Rec Needs a New Rhythm Cuz Rap Is Where We're Livin'

This research presents an autoethnographic strategy for self-reflection by sharing stories consistent with Indigenous methodologies and establishing a frame for re-mixing leisure theory. As an autoethnographic study, we reflect on how we have been engaged, changed, and challenged to rethink understandings of leisure and ourselves as leisure scholar-practitioners as a result of listening to rap music, especially composed by Aboriginal young people. We pause on questions related to how Aboriginal young people challenge leisure theory and its relevance to their lives through their rap and hip hop performances.

Keywords:

• leisure
• rap music
• Aboriginal
• autoethnography
• qualitative methods

Notes

¹Indian and Northern Affairs of the Government of Canada explains Bands as: “a group of First Nation people for whom lands have been set apart and for whom money is held in trust by the Crown. A band can also be a group or band of Indians that the Governor in Council has declared to be a band under the Indian Act. Each band has its own governing council, usually consisting of one or more Chiefs and several Councillors who are either elected or chosen through traditional custom. The members of a band generally share common values, traditions, and practices rooted in their ancestral heritage. Today, some bands prefer to be known as First Nations. There are currently 614 bands” (Retrieved December 3, 2005, from www.ainc-inac.gc.ca/or/info/info125_e.html).

²Hip hop has four “traditional” elements: Emcee-ing (rapping), breakdancing (B-Boy/B-Girl), DJ-ing (turntablism), and graffiti art. Thus the culture around hip-hop is constructed intertextually. In The Beat of Boyle Street, participants often used the terms “rap” and “hip-hop” generically and interchangeably particularly when “rap” is a subset of hip-hop. Krims (2000) provided a concise summary (p. 10–12) of the debates around differences between “rap” and hip-hop.” See Lashua (in press) for a more complete description of the research with The Beat of Boyle Street.

³The name “MC Ed Mile” is a creative appropriation and play on the Eminem film titled “8 Mile.” “Ed” refers to Edmonton, and provides an indirect rhyme to “8”. This example shows how young people borrow from broader, global popular culture and use it in new ways in local contexts.

⁴Paul VanDevelder in his January 13, 2005 commentary for the Los Angeles Times (www.latimes.com) provides a similar story connected to the experiences of Native Americans.