Trinity Hip Hop Festival

March 29-31, 2019 | Trinity College, Hartford, Connecticut

For more information: 

The form can be downloaded from Dropbox

Presented in partnership with Trinity College, the City of Hartford, Nomadic Wax and Notable Productions. 


The Trinity International Hip-Hop Festival and Conference is seeking submissions for performers and presenters for their 14th annual event to be held at Trinity College in Hartford, Connecticut on March 29-31, 2019. This year’s theme is “Hip Hop: Transcend the Norm”. How can you be unique in a culture where anyone can record and video themselves and post it online? Fame can come quickly, but how does one transcend fame to build a career and deliver a message? How does hip hop allow you to transcend? 

Submissions focused on these topics are preferred, although anyone is able to apply with presentations/performances centered on social or political change, hip hop education, hip hop history or similar. 

Submissions will be accepted in the following categories: Performers (hip hop artists, MCs and/or DJs), presenters (lecture or workshop), panel discussions, film screenings, dance groups/judges (b-boy/b-girl and all styles), graffiti artists, spoken word artists, music producers, and hip hop photographers. 

About the Festival 

The festival was started by students as a way to unite disparate communities – academic, racial and economic – using hip hop culture in all of its forms and drawing from the international hip hop community. The festival has grown to become an annual meeting place for champions of social change: professors and students, artists and activists, educators and event promoters, and people from all manner of hip hop related grassroots and non-profit organizations descend on Hartford for several days of connecting, learning, sharing and inspiring each other. 

In the last thirteen years, we have hosted artists and presenters from over 50 countries. Although many of the people did not know each other coming in, as one first time attendee put it, “It felt like a family reunion!” A strong tie exists between attendees from shared beliefs in hip hop culture and social awareness. Everyone leaves feeling energized, inspired and more connected to fellow practitioners from around the world. 

Each festival also runs concurrently with a one-day youth conference, sponsored by the City of Hartford. Hartford-area teens meet in their own “youth only” events, and also sit in on some of the open panels and performances. Hip hop artists – who would perform later that night – teach groups of students about beatboxing, freestyling, a variety of dance forms and more. This youth outreach continues to grow and strengthen the college-community bond. 


Please submit up to 300-word proposal for a presentation of scholarly work, lecture, panel discussion, workshop, or a film screening at the festival. Please include the type of presentation you are proposing, any technical requirements plus name and contact information. Film proposals should include film length and a link to the trailer (if possible). Submit your proposal to Due Wednesday November 21st, 2018. 

PERFORMERS: Please submit artist/group information, EPK, links to web site and live performance videos (if possible). We are only able to book 7-8 groups each year and seek to balance by countries of origin, languages and gender with a mix of live bands and MC/DJ combos. Artists who can also provide a presentation (see above) is a plus, but not required. 

Submit your proposal to Due Wednesday November 21st, 2018. 

Notices indicating the acceptance of your submission will be sent by Friday December 21st, 2018 


Call for Submissions: Hip Hop Studies

This is an exciting new book series being launched by the University of California Press and being led by H. Samy Alim and Jeff Chang.

The University of California Press’s Hip Hop Studies Series represents a landmark moment in scholarly work on Hip Hop Culture. The series publishes critical, accessible books by innovative thinkers exploring Hip Hop’s cultural, musical, social, and political impact around the world—from Los Angeles to London to Lagos and all points beyond and in between. International and interdisciplinary in scope, we welcome authors who seek to engage, challenge, and extend the central theoretical and methodological debates in Hip Hop Studies, research, and scholarship. Like Hip Hop Culture itself, the series advances original, creative, public-facing, social justice-oriented, dope intellectual work.

For more information:

Call for Submissions: Show & Prove 2018 Hip Hop Studies Conference

Show & Prove 2018 Hip Hop Studies ConferenceDecember 7-9, 2018 | Riverside, CA
CALL FOR PAPERS/ PANELS/ PERFORMANCES/ WORkSHOPSSubmissions are due by the 14th of April, 2018For more information:

Call for Papers: Book on Hip Hop & Social Justice

Hip Hop and Social Justice

Edited Volume Call for Papers

Editors: Lakeyta M. Bonnette-Bailey, Georgia State University, Department of Political Science & Adolphus G. Belk, Jr., Winthrop University, Department of Political Science

In 2017, Hip-Hop celebrates its 44th year of existence as a cultural form. Since its inception in urban America, Hip-Hop has transformed into a global phenomenon, serving as a political, social, and cultural mode of expression for people of various races and ethnicities. Not only has rap music experienced an increase in the diversity of its creators and consumers, it has also witnessed an expansion of the political activities of Hip-Hop artists as well as a surge in its influence on political movements across the world. Thus, Hip-Hop is a critical voice for marginalized communities due to its ability to disseminate knowledge, facilitate awareness, and promote mobilization and action for many social injustices.

