Rhythms of Reality: Exploring the Sonic Landscapes of Hip-Hop Through a New Materialist Framework

• In Event: Sound Arts, Hip-Hop, and Arts-Based Educational Research: A Performatively Corrective Counter-Factual

Abstract

An under-theorized aspect in hip hop studies of education is one of sound. This paper presents an exploration of the interconnectedness of sound, hip hop music, and the construction of physical reality by interrogating selected hip hop texts and their socio-cultural contexts. Drawing from a new materialist framework, this paper explores the inter(tra)-related impact of soundscapes in shaping cultural narratives and influencing our understanding of reality. I investigate how hip hop, as a syncretic cultural movement, serves as an embodied form of expression that interacts with, is shaped by, and shapes the material world.

Grounded in the belief that materiality is a vital agent in shaping our realities, this study proposes that hip hop's soundscapes play a pivotal and potentially transformative role in (re)constructing identity, perception, public narrative, and physical realities. Acknowledging the agency of sound as a material force, foregrounds the entangled relationships between human experiences and inhabited soundworlds.

New Materialist Framework:
The new materialist framework here draws particularly upon the works of scholars such as Bennett (2010) Barad (2007) and Sterne (2003). The concept of "vibrant matter" recognizes the agency of non-human entities in shaping human experiences, while "agential realism" highlights the inseparability of the observer and the observed. These concepts are foundational for exploring how sound, as a material entity, interacts with human bodies and environments to construct realities.

Sonic Materiality of Hip Hop:
Hip hop is renowned for its inventive use of sound, combining rhythmic beats, vocal cadences, and diverse samples to create sonic tapestries. Analysis of iconic tracks from Kendrick Lamar, A Tribe Called Quest, and Lauryn Hill, highlights how these musicians utilize sound as a material tool to express lived experiences, social (in)justices, and cultural phenomena.

Embodied Realities:
Central to the analysis is the concept of embodied realities, where the physicality of sound not only shapes cultural narratives but also influences bodies, emotions, and perceptions. Examining how hip hop artists manipulate sound frequencies and textures, we might better understand how listeners' bodies resonate with these sonic vibrations, and the implications for/on the material world and lived experiences.

Hip Hop as a Socio-Political Soundspace:
Hip hop has always been a potent political medium, challenging dominant discourses and amplifying voices. Through examples like Public Enemy's "Fight the Power" and N.W.A.'s "Fuck tha Police," I will explore how sound can be a mobilizing force, disrupting oppressive power structures, and constructing alternative realities. By investigating the relationship between sound and space, I examine how hip hop culture contributes to the (re)construction of realities, by fostering a sense of place and identity.

By recognizing sound as an influential material force, I aim to further the nuance of hip hop music in educational research by opening up new avenues for understanding the interplay between sound, society, and the human experience. Exploring the sonic expressions within hip hop, affords a more robust understanding of how these creative vibrations construct realities and shape the world.

Author

• Michael B. Dando, St. Cloud State University