{"id":1822,"date":"2013-01-28T15:36:00","date_gmt":"2013-01-28T07:36:00","guid":{"rendered":"http:\/\/ijaps.usm.my\/?page_id=1822"},"modified":"2021-01-11T17:46:13","modified_gmt":"2021-01-11T09:46:13","slug":"theorising-hip-hop-and-street-dance-in-the-philippines-by-j-lorenzo-perillo","status":"publish","type":"page","link":"https:\/\/ijaps.usm.my\/?page_id=1822","title":{"rendered":"Theorising hip-Hop and street dance in the Philippines"},"content":{"rendered":"<p style=\"text-align: justify;\">Vol. 9, No. 1 (2013): 69\u201396.<\/p>\n<p style=\"text-align: justify;\"><strong>Abstract<\/strong><\/p>\n<p style=\"text-align: justify;\">While Hip-hop is recognised as a global musical culture, few studies have examined its practices of choreography. This essay privileges the ways Hip-hop dancers in Manila theorise their practices through four main aspects\u2014genre, mode, dimension and conflict\u2014in order to draw attention to the principles of meaning-making in contemporary Hip-hop performance. This article suggests that a dance-based system of knowledge is helpful to our understanding of music and performance in Asia and the Pacific because it fleshes out internal discourses of Hip-hop and promotes a mindfulness regarding assumptions around the performing body. Taken as a whole, these aspects help articulate conventional concerns around studying Hip-hop dance. This explanatory framework, hopefully, clears up more room to move when theorising through and about Hip-hop and promotes the critical study of dance practices in the Philippines with larger implications for contemporary popular music and performance in Asia and beyond.<\/p>\n<p style=\"text-align: justify;\"><strong>Author&#8217;s bio<\/strong><\/p>\n<p style=\"text-align: justify;\">J. Lorenzo Perillo is a Ford dissertation fellow in Performance Studies and doctoral candidate in Culture and Performance at the Department of World Arts and Cultures\/Dance at UCLA. He is also a member of the concentration program in the Asian American Studies Department. Perillo has taught and choreographed for various community-based arts programs and these experiences inform his research at the intersections of Filipino race, gender, and colonial relations in Hip-hop dance. His writing appears in&nbsp;<i>Theatre Journal<\/i>,<i>Extensions<\/i>, and the anthology&nbsp;<i>Hip-Hop(e): The Cultural Practice and Critical Pedagogy of International Hip-Hop<\/i>.<\/p>\n<p style=\"text-align: justify;\"><strong>Download&nbsp;<\/strong><\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/ijaps.usm.my\/wp-content\/uploads\/2013\/01\/Art3-Perillo.pdf\">Download full article (PDF).<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Vol. 9, No. 1 (2013): 69\u201396. Abstract While Hip-hop is recognised as a global musical culture, few studies have examined its practices of choreography. This essay privileges the ways Hip-hop dancers in Manila theorise their practices through four main aspects\u2014genre, mode, dimension and conflict\u2014in order to draw attention to the principles of meaning-making in contemporary &hellip; <a href=\"https:\/\/ijaps.usm.my\/?page_id=1822\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Theorising hip-Hop and street dance in the Philippines | IJAPS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ijaps.usm.my\/?page_id=1822\" \/>\n<meta name=\"twitter:label1\" 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