Global Theology

Michael Eric Dyson, a leading black intellectual states in his newest book Know What I Mean? that “conscious rappers are lauded as much for what they don’t say as for what they spit on record. They don’t brag about exorbitant jewelry, excessive women, or expensive automobiles.  Conscious rappers do talk about racial injustice, police brutality, over-incarceration, political prisoners, rampant poverty, radical educational inequality and more” (66).  There is a deep critique of the injustice and white supremacy that has pervaded the United States way of life within the hip hop community.  Dyson reminds the reader that there is plenty of “rap that is socially aware and consciously connected to historic patterns of political protest and aligned with progressive forces of social critique” (64).  No one is safe from the rhetorically resistant hip hop community.  All aspects of life are under the microscope and are seen as fair game for critique.  “Hip-hop, in fact, calls attention to the failures of government, schools, police, preachers and churches, bringing them to light while shaming them at the same time” (The Hip Hop Church, 81).  The rules of American life have never proved itself to be true for the urban youth, especially those who are black and brown, and therefore critique is the natural response from this otherwise powerless and voiceless community.  Hip hop will question “everything from whether the American dream is attainable for urban youth to whether the police force and the national government are systems that can be trusted” (The Hip Hop Church, 106).  Some conscious emcees have gone beyond just the struggles of the ghetto, to tackle more national and global problems that might not benefit them directly.  Dyson explains that “they have also occasionally linked their work to quests for social justice, whether making a song to galvanize social response to police brutality or to dramatize and inspire social outrage against an unjust war” (Know What I Mean?, 64-65).  And so we see a powerful and strong voice critiquing the injustice that dares try to oppress them. View full article »

One of the most unique, creative, and influential cultures in not only North America but throughout the world is hip hop culture.  Hip hop’s appeal can be seen locally and globally as its style, music, and attitude continue to spread fast through various mediums.  In the midst of this culturally explosive movement, we also note that the North American Church is struggling, as its popularity and draw fades with each passing year.  However, rebirth is found as thousands of Christians are taping into the fountains of biblical wisdom that are redirecting them back to God’s Mission.  A movement known as the missional church, is pleading with the body of Christ to be the Church, and to bring the gospel of Christ in a relevant and contextualized fashion to all peoples.  One would be wise to advise the missional church to take very serious the opportunities that hip hop culture brings to the table.  For it is this papers intent to show that the very nature of hip hop and its cultural norms are extremely conducive for missional praxis locally and often times even globally.
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