Thursday, August 16, 2007

Hip Hop Diaspora?

This is something I've been thinking about for awhile, and I'm sure I'm not the first to frame it this way. But I never hear it explicitly laid out the same way, although maybe I just don't read a big enough variety of material...

Wikipedia defines diaspora in its opening sentence as
The term: diaspora (in Ancient Greek, διασπορά – "a scattering or sowing of seeds") is used (without capitalization) to refer to any people or ethnic population who are forced or induced to leave their traditional homelands, the dispersal of such people, and the ensuing developments in their culture.

So usually we think of this dispersal in terms of say... Chinese Diaspora which I am a part of, and Hmong B-Boys can be considered a part of the Hmong Diaspora right?

When we think of Diaspora, we can also think of the changes in these peoples culturally too, like Chinese Americans and now the newer generations of Hmong Americans have changed in many ways culturally due to their placement/displacement in their homes outside the traditional homelands.
So what I'm getting to, for myself, being that I don't speak the Toy San (Taishan in Mandarin...) dialect my parents and grandparents speak, supposedly it doesn't make me any less Chinese.. well, it makes me Chinese American. But as a member of the Chinese Diaspora, I may be different, English speaking, different cultured, Hip Hop loving, but I'm still Chinese right? Cause diaspora not only changes the dynamics of where they land up, but they are changed by where they land up too.

So does this idea of Diaspora apply to culture and cultural forces that spread. Can we describe something like Hip Hop, with a definite homeland (Bronx, New York) and a spreading population around the world, in terms of diaspora? So thinking of Hip Hop in terms of Diaspora, Hip Hop launches and changes the dynamics of the people who embrace it outside the homeland, but also Hip Hop in its diasporic form takes on different shapes, forms and meaning in its new home, just as people do. Does that make Hip Hop any less Hip Hop? In this sense, no, right? It still is! I'm still Chinese aren't I?

Maybe Hip Hop in its new homes may down the line wish to reconnect with the Bronx (which often is the case) just like many of my peers feel the desire to take language courses, study abroad, or just vacation in Asia.

Now from some definitions there are conditions and events which lead to people leaving their "homelands" and creating/adding to diaspora, but are there events or conditions that provide for the spread of Hip Hop, or make it more ... um... for there its gravitation to certain peoples around the world?

I guess it's just another way I'm trying to frame B-Boying in the Hmong community...

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Tuesday, July 31, 2007

Since we been gone...


I been going as crazy as my hair!

Currently the project is in the "preparation for post production phase". And for me that's meant transcribing interviews, getting people to help transcribe interviews (Thanks Zoe, Julia and Gen!) printing out all 200+ pages of them, putting them in a binder, tabbing them, then going through everything with a Hi-Liter.

I've recently finished the Hi-Liter deal, and now I am working on the "Paper-edit" which is pretty much trying to take everything I selected from the transcripts, and trim and arrange until they make sense! That may sound easy, but my process is constantly interupted by *gasp* thinking! I always seem to just stare off at times, trying to piece everything together in my head. How I'm going to present the story, arrange everything, how to order it so it makes sense. What's going to be the perfect order!

I did recently though, read a pretty good article in the "Total Chaos" Hip Hop Aesthetics reader, written by DJ Spooky, kept talking about arranging and remixing film as a DJ. Pretty interesting... and it got me to thinking about how I like to edit stories and present them... I like to tell stories like I DJ. Often I like to blend. Other times I just scratch it in, and drop the record in a the right time. But there's always a rhythm, a feel for it. On top of it, song selection is important, you have to juxtapose and blend the right songs with each other! Sometimes I order songs with each other because of a certain similar element in them, whether it's a certain instrument, the way the drums work together... and other times I put them together for their contrast, and the meaning that can be drawn by the two together. My film will hopefully flow and blend, stop, go, smoothly at the right places and abrupt at certain points, but always with the "feel" in mind. Just like how I like to tell stories in some of my mixes. Check them out for yourself!


Where it all comes together...

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Sunday, June 10, 2007

FOUR LETTER METAPHORS part 2


Saturday we were off to fish at the dam at Lake Keystone, I believe, near Sand Springs, about a half hour from Nou's place in North Tulsa. We spent somewhere from 3-4 hours out there fishing for sand bass. In the heat we all took off our shirts and I was subsequently sunburned pretty badly. But no need to pity me for this.

I distinctly remember feeling exhausted after a full Thursday shoot and the next day feeling like, "damn, I wish I was at home relaxing!" I was a little tired, a little homesick maybe? Either way, after a day out on the river, I was ready to have a great Sunday and head home, mission accomplished! And if you want to talk about mission accompished, well it doesn't get any better than this!


But the day would not be without our regular metaphor hunt. As we filmed during our day of fishing I asked about the hard work that goes into B-Boying, beyond the fun. As we got home and scalled, gutted, washed, and then cooked the fish I asked them about the preparation that goes into one day being able to enjoy the success in B-boying they seek. I think at times the questions themselves might have been odd, possibly a little bit of a stretch as I tried to elicit answers that would bring forth this attempted metaphor, but all I seemed to be left with was some really tasty fish!

--Chris



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FOUR LETTER METAPHORS part 1


Thai Chickens like these...

After Thursday's session we've spent Friday at Soul Rival and Velocity crew member Ted Her aka B-Boy Flake's place in Tulsa. We had a great interview with the 18 year old B-Boy who has, like B-boys Sukie (Shoua) lived in California for a lot of his life before coming to Tulsa. For all of the interviews we've been conducting, I'm always reminded by the correspondence with our project adviser, Vivian, to not only get concrete stories but those ever elusive metaphors! Something in the surrounding area that could represent the struggles or ideas visually that we're trying to capture with the words in our interview. Friday as we arrived at Ted's I was treated to a COCK FIGHT with two of their neighbor's big Thai Chickens. Having never seen anything like it, I was immediately intrigued. Apparently he was just sparring/training the chickens, to be ready for their time to really battle. They tape up their dangerous sharp tallons, as their fights aren't about the blood, so much as they're valued more for their skill, stamina, and endurance, like a boxing Prizefighter! Following the interview, we touched on topics such as training and how he's really learned and developed as a B-Boy through battling. As the other guys showed up, we got some more in depth stories about their camaraderie, about life in Tulsa being Asian, and more about them as a B-Boy crew.

--Chris

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