d58ebd6c-b43e-4f28-b88b-15bfc849f08520260429143940Depositor Namedepositor_email@address.comRUA Metadata ExporterRaShelle R.PeckBorough of Manhattan Community Collegehttps://ror.org/040hwr020Nairobi Hip Hop FlowDiasporic Blackness and Embodied Performance in the UndergroundNairobi Hip Hop Flow combines ethnographic methods, political history, and music and performance analysis to illustrate the richness of hip hop’s embodied performance practices. RaShelle R. Peck examines how hip hop artists in Nairobi’s underground rap culture engage with political seriousness in lyrics and sound by fostering a creative playfulness using bodily movement. This unprecedented study shows how Nairobi artists circulate diasporic blackness while at the same time indigenizing hip hop music to interrogate Kenya’s sociopolitical landscape.“A much‑needed addition to scholarship on Kenya and global hip hop studies. RaShelle Peck places Kenyan hip hop within broader hip hop studies, while recognizing its unique identity.” — Msia Kibona Clark, author of Hip‑Hop in Africa: Prophets of the City and Dustyfoot Philosophers“A remarkable study that takes us into the heart of Nairobi hip hop and introduces a novel approach in the corporeality of hip hop. Peck demonstrates not only what is meant by hip hop flow, but how Kenyan hip hop artists embody such a practice.” — Quentin Williams, coeditor of Neva Again: Hip Hop Art, Activism, and Education in Post‑Apartheid South Africa“Peck offers a clear intervention into the diasporic and transnational elements of Nairobi hip hop, relating her account to broader histories of hip hop and global formations of blackness that transcend and complicate the local.” — Carter Mathes, author of Imagine the Sound: Experimental African American Literature after Civil RightsRaShelle R. Peck is Assistant Professor of Ethnic and Race Studies at Borough of Manhattan Community College.Nairobi Hip Hop Flow combines ethnographic methods, political history, and music and performance analysis to illustrate the richness of hip hop’s embodied performance practices. RaShelle R. Peck examines how hip hop artists in Nairobi’s underground rap culture engage with political seriousness in lyrics and sound by fostering a creative playfulness using bodily movement. This unprecedented study shows how Nairobi artists circulate diasporic blackness while at the same time indigenizing hip hop music to interrogate Kenya’s sociopolitical landscape.“A much‑needed addition to scholarship on Kenya and global hip hop studies. RaShelle Peck places Kenyan hip hop within broader hip hop studies, while recognizing its unique identity.” — Msia Kibona Clark, author of Hip‑Hop in Africa: Prophets of the City and Dustyfoot Philosophers“A remarkable study that takes us into the heart of Nairobi hip hop and introduces a novel approach in the corporeality of hip hop. Peck demonstrates not only what is meant by hip hop flow, but how Kenyan hip hop artists embody such a practice.” — Quentin Williams, coeditor of Neva Again: Hip Hop Art, Activism, and Education in Post‑Apartheid South Africa“Peck offers a clear intervention into the diasporic and transnational elements of Nairobi hip hop, relating her account to broader histories of hip hop and global formations of blackness that transcend and complicate the local.” — Carter Mathes, author of Imagine the Sound: Experimental African American Literature after Civil RightsRaShelle R. Peck is Assistant Professor of Ethnic and Race Studies at Borough of Manhattan Community College.04012025978-0-520-38648-8978-0-520-38979-3978-0-520-38649-5978-0-520-38649-5978-0-520-38649-5University of California PressCaliforniahttp://creativecommons.org/licenses/by-nc-nd/4.0/10.1525/luminos.229https://www.luminosoa.org/books/m/10.1525/luminos.229- https://www.luminosoa.org/books/244/files/001b968f-1733-4df3-930a-b60150f6d57d.pdf
- https://www.luminosoa.org/books/244/files/001b968f-1733-4df3-930a-b60150f6d57d.pdf
Introduction: 2-5-Flow!0401202510.1525/luminos.229.ahttps://www.luminosoa.org/chapters/m/10.1525/luminos.229.a- https://www.luminosoa.org/books/244/files/b957d1f7-272d-45c8-876b-74ac39b086ea.pdf
Cultural Anxieties, Music Commodities, Rapping Bodies0401202510.1525/luminos.229.bhttps://www.luminosoa.org/chapters/m/10.1525/luminos.229.b- https://www.luminosoa.org/books/244/files/dd0f0805-7b92-423e-8ba1-bc40423cffa6.pdf
Play and Gender0401202510.1525/luminos.229.chttps://www.luminosoa.org/chapters/m/10.1525/luminos.229.c- https://www.luminosoa.org/books/244/files/4c3f9d68-afef-4e49-aae2-1290385da890.pdf
Diaspora, Love, and Limits0401202510.1525/luminos.229.dhttps://www.luminosoa.org/chapters/m/10.1525/luminos.229.d- https://www.luminosoa.org/books/244/files/b27cbd19-e24a-42c7-9ba5-131eecb05812.pdf
The Sounds of Imperfect Resistance0401202510.1525/luminos.229.ehttps://www.luminosoa.org/chapters/m/10.1525/luminos.229.e- https://www.luminosoa.org/books/244/files/85a2e18a-44b2-4b8f-bb6d-04847fe3aeea.pdf
Conclusion: Hip Hop Flow as Kenyan, as Black0401202510.1525/luminos.229.fhttps://www.luminosoa.org/chapters/m/10.1525/luminos.229.f- https://www.luminosoa.org/books/244/files/fa1f3f44-eb5a-4470-8719-26c40c476e56.pdf