HipHop-Studies: International Literature (focus hip hop culture and hip hop/street dances)
Alim, H. S., Ibrahim, A. & Pennycook, A.
(Eds.) (2008). Global Linguistic Flows. Hip Hop Cultures,
Youth Identities, and the Politics of Language (1st ed.). New York:
Routledge.
Aprahamian, S. (2023): The Birth of Breaking Hip-Hop History from the Floor Up. London, New York: Bloomsbury Publishing.
Aprahamian, S. (2020). “There Were Females That
Danced Too”: Uncovering the Role of Women in Breaking History. Dance Research Journal, 52 (2), 41-58. https://www.researchgate.net/publication/343644100_There_Were_Females_That_Danced_Too_Uncovering_the_Role_of_Women_in_Breaking_History
Aprahamian, S. (2019). Hip-Hop, Gangs, and the
Criminalization of African American Culture: A Critical Appraisal of Yes Yes
Y’all. Journal of Black Studies, 50 (3),
298-315. doi: 10.1177/0021934719833396.
Aprahamian, S. (2017). Debunking the Historical Hype: A look into True Origins of Wall Writing. Zugriff am 21. September 2017 unter www.bombingscience.com/debunking-the-historical-hype-a-look-into-the-true-origins-of-wall-writing/
Arundale, A. J. H., McNulty, R., Snyder, C.,
O'Brien, J. & Stöggl, T. (2023). Injury, Training, Biomechanical, and
Physiological Profiles of Professional Breakdancers.
Banes, S. (1981/1994). To The Beat, Y'All:
Breaking Is Hard To Do. Village Voice, April 10, 1984. In S. Banes (Ed.), Writing
Dancing in the Age of Postmodernism (pp. 121-125).
Hanover, NH: Wesleyan Univ. Press.
Barber, J., Büschges, C., Mausfeld, D. V. &
Sweers, B. (Eds.). (2024). Remixing
the Hip-Hop narrative. Between local expressions and global connections (Popular
music). Bielefeld: transcript.
Bonfim, T. R., Toledo Flores, A. B. M. de & Vieira Martins, G. C.
(2024). Self-reported injuries and
prevention strategies of breaking athletes. In E-Posters 03 2024 (A91.2-A91).
Chang, J. (2006): Total Chaos. The Art and Aesthetics of Hip-Hop. New York: Basic Books.
Chang, J. (2007). Can´t Stop Won´t Stop. A History of the Hip-Hop Generation. Ebury Press.
Curlington, C. S. (2007). Hip Hop dance : meanings and messages. USA: McFarland & Company, Inc., Publishers.
DeFrantz, T. (2004). The Black
Beat Made Visible: Hip Hop Dance and Body Power. In: A. Lepecki (Ed.): Of the
presence of the body. Essays on dance and performance theory (S. 64-81).
Middletown, Conn.: Wesleyan University Press.
DeFrantz, T. (2014). Hip-Hop
Habitus v.2.0. In T. DeFrantz & A. Gonzalez (Eds.), Black performance theory (pp. 223-242).
Durham: Duke University Press.
Dodds, Sherril (2016): Hip Hop Battles and Facial Intertexts. In: Dance Research 34 (1), S. 63–83.
Dodds, S. (2018). The brutal
encounters of a novice b-girl. Choreographic
Practices, 9 (2), 233-252. doi: 10.1386/chor.9.2.233_1.
Fogarty, Mary (2010): Dance to the Drummer´s Beat. Competing Tastes in International B-Boy/B-Girl Culture. PhD. University of Edinburgh.
Fogarty, M. (2012). Breaking
expectations: Imagined affinities in mediated youth cultures. Continuum:
Journal of Media & Cultural, 26 (3), 449-462. doi:
10.1080/10304312.2012.665845http://dx.doi.org/10.1080/10304312.2012.665845.
