- Introduction
- Licensed to Ill: Alternative White Masculinities in Danny Hoch's Jails, Hospitals and Hip-hop and Matt Sax's Clay
- Empire State of Mind: Remixes of the Hip-Hop American Dream in Nikki S. Lee's The Hip-Hop Project and Sarah Jones’s Bridge & Tunnel
- One Nation Under a Groove: (Re)Membering Hip-Hop Dance in Jonzi D's TAG and Rennie Harris's Rome & Jewels
- Musical Mash-Ups of Americanness: Lin-Manuel Miranda's In the Heights and Matt Sax's Venice
- The Ghosting of American History: Lin-Manuel Miranda's Hamilton: An American Musical
- Conclusion: Arrested Developments: New Arrangements of Identity in Hip-Hop Performance
- Notes
