*This post is part of a series which highlights different ways that seminal and newly published texts can be used to explore religion in the classroom.
By Tenzan Eaghll
Teaching doesn't just happen in the classroom. Critical theory is not just the domain of academics. Sometimes a dance performance at the Superbowl can be a lesson in Black history and race relations in America, and sometimes a "soul filled" rap performance at the Grammy's can be political statement. As Monica Miller points out in Religion and Hip Hop, sometimes cultural critique takes place in Hip-Hop.
Miller's book was published in 2012, and applies postmodern and critical theory to expose how Hip Hop has been examined by religious and theological scholars. She argues for a new materialist approach to the subject that doesn't essentialize religion as an internal or private space of belief. More importantly, however, she looks at how Hip Hop artists use religious themes and ideas to achieve ulterior means and effects. Miller doesn't begin her analysis with a definition of religion and then proceed to find evidence for it in Hip Hop, but focuses on how religion is presented, both by scholars and artists.
What makes Religion and Hip Hop so topical is that in the last two weeks we have seen powerful performances by leading artists like Beyonce, Kanye West, Chance the Rapper, and Kendrick Lamar. These performances make Miller's book exceptionally relevant because they offer us a pedagogical opportunity to show students how religion and politics are imagined and contested in popular culture.
On the surface, Beyoncé's performance at the Superbowl was like many that proceeded it: she wore tight sexy clothing and danced in rhythmic formation. But her use of outfits reminiscent of the Black Panthers and the fact her dancers formed an X―an homage to the American Muslim minister Malcom X―caused both outrage and praise. Various conservatives pundits lambasted her performance as "racist," while more liberal fans called it a powerful feminist statement about black power. However, as Miller suggests when analyzing Nas's 2008 CD, "Nigger," this sort of politically subversive material is nothing new. Hip Hop artists often use their music to create space for political promise and cultural critique (44). If you missed it, here is a portion of Beyoncé's show:
Miller's book was published in 2012, and applies postmodern and critical theory to expose how Hip Hop has been examined by religious and theological scholars. She argues for a new materialist approach to the subject that doesn't essentialize religion as an internal or private space of belief. More importantly, however, she looks at how Hip Hop artists use religious themes and ideas to achieve ulterior means and effects. Miller doesn't begin her analysis with a definition of religion and then proceed to find evidence for it in Hip Hop, but focuses on how religion is presented, both by scholars and artists.
What makes Religion and Hip Hop so topical is that in the last two weeks we have seen powerful performances by leading artists like Beyonce, Kanye West, Chance the Rapper, and Kendrick Lamar. These performances make Miller's book exceptionally relevant because they offer us a pedagogical opportunity to show students how religion and politics are imagined and contested in popular culture.
On the surface, Beyoncé's performance at the Superbowl was like many that proceeded it: she wore tight sexy clothing and danced in rhythmic formation. But her use of outfits reminiscent of the Black Panthers and the fact her dancers formed an X―an homage to the American Muslim minister Malcom X―caused both outrage and praise. Various conservatives pundits lambasted her performance as "racist," while more liberal fans called it a powerful feminist statement about black power. However, as Miller suggests when analyzing Nas's 2008 CD, "Nigger," this sort of politically subversive material is nothing new. Hip Hop artists often use their music to create space for political promise and cultural critique (44). If you missed it, here is a portion of Beyoncé's show:
Undoubtedly, there are limits to the impact these forms of soft politics have, as they often carry the weight of entertainment rather than revolution, and some have even critiqued Beyoncé's performance as capitalism masquerading as radical change, but regardless of your view on the matter these events offer a particularly useful pedagogical opportunity to discuss how religion and politics are put to work by Hip Hop artists.
Kendrick Lamar's presence at the Grammy's this year takes this form of soft politics to a whole new level. His performance has thus far been praised as one of the greatest in the history of the award show, and has evaded much of the criticism slung at Beyoncé. In reference to the mass incarceration of blacks and the history of slavery and oppression in America, Lamar walked out on stage in chains in a prison setting. In a performance that blurred the lines between poetry and rap, Lamar talked about hypocrisy, God, and redemption, and ended his show with a black and white picture of Africa and the words Compton written on it―another allusion to oppression and slavery. Click here for this must see performance.
Kendrick Lamar's presence at the Grammy's this year takes this form of soft politics to a whole new level. His performance has thus far been praised as one of the greatest in the history of the award show, and has evaded much of the criticism slung at Beyoncé. In reference to the mass incarceration of blacks and the history of slavery and oppression in America, Lamar walked out on stage in chains in a prison setting. In a performance that blurred the lines between poetry and rap, Lamar talked about hypocrisy, God, and redemption, and ended his show with a black and white picture of Africa and the words Compton written on it―another allusion to oppression and slavery. Click here for this must see performance.
Obviously, Miller's book doesn't analyze these recent Hip Hop performances, but I mention them here in light of her book because the work provides a wonderful way to engage students in a theoretical debate about contemporary issues. So much of religious studies involves a discussion of dead white dudes, but black popular culture is critically engaged in the definition and contestation of religion, and it provides a relevant way to discuss difficult theoretical material. In her discussions on 50 Cent, KRS One, the RZA, Cornel West, Black Churches, and Krumping, Miller explores what the uses of religion seek to "accomplish, authenticate, and authorize in the cultural activity of Hip-Hop" (69).
Nice meditation! I am really interested in the reason why Beyonce's performance got so much angry responses, whereas Kendrick's performance at the Grammys -- which was in many respects more explicitly about racism, cultural struggles, and oppression -- wasn't met with much angry backlash.
ReplyDeleteThank You For Your Great Article!!
ReplyDeleteThe Horns is a strip club in Shoreditch, London. We have beautiful and sexy dancers performing table dancing. Come and enjoy with the hottest strippers.