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Session 28 A B-Girl in NY: Rokafella, Hip-Hop and Choreographing Gender: Workshop
Tanji Gilliam “hip-hop should’ve been the vehicle,” Rokafella/New York, 2005
 

Given the ephemeral nature of digital technology, alternative methods of recording hip-hop history must be developed. While I do not agree with dismantling the inter-generational oral tradition altogether, and would advocate for a reawakening of this historical convention as well, archiving hip-hop digital media, in both institutional Archives, museums and libraries as well as in alternative print, Internet and video mediums, could be its own form of preservation and power in the hip-hop community. It would preserve a legacy of inter-generational cultural and historical inheritance that is currently threatened. It could also add institutional legitimacy and economic independence. Finally, it could promote education and artistic development.

My lecture-demonstration will feature an 18min. filmed interview with break-dancer, Rokafella as well as a presentation of the larger project, set against the backdrop of a videotaped, commissioned, solo dance performance with Rokafella as well.

   
  Tanji Gilliam is a graduate of the School of the Art Institute of Chicago, where she received an MFA in Film, Video and New Media. She is a doctoral student in the History of Culture Department at The University of Chicago. Her multi- media archive/dissertation project is entitled "that crack in the concrete: hip- hop, politics and the archive in black urban video culture, 1989-2004." She is a teacher in the Museum Studies Department and Video Studio Director at Duke Ellington School of the Arts in Washington, DC, a wife and mother of two sons and Artistic Director of Oil House Productions.
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