Szyszka 1

Julian Szyszka

Professor Hampton

ENGW 105-01

10 April 2021

Africana Meaning Making: A Culture That Will Never Cease (Revised)

Background

This paper will analyze one of the largest influences and parts of the modern-culture and

aesthetic and connect it with the earliest cultural tendencies and aesthetics that remain apparent

as highlighted in Robert Farris Thompson’s African Art in Motion. This will be done by

analyzing modern-day rap music (2010 – Present) and different ways that the Africana aesthetic

has never been lost but embraced. Although this has more potential to be acknowledged more

commonly, understanding the influences begins breaking a contract with an oppressive standard

that has suppressed marginalized groups. This work is important to highlight the influences of

African and Black culture throughout history and how it plays into modern society. Western

culture, education, and other foundational aspects of the status-quo fail to highlight this or omit

the influence of the culture of the people they have historically marginalized and oppressed. The

argument is that rap or hip-hop music in the modern culture serves as a way for the

predominately black targeted audience and performers to keep their culture present in the status-

quo, and that the pushback and negative association from outside groups surrounding rap music

is an undertone of the oppressive and judgmental past.

Breaking this contract with the western aesthetic is important for the progression of

socially marginalized groups and appreciation of diversity. The western aesthetic has set a

standard that is biased and hinders the acceptance and appreciation for the aesthetics that are not
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Professor Hampton

ENGW 105-01

10 April 2021

set by the North American and European colonizers. Clyde Taylor highlights this in The Mask of

Art as he calls readers to make whiteness visible. Taylor describes how the white aesthetic has

become the standard which is why other diverse aesthetics and cultures must be labeled and

visible while whiteness remains invisible. The danger with this is that the whiteness becomes

accepted as beautiful, classified, and correct while other cultures get omitted from those

associations. Robert Farris Thompson also acknowledges this danger in Flash of the Spirit as he

discusses how all culture and people have been influenced by classic and modern Africana

culture and aesthetic. Thompson then provides us with his canons of form: different distinct

aesthetic influences from the Africana culture that is displayed universally.

Pushback and Appropriation

Rap music has reached an all-time high in popularity with rap songs becoming part of the

mainstream music that the youth and the general population is starting to become exposed to

regularly. Although this is the current trend, that does not mean that it comes without pushback.

During the 1980s and 1990s, rap music became popular and began to expand outside of the black

community. As it creeped up on other genres like rock and roll and began to not only match it in

popularity but exceed it, it was also heavily associated with the “resistance identity” (Majewski)

of black Americans. A PEW Research Center poll in 2008 identified that at the time over 70% of
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Professor Hampton

ENGW 105-01

10 April 2021

Americans believed that hip hop had a negative impact on society. However, this is evidence of

the undertones of viewing the black community and culture as nonconforming or resistant.

Many people view rap music as unintelligent, disobedient, and often not music at all.

However, this pushback is not due to lack of preference or just different music taste, it falls on a

conceptual level. People do not appreciate the concept of rap music as it counters the standard

that was set by white musicians, producers, and audiences before. As opposed to slowed lyrics

rap counters this with fast and witty lines that often have deeper meanings than the words said.

As opposed to trying too only express restricted feelings and messages, rap music often tells all

stories with little restriction. And finally, instead of trying to just impress an audience, rap music

often looks to leave audiences with a message as if the rapper is telling them a deeper story. This

countering of the standard can be applied to fashion, sports, and almost any other industry where

black culture has made is presence and where pushback tried to pin society against the changing

and growing influence of marginalized groups.

The evidence goes beyond just the unacceptance as rap as whole. Cultural appropriation

has played a big factor in showing that the problem with rap music from those outside the black

community does not lie within one’s problems with the flow or the lyrics, but rather the culture

and color behind the songs. This was proven evident at the 56th Grammy Awards when Ben

Haggerty (a.k.a Macklemore) took home the four rap category awards as well as was celebrated

for the record-breaking number of streams that his song Thrift Shop had. Although he used
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Professor Hampton

ENGW 105-01

10 April 2021

similar flow patterns, aggressive language, and beats like many of his other colleagues in the rap

game, Macklemore found himself celebrated where often others would be ridiculed.

Many white rappers have found themselves able to use the same language, flow, beats,

and even images as their black counterparts without receiving the stereotype and criticism that

their counterparts experience. Rappers like Macklemore, Eminem, and Post Malone often

experience high streaming numbers and a unique acceptance from outside of the black

community due to their appearance and dissociation with the resistance identity. They can

produce music that is growing in popularity and that people enjoy and like and are not held back

with the concept of the resistance identity or being seen as rebellious. This allows them to have

unique revenue streams, listeners, and an expanded audience that their black counterparts do not

get to experience. While other rappers are limited to being played only by individuals or often

censored from radios, these rappers have the luxury of being played on speakers, in strict homes,

and on radio broadcasts that their counterparts can not access.

