12/29/2023 0 Comments Tricia ann love and hip hop hollywoodI don’t dance or freestyle to create for class or a job, and it’s usually done without mirrors. I have to visualize the steps and staging in my head and then ask the dancers to try it to see if I like it. “For some reason, I always start my choreography process sitting down, with my assistants standing in front of me. Nyamekye SmithĪ post shared by TRICIA MIRANDA On her creative process We don’t blame you if you’re curious about Miranda’s creative process, what she looks for from dancers, or what she believes it takes to become a successful choreographer. If you thought that was a full resumé, then you’d be surprised to learn that Tricia probably choreographed some of your favorite dance moments at the MTV VMA Awards, the Grammys and, of course, on “So You Think You Can Dance.” Outside of being a YouTube sensation, Tricia has choreographed for several of the world’s top artists, like Missy Elliot, Jason Derulo and Beyoncé, just to name a few, and has worked side by side with dance legends like Nappytabs, Tyce Diorio and Brian Friedman. She clearly has a secret formula for virality and makes movement choices that feel good just to look at. She has a knack for creating moves that you can’t help but watch over and over (and over!) again. However, today rap is fairly linked to an almost obsessive quest for money and success, having freedom and revolution ideals been nearly erased from its lyrics.Ever wondered what it feels like to have an accumulation of millions of views on your dance work? Just ask Tricia Miranda. As a consequence, new musical styles were set up, till the most current – rap –, which originated as a music to express social protest and wishes to change, to freedom for the black population. With the passing of time, a blend between African and American cultures derived in what we know as African-American culture. Following that, there will be a discussion about whether the latter had any influence on the music of slaves in order for this to survive. After that, a study will be done about the ways that this kind of music lived with the one that predominated at that time among the inhabitants of the emerging United States of America – the majority of them being whites –, as it was deeply bound to religion. For this, characteristics of African music will be first reviewed. That is to say, if rap directly comes from the music that the first slaves to arrive in North American soil brought with them. The purpose of this thesis is to demonstrate, if possible, whether there is any relation between rap and African-American music. Money, whether from the streets and/or multinational corporations, has helped spread hip-hop culture, but has also served as a major roadblock to making hip-hop part of an emancipatory politic. Building on the spatial theories of Murray Forman and Cheryl Keyes, special attention is given to how Afrika Bambaataa attempted to move hip-hop from street consciousness to Afrocentric empowerment.Woven throughout the narrative of this chapter is the theme of tension between knowledge and the commercial impetus of hip-hop. This chapter provides a revisionist historiog- raphy of hip-hop knowledge, specifically, its early normative development within the socio-economic realities of the 1970s’ South Bronx. The performance arts of MCing (“rapping”), DJing (“spinning”), breakdancing (“b-girling”), and graffiti (“writing”) are often identified as the “four core elements” of hip-hop, but less attention has been given to the central role of knowledge in the cultural formation of hip-hop culture. Knowledge of self” refers to the Afro-diasporic mix of spiritual and political consciousness designed to empower members of oppressed groups.
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