Underground rap is largely a subversive, grassroots, and revolutionary movement in underground hip-hop, tending to privilege creative freedom as well as progressive and liberating thoughts and actions. This book contends that many practitioners of underground rap have absorbed religious traditions and ideas, and implement, critique, or abandon
them in their writings. This in turn creates processural mutations of God that coincide with and speak to the particular context from which they originate.
Utilising the work of scholars like Monica Miller and Alfred North Whitehead, Gill uses a secular religious methodology to put forward an aesthetic philosophy of religion for the rap portion of underground hip-hop. Drawing from Whiteheadian process thought, a theopoetic
argument is made. Namely, that it is not simply the case that is God the "poet of the world", but rather rap can, in fact, be the poet (creator) of its own form of quasi-religion.
This is a unique look at the religious workings and implications of underground rap and hip hop. As such, it will be of keen interest to scholars of Religious Studies, Hip-Hop Studies and Process Philosophy and Theology.
The Storied Introduction: Underground Rapper Meets Whiteheadian Thought
1 Reconstructions of Religious Identities and Racial Ideologies in Process Philosophy and Hip-Hop Culture
2 Underground Hip-Hop as the Flow of Life
3 De/centering Religion, Hip Hop and the Nature of the "Underground" in Western Scholarship: A Historiography
4 Receptions of Theopoetic Aesthetics: Definitional and Historical Groundings
5 Theopoetics of Underground Rap’s Creative Impulse
6 Multiverse Theistic Creations through Underground Religious Rap
7 Underground Hip-Hop Culture and the Aesthetic Process of Religion
Routledge Studies in Hip Hop and Religion advances critical issues in hip hop and religion studies with particular focus on and attention to the category of religion, highlighting and bringing together a diverse set of voices, perspectives, and approaches. Books in this series contribute to dynamic conversations across a wide field of inquiry, including: theory and method for the study of hip hop and religion; the role of technology and new media in the development of hip hop culture and the mediation of meaning; aesthetics/performance of hip hop and the cosmology and performance of social belief; hip hop, religion and embodiment; identity formation as cultural/religious process and strategic/tactical operational acts; the role of hip hop in faith institutions; and hip hop, religion, and gender/class/sexuality/politics.
The key objectives of the series are:
(1) To offer an expansive contribution to the field of hip hop and religion studies that explores critical issues and formative questions that engage a variety of hip hop cultural products and sources, especially those that make use of the tools, methods, and approaches in the academic study of religion.
(2) To offer a space for research monographs and edited collections that will be of continued use to scholars in the field, graduate students, and, when possible, undergraduate audiences in the academic study of religion and beyond.
(3) To provide critical roadmaps exploring and explaining major topics, questions, data, and critical trends in the study of hip hop and religion and the changing and expanding academic engagements with it.