This resistive identity and cultural appropriation that rap has been associated with and

experienced in the status-quo goes to show that the overall resistance on rap from those outside

of the black community occurs as a conclusion of racist undertones above anything else. One can

argue that rap is not “real” music, but then would be troubled providing an explanation as to why

white rappers streaming numbers and success is so high. This shows that the resistance once

again lies in trying to keep a cultural standard that excludes marginalized groups that have been
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historically oppressed, however, this paper looks to show the importance of rap to the black

community and looks to break the chains of outside resistance and rather highlight the

importance and culture that all types of different rap music preserve every single day. There are

deeper stories to all of the beats, productions, and lyrics of the modern-day rap that often go

censored, but it is until these works are truly appreciated on a historical and intellectual level that

we can see true progression as a society and as a new American and global culture. Once this can

be unlocked with rap and hip hop, this can open the door for the same to occur in a multitude of

other industries.

Canons

Rap has become a staple of modern culture especially from the growth and rise from the

1990s. Chicago rapper Juice WRLD shows this growth and integration as he was named

Spotify’s most streamed United States’ artist. Rap has become a genre that has defied culture,

colors, appearance, belief, message, and other forms of constructs. The influence of the genre has

defied the borders of even it is country of origin as it has become an international phenomenon

and a staple of world, proven by Toronto rapper Drake who continues to break records for

streams and hits. Rap music is heavily influenced by many of the canons of form highlighted by

Robert Farris Thompson but three of them are especially apparent: ancestorism, coolness, and

Ephebism (youthfulness).
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Julian Szyszka

Professor Hampton

ENGW 105-01

10 April 2021

Ancestorism

Ancestorism is something that has been embraced by black culture since the beginning

and was adopted by the rap genre. Attempting to connect with older ways and build upon the

good of the past is something that is a pinnacle of the Africana aesthetic, and stays strong in the

modern culture. Modern-day rap does this in many ways, one of the most prominent being

sampling. Oxford defines sampling as “the technique of digitally encoding music or sound and

reusing it as part of a composition or recording.” Kanye West is known for his sampling ability

that he has made a foundational part of his artistry and discography. One example of Kanye’s

sampling and respect of ancestors is in his song “Runaway”, where he samples Rick James’

“Mary Jane”. West samples other ancestors such as Nina Simone, Ponderosa Twins Plus One,

and Michael Jackson. In doing this and just like those who came before him, through the art of

sampling sounds, classical sounds and beats are brought into the modern world to be embraced

and ensured that they are carried beyond generations. Kanye West keeps sounds and classic

through paying respect to those who came before him by allowing their influences to be made

apparent and cited. Another way that ancestorism is still apparent is through messages and

references. In the rap industry, many references are made to classic figures or ancestors as a form

of respect. In J. Cole’s “No Role Modelz” he says “First things first rest in peace Uncle Phil”

referring to James Avery who played the role of Philip Banks on The Fresh Prince of Bel-Air. J.

Cole’s 2014 track referencing the 90’s sitcom starring Will Smith shows his respect for one of
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10 April 2021

his ancestors in James Avery who he cites as serving as a father figure in his life through his role.

This allows younger generations to continue this strong trend of respect that comes with the

Africana aesthetic. Chicago rapper Polo G ties both sampling and messaging together in his song

“Wishing for a Hero” where he samples Tupac’s “Changes”. He samples the beat used in the

original songs and conveys the same message, telling his audience that the issues that are faced

by the black community in America with police interaction, poverty, and marginalization are still

as apparent in 2020 as they were in 1998 when Tupac released the song.

