John Ossa 1

Right from the opening lines of Shusterman's fifth chapter of his book Hip Hop and
Philosophy, a suggestive invitation to face a scenario of confrontation, duality and
dichotomies is being set. Confronting, at first, Philosophy and Poetry, portrays the
classical discussion between reality (actual accounts of facts as they unfold) and
fiction (representations and comprehensions of the very same reality); but it also adds
on the contrast between knowledge and emotions, rationality and feelings. Whereas
Philosophy is entitled to provide concrete and logical explanations, Poetry was
classically presented as a distortive component which could even disrupt and damage
the purposes of a more epistemological comprehension of the world. By entitling the
chapter "Rap Aesthetics: Violence and the Art of Keeping it Real", Shusterman –to
my knowledge– is also wrapping these discussions within the framework of the
concept of violence (whose comment and development I will address a few lines
further). More than a dialectic operation between categories, what appears to be
violent here is not the confrontation itself (which is certainly desirable) but rather the
insinuated necessity of overcoming those dualities and dichotomies. And it is violent
because it clearly appears to be challenging and subversive insofar it entails a
different way of thinking that remarkably pretends to undermine the mainstream of
social imageries (Shusterman 55). Here is where a second confrontation –contained in
ad derived from the first one– takes place: that of art versus ideology.
Hip-Hop is presented as a particular way to respond to that duality as far as it
is introduced as an artistic reply that seeks to unify and close the possible gaps, at the
extent that its conception of reality is of a flowing and constant changing entity, rather
than a fixed set of elements to be approached. Hip-Hop's specific aesthetics goes after
the embodiment of activities appertaining to nature, by providing them with pleasure
remarks, meaningful contents and force of value, through its artistic performance.
Shusterman calls this procedure a different achievement of power (that is how
'violence' is commonly conceived), that flips over the idea of 'the violent',
transcending the vitiated and biased images rooted in possible prejudices before the
particular aesthetics of Hip-Hop (Rap), which regard it as an aggressive expression
itself, usually associated to gangs, belts of criminality, sub-urban settlements and
nonsense repulsion (Shusterman 58). Going beyond the media filtered
communications, and the merely commercial portraits of Hip-Hop culture, the 'Rap
Movement' (so to speak) –as far as inscribed in an artistic purpose– pretends to read
reality in a different way by keeping it as such (Shusterman's second accent of this
chapter): regarded not as a destructive but rather as a transforming force of power that
stands to face the actual shattering exercise of violence. There is therefore a different-
new violence (already mentioned above), which escaping from constrictions and
confined platforms of expression, walks toward raising a more vivid consciousness
through "its own vernacular way" (Shusterman 59).
Born out of violent conditions (because of inevitable social problematics
surrounding the very emergence of the 'Rap movement'-'Hip-Hop culture'), Hip-Hop's
language redefines and re-signifies –perhaps also provides new contents– to
conceptions that appeared to be empty, obscure and menacing. It is a new language
for shaping and communicating the experience of the real. The new 'violent
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performance' is thus a way to unfold the violent component of human condition,

comprehended as the capacity to overcome, by strongly questioning the violent
features of reality itself; what would mean a seemingly paradoxical motion, while
attacking with a similar composition the actual ongoing problem of social
decomposition and fracture. Hip-Hop, inscribed in this logic, emerges as a kind of
ethos, where art is a clear defined mirroring of human happenings and developments
(in their specific context). The interesting point here is how re-conceptualizing
violence makes possible the construction of a pretended (and even actual) poetic
expression such as Hip-Hop that, overcoming dualities and dichotomies, is not a
menacing disrupting force but rather an art "[whose] power is the basic struggle for
social recognition and prestige…through artistic prowess" (Shusterman 62).
I found interesting to notice how Shusterman concludes his reflection by
arriving at suggesting that this twist of 'violence' is an invitation to an inward
commotion, which means a "strict self-discipline and self-knowledge…that
strengthens the self without hurting others" (63). And is interesting insofar as it
speaks of a complete different conception not only of Hip-Hop culture as it is often
presented, but to the extent that what supports this commotion is precisely the poetic
function of the Rap culture performance. The Rap beats could be regarded as the
instruments for that 'new-violent' performance. Not only the words (the kind of
disrupting discourse contained in the Hip-Hop lyrics), but mostly the rhythm (the
rhyming implemented, the spelling twists, the accommodation of sounds…) is to
compose a response that, in Shusterman's words "channels violence onto an aesthetic
medium in a field of artistic production and rivalry" (62); and that rivalry is not
offensive and dismissing confrontation but rather a "quest for artistic excellence" (63).
I find this consideration certainly appealing, highlighting the point that it is precisely
the issue of Hip-Hop rhythmic expression which has been disregarded. Musical tunes
can be appreciated by a specific public (beyond only a matter of taste, it could also be
a question of identification and involvement into what Hip-Hop intends to say,) but
not a concern of all audiences. It does not have to be so –at least what is related to
taste– but, as far as the expression is on stage, an approximation of poetical interested
readership is welcomed.
The appealing point connected is the social reach of the Hip-Hop poetic
function, where the "symbolic, lyrical, and rhythmic combat which will sharpen the
mind, animate the spirit and create a glorious artistic tradition that can help raise the
cultural pride and social profile of African Americans" (Shusterman 62). Here is
where the rhythm has something to say. Through its own characteristic composition,
Hip-Hop –retaking Abraham's notion, – can be 'rhythmizing consciousness'. It might
mean that whoever gets close to Hip-Hop expression –for curiosity or other interests
might lead him to– is being placed before Hip-Hop's own intent to overcome
rejections and distances (dichotomies and dualities), as a first invitation, and also
before the new use of 'violence' which, as a second invitation, calls to even being
closer to the "kicking rhymes, rocking beats and busting moves" (Shusterman 62),
comprehended as the new violent devices. And they are because it is precisely this
rhythmic performance (other than a rhythmic logic), to challenge and question other
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poetic expressions. How far the impact of a poetic performance such as Hip-Hop can
actually help deconstruct considerations of violence within the social scenario, it is
something to be still explored. Shusterman precisely closes his reflection with a
question related to the Rap's strategies in handling violence. I do not consider that the
purpose itself of Hip-Hop compositions is strictly and always directed to respond to
violent features, but rather to enhance and nourish a specific cultural way to speak
about reality. It is reality in all its components what is presented through poetics.
When Hip-Hop is regarded as such (to that status) one way or another it accomplishes
a sort of social function, both for its fans as also for outside readers-listeners. The two
sides get affected as far as the invitations are open, and Hip-Hop, precisely because of
its 'new-violent' (non-violent) purposed approach, remains as an always accessible
artistic expression.