The First Time I Heard: Black Feminist Approaches to Hip Hop Methodologies

Pulse and rhythm are found in our heartbeats, our breaths, and our physical movements. Pitch and tone give our voices distinct expressive and communicative qualities that serve as articulations of our relationship to space and time. Sound constantly surrounds us, embeds us, and embraces us. Yet, in the academy, conversations on Hip Hop as a field of study tend to focus almost exclusively on lyrical analyses. We do not have to completely abandon this mode of engagement, but we seem to forget that Hip Hop is not simply about empirics or measurement. And so, this paper seeks to re-think, re-consider, and re-articulate how we theorize Hip Hop—its politics, its culture, and its ways of being—by attending to the vibrations in the air, nonlexical expressions, and the practices of looking and listening. Drawing from Black feminist studies as well as the methods of ethnography, autobiography, and social and oral history, I discuss the interiority of sound, the contexts of reception, and the sets of relations that exist between sonic phenomena. I argue that these creative approaches not only compel us to ask better questions about cultural moments but are foundational to understanding that Hip Hop is not just rap music; it is a practice, process, and lived experience.