Fogarty, Mary (2013): 'Each One Teach One' : B-Boying
and Ageing. In: Paul Hodkinson und Andy Bennett (Hg.): Ageing and Youth
Cultures. Music, Style and Identity. London: Bloomsbury Publishing, S. 53–65.
Fogarty, M. (2019). Why are
Breaking Battles Judged? The Rise of International Competitions. In S. Dodds
(Ed.), The
Oxford Handbook of Dance and Competition (pp. 409-428). New York, NY: Oxford
University Press.
Fogarty, M. & Johnson, I. K. (2022): The Oxford Handbook of Hip Hop Dance Studies. Oxford: Oxford University Press.
Forman, M. & Neal, M.A. (2012): That´s the Joint! The Hip Hop Studies Reader. Second Edition. New York, Routledge.
Frost, F. (2022): Breaking the limits? Exploring the breaking scene in Havana, Cuba and belonging in a global (imagined) breaking community. Global Hip Hop Studies, Volume 2, Number 1, 1 June 2021, pp. 15-36
Frost, F. (2023):
Flipping the academic discourse: reflections on corporeal knowledge and
gender negotiations in breaking. In: Global Hiphopography. Hg. v.
Quentin E. Williams / Jaspal Naveel Singh. London:
Palgrave Macmillan. pp. 231-256
Frost,
F. & Singh, J. N. (2023). Breaking in Morocco: Opportunities and challenges
for professionalization and gender equality in the run-up to the 2024 Olympic
Games. Global Hip Hop Studies, Special
Issue: 'Breaking and the Olympics 2', 4 (2), 91-107. doi:
10.1386/ghhs_00093_1
Frost, F. (2024). Invisible Skillz. Thoughts on Hip-Hop as an Artistic, Creative Culture. A Response to Kattenbeck. In: L. Eusterbrock, C. Kattenbeck & O. Kautny (eds.), It’sHow You Flip It. Multiple Perspectives on Hip-Hop and Music Education. Bielefeld: Transcript. 103-106. OPEN ACCESS.
Frost, F. & Ng, J. (in press): Embodying the Call: Artistic research between dance and beatmaking. In: Süß, H. & Frost, F. (eds.): Der Körper im HipHop. Interdisziplinäre Perspektiven. Weinheim: Beltz Juventa.
Gabbert, K. ". S. &
Lutz, W. Y. ". (2022). Foundation. Context and Components of Breaking
Fundamentals. In M. Fogarty & I. K. Johnson (Eds.), The Oxford handbook of hip hop dance studies (Oxford handbooks
series, pp. 13-31). New York, NY: Oxford University Press.
Grewal, S. H. (2020). Hip Hop
and the University. Journal
of Popular Music Studies, 32 (3), 73-97. doi: 10.1525/jpms.2020.32.3.73.
Gottschild, Brenda Dixon (2003): The Black Dancing Body. A Geography from Coon to Cool. New York: Palgrave Mcmillan.
Hager, Steven (2012): Hip Hop: The Illustrated History of Break Dancing, Rap Music, and Graffiti. 2. Aufl.: Smashwords.
Johnson, I. K. (2023): Dark Matter in Breaking Cyphers. The Life of Africanist Aesthetics in Global Hip Hop. Oxford: Oxford University Press.
Johnson, I. K. (2009): Dark Matter in B-boying Cyphers: Race and Global
Connection in Hip Hop. Dissertation. University of Southern California.
Los Angeles
Johnson, I. K. (2016): From blues women to b-girls: performing badass femininity. Women & Performance: a journal of feminist theory. 24 (1) Issue 1: All Hail the Queenz. p. 15-28.
McCarren,
F. (2013): French Moves. The Cultural Politics of Le Hip Hop. Oxford
Studies in Dance Theory. New York, Oxford University Press.
Mitchell, T. (Eds.) (2002): Global Noise. Rap and Hip Hop outside the USA. Middletown, Conn.: Wesleyan University Press.