Coolness

Another canon present in the industry is the coolness: the unification and demonstration

of qualities of beauty, peace, strength, wellness, and discretion. Robert Farris Thompson

references this through displaying and analyzing the masks of cool, which show how ancient

Africana cultures displayed this coolness factors in their masks by ensuring that composure was

kept, gazing eyes, and a serious face was maintained. This carried unto other eras as pharaohs

kept the same blueprint along with statues and other arts. Commanding by maintaining these

qualities has been a trademark of displaying coolness, which is a staple of the rap industry. One

way this is apparent through album and song covers. Kendrick Lamar’s Pulitzer Prize winning

project “DAMN” displays him on the cover wearing a white shirt, with gazing eyes, and a

composed face. This has been apparent even looking back to the classic rap albums put out from

Biggie Smalls and Tupac Shakur and has continued strong as generations have passed. These
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Professor Hampton

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10 April 2021

artists and influencers maintained their image and ensured that they commanded their photos

without expressing an emotion but maintaining themselves and their coolness as a sign of

strength and composure. This has influenced people as they consume this music to embody this

persona of the artists and continue it in their personal lives. This has carried with the rap industry

and music industry into social media, as people continue to maintain their coolness through their

posts where tendencies push people not to smile or express strong emotions as they attempt to

demonstrate themselves and command without compromising their unification of traits. Like the

faces of the ancient Africana masks and those of the pharaohs, rappers have maintained the

culture for it to be passed onto the next generation.

Ephebism

Ephebism is a strong canon that is embodied by the rap industry. Ephebism stands for the

long-lasting youthfulness and allowing the energy of the youth to carry societal practices and a

preference of renewal. This was inspired by ancient Africana culture by allowing the

youthfulness to carry the aesthetic and emphasize the use of new items that are “fresh”. One way

this has been prevalent is through the integration of rap and the clothing industry. Nike has

signed rappers like Travis Scott and Drake to deals in which they release new clothing,

accessories, and footwear with the brand. As they release new shoes and clothing, and people

push for these items, it allows the culture to stay connected with youth by allowing these

prominent figures to inspire and bring new and modern designs for consumption. Another way
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this stays prevalent in the rap industry is through allowing the presentation of new sounds and

concepts to become trends. Rappers like Juice WRLD, XXXtentacion, Gunna, and Lil Baby

brought unique sounds and messages to the rap industry that caught on among youth. They have

allowed for their youthfulness to be carried on display and bring fresh sounds to the industry,

continuing the tradition blueprinted through the Africana aesthetic.

Impact

The impact of understanding this is crucial for society in the status-quo as society begins

to challenge forms of systematic injustice. Breaking the aesthetic and understanding the

influence of the cultures of the historically marginalized in the west opens the door to

understanding and appreciation that allows others to respect how these cultures have influenced

their lives and behaviors. This also allows for members of the marginalized communities to

connect with their roots and becomes inspired. Rap music has gone beyond black culture as

white rappers and consumers have integrated themselves into the culture, however, they must

understand the history and the influence of the culture they embrace and enjoy. Once this is

done, this can open the door for social change and constructional differences. Social constructs in

the western world have pushed many through the teaching of history and the extension of

historically racist systems that white aesthetics have been the standard and influenced other

cultures, as opposed to the opposite. Once we can make whiteness visible, understand the impact
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of Africana culture and meaning making, and accept that the cultures of the oppressed influenced

that of the oppressor; mental shift can occur. This will then open the door for change that allows

for this history to be altered and taught more equitably, for the impact of harmful and exclusive

aesthetics to be broken, and for social mobility to be achieved.

Professor Hampton

ENGW 105-01

10 April 2021

Works Cited

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Fekadu, Mesfin. “Juice WRLD Is Spotify's Most-Streamed Artist in U.S., Bad Bunny Tops

Globally for 2020.” Chicagotribune.com, Chicago Tribune, 1 Dec. 2020,

www.chicagotribune.com/entertainment/music/ct-ent-juice-wrld-bad-bunny-spotify-most-

streamed-20201201-x4jjmywvljblrb4firopg3gcni-story.html.

Hallen, Barry. A Short History of African Philosophy. Indiana University Press, 2009.

“Sampling.” Sampling Noun - Definition, Pictures, Pronunciation and Usage Notes | Oxford

Advanced Learner's Dictionary at OxfordLearnersDictionaries.com,

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Majewski, P. (2018, December 07). African American music in the service of White

Nationalists: Polish... Retrieved April 15, 2021, from

https://journals.openedition.org/ejas/13655#tocto1n3.
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Nwoko, U. (n.d.). A flawed perception OF Hip-Hop: ARTS: The Harvard Crimson. Retrieved

April 15, 2021, from https://www.thecrimson.com/column/where-rap-meets-

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Young, E. (2016, April 18). 'Keepin' it real': Hip-hop and cultural appropriation. Retrieved April

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Taylor, Clyde. The Mask of Art: Breaking the Aesthetic Contract--Film and Literature. Indiana

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Thompson, Robert Farris. African Art in Motion: Icon and Act. University of California Press,

1979.

Thompson, Robert Farris. Flash of the Spirit. Vintage Books, 1984.