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"Rap (Music) Religious aspects."
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Hip Hop’s Hostile Gospel
In this book, Hodge takes into account the Christological, theological, and ecclesiological ruminations of a selected group of Hip Hop and rap song lyrics, interviews, and interviews from those defined as Hip Hoppers.
eBook
IDa Blood of Shesus/I: From Womanist and Lyrical Theologies to an Africana Liberation Theology of the Blood
The theme of suffering is intimately tied to the possibilities of the blood as redemptive in theology. Potentially considered a universal pathway to salvation and racial transcendence for people of African descent, \"Da Blood of Shesus\" asks: Is there redeeming power in the blood for people of African descent? Turning to Womanist and lyrical theologians to postulate an African theological framework which explores redemptive suffering not glorified as inevitable and intricate to the historical Black experience and the church. Lyrical theologians affirm Jesus' redemptive power of the blood in Hip Hop portraying the ways in which the cross reveals the attributes of God. Womanist theologians challenge the \"classical\" interpretation of redemptive suffering, illuminating the ways it contributes to Black oppression and wretchedness. Arguably, Womanist and lyrical theologians conjointly point towards liberatory and alternatives to examine redemptive suffering for people of African descent by offering sites to scrutinize and nuance the blood as an indispensable pathway to redemption. An African theological perspective decenters the logics of anti-Blackness proposing suffering is inevitable to Black life and the historical Black experience.
Journal Article
Underground rap as religion : a theopoetic examination of a process aesthetic religion
\"Underground rap is largely a subversive, grassroots, and revolutionary movement in underground hip-hop, tending to privilege creative freedom as well as progressive and liberating thoughts and actions. This book contends that many practitioners of underground rap have absorbed religious traditions and ideas, and implement, critique, or abandon them in their writings. This in turn creates processural mutations of God that coincide with and speak to the particular context from which they originate. Utilising the work of scholars like Monica Miller and Alfred North Whitehead, Gill uses a secular religious methodology to put forward an aesthetic philosophy of religion for the rap portion of underground hip-hop. Drawing from Whiteheadian process thought, a theopoetic argument is made. Namely, that it is not simply the case that is God the \"poet of the world\", but rather rap can, in fact, be the poet (creator) of its own form of quasi-religion. This is a unique look at the religious workings and implications of underground rap and hip hop. As such, it will be of keen interest to scholars of Religious Studies, Hip-Hop Studies and Process Philosophy and Theology\"-- Provided by publisher.
Book
Da Blood of Shesus: From Womanist and Lyrical Theologies to an Africana Liberation Theology of the Blood
The theme of suffering is intimately tied to the possibilities of the blood as redemptive in theology. Potentially considered a universal pathway to salvation and racial transcendence for people of African descent, “Da Blood of Shesus” asks: Is there redeeming power in the blood for people of African descent? Turning to Womanist and lyrical theologians to postulate an African theological framework which explores redemptive suffering not glorified as inevitable and intricate to the historical Black experience and the church. Lyrical theologians affirm Jesus’ redemptive power of the blood in Hip Hop portraying the ways in which the cross reveals the attributes of God. Womanist theologians challenge the “classical” interpretation of redemptive suffering, illuminating the ways it contributes to Black oppression and wretchedness. Arguably, Womanist and lyrical theologians conjointly point towards liberatory and alternatives to examine redemptive suffering for people of African descent by offering sites to scrutinize and nuance the blood as an indispensable pathway to redemption. An African theological perspective decenters the logics of anti-Blackness proposing suffering is inevitable to Black life and the historical Black experience.
Journal Article
Holy hip hop in the City of Angels
\"In the 1990s, Los Angeles was home to numerous radical social and environmental eruptions. In the face of several major earthquakes and floods, riots and economic insecurity, police brutality and mass incarceration, some young black Angelenos turned to holy hip hop--a movement merging Christianity and hip hop culture--to 'save' themselves and the city. Converting street corners to airborne churches and gangsta rap beats into anthems of praise, holy hip hoppers used gospel rap to navigate complicated social and spiritual realities and to transform the Southland's fractured terrains into musical Zions. Armed with beats, rhymes, and Bibles, they journeyed through black Lutheran congregations, prison ministries, African churches, reggae dancehalls, hip hop clubs, Nation of Islam meetings, and Black Lives Matter marches. Zanfagna's fascinating ethnography provides a contemporary and unique view of black LA, offering a much-needed perspective on how music and religion intertwine in people's everyday experiences.\"--Provided by publisher.
Book
The African American Bible: Bound in a Christian Nation
There we see the ambivalence of this nation's Bible readers to the matter of black life-namely, that its import is far from sacrosanct according to America's hermeneutical posturing.6 In the Beginning At the crossroads of the \"genetic turn\" and the post-civil rights era, inclusion minded Americans began to profess that we are all just part of one race, the human race.7 The Christian Pop/Rock/Rap group called DC Talk (Decent Christian Talk) made the statement into a creed. [...]President James Madison likened slavery to America's \"original sin,\" but African Americans would long be made to sow the garden's seed without a taste of free will's fruits.10 One might grant that all humans come from an Edenic Africa, though in my reading of the African American Bible, there is a qualifying clause- a paraphrase of George Orwell's famous riff in Animal Farm: \"All humans are created equal, but some more equal than others.
Journal Article
Kendrick Lamar and the making of black meaning
\"Kendrick Lamar has established himself at the forefront of contemporary Hip-Hop culture. Artistically adventurous and socially conscious, he has been unapologetic in using his art form, rap music, to address issues affecting black lives while also exploring subjects fundamental to the human experience, such as religious belief. This book is the first to provide an interdisciplinary academic analysis of the impact of Lamar's corpus. In doing so, it highlights how Lamar's music reflects current tensions that are keenly felt when dealing with the subjects of race, religion and politics. Starting with Section 80 and ending on DAMN., this book deals with each of Lamar's four major projects in turn. A panel of academics, journalists and hip-hop practitioners show how religion, in particular black spiritualties, take a front-and-centre role in his work. They also observe that his astute and biting thoughts on race and culture may come from an African American perspective, but many find something familiar in Lamar's lyrical testimony across great chasms of social and geographical difference. This sophisticated exploration of one of popular culture's emerging icons reveals a complex and multi-faceted engagement with religion, faith, race, art and culture. As such, it will be vital reading for anyone working in Religious, African American and Hip-Hop studies, as well as scholars of Music, Media and Popular Culture\"-- Provided by publisher.
Book
Hip Hop and Religion: Gangsta Rap’s Christian Rhetoric
This article analyzes gangsta rap discourse through the lens of rhetorical studies to reveal central features of its Christian religious ethos. The religious rhetorical output of many gangsta rappers, both textual and visual, reveals a religious ethos containing a form of religious phronesis (practical wisdom). This ethos has three central telling characteristics: solidarity with Jesus formed through the common theme of suffering; a mistrust of organized religion; and the presence of a psycho-social battle between good and evil, analyzed here through the examples of DMX and Mase.
Journal Article