Nitzsche, N. & Grünzweig, W. (Eds.) (2013): Hip-Hop in Europe. Cultural Identities and Transnational Flows. Wien: LIT Verlag
Osumare, H. (2002): Global Breakdancing and the Intercultural Body. Dance Research Journal 34 (2). p. 30-45.
Rose, T. (1994). Black Noise. Rap Music and Black Culture in Contemporary America. Wesleyan: University Press.
Rose, Tricia (1994): A Style Nobody Can Deal With: Politics, Style and the Postindustrial City in Hip Hop. In: Tricia Rose und Andrew Ross (Hg.): Microphone Fiends. Youth Music and Youth Culture. Hoboken: Taylor and Francis, S. 71–88.
Perkins, W.E. (1996): Droppin´Science. Critical Essays on Rap and Hip Hop Culture. Philadelphia, Temple University Press
Pabon, Jorge “Popmaser Fabel” (2012): Physical Graffiti: The History of Hip-Hop Dance. In: Murray Forman (Hg.): That's the joint! The hip-hop studies reader. 2. ed. New York, NY: Routledge, S. 56–61.
Schloss, J. G. (2009). Foundation - Bboys, Bgirls, and Hip-Hop culture in New York. USA: Oxford University press.
Schloss, Joseph G. (2007): The Art of Battling. An Interview with Zulu King Alien Ness. In: Jeff Chang (Hg.): Total chaos. The art and aesthetics of hip-hop. New York: Basic civitas, S. 27–32.
Thomas DeFrantz & Takiyah Nur Amin (2016): Talking Black Dance. In:
Talking Black Dance: Insight Out, Outside In. Guest Editors Thomas
DeFrantz & Takiyah Nur Amin. Conversations Across the Field of Dance
Studies.
Thomas DeFrantz (2002): Daning Many Drums. Excavations in African American dance. Madison: University of Wisconsin Press.
Williams, Q. & Singh, J. N. (2023): Global HipHopography. London: Palgrave Macmillan.
deutschsprachige Literatur HipHop-Studies
Androutsopoulos, J. K. (Hrsg.) (2003): HipHop.
Globale Kultur - lokale Praktiken (Cultural Studies, Bd. 3). Bielefeld:
transcript.
Diederichsen, D.; Ismaiel-Wendt, J. & Stemmler, S. (Hg.) (2012). Translating HipHop. Freiburg: Orange-press.
Frost, F. (2023): Beyond Movement: Kulturspezifische
Vermittlungsmethoden aus der Breaking-Praxis in formellen
Bildungsstrukturen. In: Groß & Jäger (Hrsg.): It's more than just rap - HipHop in der
Jugendarbeit. Weinheim,
Basel: Beltz Juventa, S. 156-171
Frost, F. (2023): High-5 Cypher und Battle Line: Zwei kulturspezifische Vermittlungsmethoden aus der Breaking-Praxis. In: Groß & Jäger (Hrsg.): It's more than just rap - HipHop in der Jugendarbeit. Weinheim,
Basel: Beltz Juventa, S.316-319
Frost, F. (2022): Dialogische Bewegung. Eine
künstlerisch-wissenschaftliche Recherche zum dialogischen Prinzip des
call&response im Breaking. In: Wilke & Rappe (Hrsg.): HipHop im 21. Jahrhundert. Medialität, Tradierung, Gesellschaftskritik und Bildungsaspekte einer (Jugend-)Kultur. Springer Link Verlag, S. 369-390
Frost,
F. & Nitzsche, S. A. (2022): HipHop in NRW: Lokale Verortung
afrodiasporischer Kulturpraktiken und ihre institutionelle
Legitimierung, In: Erlach, Krettenauer, Oehl & Sauerwald (Hg.): Musikland NRW. Identität - kulturelle Praxis - Traditionen. LIT Verlag.
Gaffer, Y. (2001). Aktionismus in der Adoleszenz. Theoretische und empirische Analysen am Beispiel von Breakdance-Gruppen. Berlin: Logos-Verlag.
