According to my investigation of
the manifestation of Hip Hop or more particularly rap music, in the 21st
century, the genre as a whole is being held accountable for portraying modern
day Black minstrelsy. While my research reveals that some Black male Hip Hop
artists are the targets of ridicule for performing as contemporary coons, Hip Hop culture in general is suffering from the
accusations of “buffoonery.” But I ask is Black minstrelsy being misrepresented
in these accusations against Hip Hop in the 21st century?
I argue that if today’s image of
Hip Hop is going to be labeled as a minstrel show, the history of the genre
needs reevaluation and a deeper investigation of its performative roots is
crucial. The performance choices and actions of a minstrel artist was often
purely practical in the process of accessing agency in the entertainment
industry of the 19th and early 20th centuries. Sometimes
those choices consisted of a method for negating the caricature depictions of
Blacks and liberating the culture by creating performative counter-narratives.
It could also serve as a medium for presenting parody, satire and fiction via a
double-consciousness approach. I argue that while minstrel-like elements in Hip
Hop may be evident, minstrel-like performances by Blacks in Hip Hop is an extravagant
supposition.
Perhaps the Black minstrel-like
manner of some contemporary Hip Hop styles is a new subgenre of Hip Hop such as
Gangsta Rap, Crunk music and or Conscious Rap. I argue that this particular
performance style is actually creating a personal agency for these artists that
doesn’t deserve to be demonized or reduced to the representation of “clown
rappers.” There are simultaneous markets for East Coast Hip Hop, West Coast Hip
Hop, Hyphy and Southern Rap just to name a few. Is it possible there is also a
market for Black minstrel-like Hip Hop?
Historically, Black minstrelsy
legitimized Black performers and granted them agency in the theatre, yet
degraded their image at the same time. Subsequently today’s notion of Black
minstrelsy in contemporary Hip Hop affords a more expeditious rise to financial
gain for Black performers, while the issues of their personal and collective
integrity remains in question.
My central argument is that the
problem with generalizing contemporary Hip Hop and labeling it Black minstrelsy
represents this contemporary performance as degrading the depictions of the
Black community, while many of these artists’ expressions are simply an attempt
to explore their creativity, arouse innovation and access agency. This
conundrum is partially why Hip Hop is so controversial and is often being
discriminated against. What
requires further investigation is the perception and interpretation of Black
minstrelsy, particularly a more accurate understanding of the motivations of
artists involved in that historic performance genre.
It’s long overdue that we all become
accountable for how our own perceptions and projections shape our own
misconceptions about Hip Hop culture and the Black American culture. A helpful
approach to future research of Hip Hop would be to eliminate overly critical
assessments of Black minstrel-like Hip Hop performances, and acknowledge that
there is a place for all Hip Hop styles, even if everyone cannot appreciate
them all.
Even though I think we need to re-educate ourselves about
the reality of Black minstrelsy historically, I do admit that emergent
Hip Hop artists, whose “self-defining” performance styles might be considered
deleterious to African Americans’ collective image, should consider how the
misconceptions of their performativity potentially compromises their integrity
and galvanizes the demonization
of Hip Hop and the Black American culture. This study seeks to offer a fresh
lens for evaluating the effects/affects of Black minstrelsy, and in the process
offer a pragmatic prescription for nullifying the demonization of contemporary
Hip Hop.
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