Hitzler, R. & Niederbacher, A. (2010). Leben in Szenen. Formen juveniler Vergemeinschaftung heute. (3., vollst. überarb. Aufl.). Wiesbaden: VS Verlag.
Kimminich, E.; Rappe, M.; Geuen, H. & Pfänder, S. (Hrsg) (2007): Express yourself! Europas kulturelle Kreativität zwischen Markt und Underground. Bielefeld: transcript.
Klein, G. & Friedrich, M. (2003). Is this real? Die Kultur des HipHop. Frankfurt am Main: Suhrkamp Verlag.
Pavicic, C. (2007). Hip Hop Dancing Bodies. Eine interkulturelle Studie der Hip Hop Kultur (Schriftenreihe Bewegungskultur Ausg., Bd. 2). Hamburg: Verlag Dr. Kovač.
Rappe, M. (2011). Style as Confrontation: zur Geschichte und Entwicklung des BBoying. In: Hardt, Y. & Stern, M. (Hg.). Choreographie und Institution. Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung. Bielefeld: transcript.
Rappe, Michael (2010): Under construction. Kontextbezogene Analyse afroamerikanischer Popmusik. Köln: Dohr (Musicolonia, Bd. 6).
Hitzler, R. & Niederbacher, A. (2010). Leben in Szenen. Formen juveniler Vergemeinschaftung heute. (3., vollst. überarb. Aufl.). Wiesbaden: VS Verlag.
Kimminich, E.; Rappe, M.; Geuen, H. & Pfänder, S. (Hrsg) (2007): Express yourself! Europas kulturelle Kreativität zwischen Markt und Underground. Bielefeld: transcript.
Klein, G. & Friedrich, M. (2003). Is this real? Die Kultur des HipHop. Frankfurt am Main: Suhrkamp Verlag.
Pavicic, C. (2007). Hip Hop Dancing Bodies. Eine interkulturelle Studie der Hip Hop Kultur (Schriftenreihe Bewegungskultur Ausg., Bd. 2). Hamburg: Verlag Dr. Kovač.
Rappe, M. (2011). Style as Confrontation: zur Geschichte und Entwicklung des BBoying. In: Hardt, Y. & Stern, M. (Hg.). Choreographie und Institution. Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung. Bielefeld: transcript.
Rappe, Michael (2010): Under construction. Kontextbezogene Analyse afroamerikanischer Popmusik. Köln: Dohr (Musicolonia, Bd. 6).
Rappe, M. & Stöger, C. (2023 - in publishing): „Lernen nicht, aber …“ – Zur Tanz- und Lernkultur Breaking. Münster: Waxmann Verlag.
Rappe, Michael; Stöger, Christine (2015): Breaking oder die Verpflichtung, seinen eigenen Stil zu entwickeln. In: Diskussion Musikpädagogik 65 (1), S. 18–25.
Rappe, Michael; Stöger, Christine (2014): "Lernen nicht, aber…" – Bildungsprozesse im Breaking. In: Bernd Clausen (Hg.): Teilhabe und Gerechtigkeit. [proceedings of the 35. Annual Conference of the German Association for Research in Music Education] = Participation and equity. Münster [u.a.]: Waxmann (Musikpädagogische Forschung, 35), S. 145–158.
Rode, D. (2006): Breaking. Popping. Locking. Tanzformen der HipHop-Kultur. Marburg: Tectum Verlag.
Schröer, S. (2013). HipHop als Jugendkultur? Berlin: Rabestück Verlag.
Süß, H. (Hrsg.) (2022): Rap & Geschlecht. Inszenierungen von Geschlecht in Deutschlands beliebtester Musikkultur. Weinheim: Beltz Juventa.
Zentner, M. (1999). Ästhetik des HipHop. Szene-Insight am Beispiel einer Musikszene. In B. Heinzlmaier, B. Großegger, & M. Zentner (Hrsg.), Jugend Marketing. So setzen Sie Ihre Produkte in Szene. Wien, Frankfurt: Ueberreuter.