Hip-Hop and Social Justice is a seminal text that utilizes different methodologies to examine the uses of various components of Hip-Hop culture to engage diverse political, social, and economic concerns. The goal of the volume is to document and analyze the ways in which Hip-Hop music, artists, scholars, and activists have discussed, promoted, or supported social justice challenges. This manuscript is soliciting chapters that examine the relationships between Hip-Hop culture, political engagement, and social justice work over the last four decades.

The modes in which Hip-Hop has participated in social action are not limited to song creations, campaigns and elections, voter mobilization, and/or monetary contributions. Therefore, this edited volume will be interdisciplinary and focus on the number of ways in which Hip-Hop has been involved in or led social justice fights not only in the U.S., but worldwide. This volume will explore topics such as: Hip Hop and education, Hip Hop and the Black Lives Matter movement, Hip Hop and mass incarceration and the prison industrial complex, Hip Hop and electoral politics, Hip Hop and gender and sexuality, Hip Hop and public policy, Hip Hop, race and racism and Hip Hop and social justice globally.

We hope that you are interested in contributing to this peer-reviewed volume. If so, then please email either Lakeyta Bonnette-Bailey at or Adolphus G. Belk, Jr. at with an abstract of 500 words or less of your proposed contributions and a brief bio. The abstract should clearly identify your research question, thesis, methods of analysis, results, and the disciplinary home of the research, if any. All abstracts are due November 15, 2017.

Call For Papers: Hip Hop & Migration


Rotterdam, The Netherlands, 28-30 June, 2017

Continue reading “Call For Papers: Hip Hop & Migration”

Trinity International Hip-Hop Festival | Call for Submissions – 2017 Festival

Call for book chapters!

Audrey Hudson


Since Hip Hop’s formation, Blackness and Indigeneity have intersected in interesting but previously unacknowledged ways. For instance, the use of the name Pow Wow by a member of the Soul Sonic Force and his wearing a headdress—a stereotype of Indigenous people, produced by Europeans. As Indigenous people have re-emerged in the public consciousness globally, Indigenous Hip Hop artists have been on forefront in asserting Indigenous peoples’ humanity through the cultural power of Hip Hop. And yet, even as Hip Hop Studies scholarship has gone global, or, to paraphrase Jeff Chang’s (2007) proclamation, “It’s a Hip Hop world,” the study of Indigeneity in Hip Hop culture, and how it intersects with blackness, has not been afforded the same attention.

Under contract with Sense Publishers, we would like to invite you to submit an essay for this innovative edited book that analyzes broadly the intersections of Hip-Hop…

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Call for Papers for Special Issue of Journal of Pan African Studies: African Hip Hop

Malian hip hop artist Amkoullel

This issue explores the ways in which African hip hop artists have turned to hip hop as a way to give voice to important social and political questions. The music of Africa and the African Diaspora have a long tradition of borrowing from each other. Emerging from the South Bronx in the 1970s, hip hop’s origins are rooted in African storytelling and musical traditions and built on African American social and political resistance. In the 1980s hip hop made its way to Africa, where youth identified with the stories being told by the Black youth of urban America. Building upon hip hop’s roots as a platform for social and political discourse, African hip hop has evolved the genre to fit the contours of contemporary African society. The objective of this issue is to explore the new and complex ways African hip hop artists are using hip hop as a means for social and political commentary.

There exists significant crossover between hip hop and other urban youth music in Africa, such as Kwaito in South Africa, Hiplife in Ghana, Genge in Kenya, and Bongo Flava in Tanzania. However, a focus on hip hop to the exclusion of other genres of African music allows for an enhanced investigation into the ways in which African hip hop artists are building upon the foundations laid by hip hop’s origins. Therefore putting the research in the context of broader linkages with African American hip hop, assists in revealing African hip hop artists own participation in social and political discourses. SUGGESTED TOPICS INCLUDE (BUT ARE NOT LIMITED TO) THE FOLLOWING:

*African hip hop artists as agents of social change

*The importance of language in hip hop’s social and/or political critique in Africa

*Hip hop and linkages between Africa and the African Diaspora

*Interactions between hip hop and the state in Africa                                            

*Representations of Africa in African hip hop

*Representations of the African Diaspora in African hip hop

*Representations of women and gender in African hip hop

 *African hip hop representations of Black identities

*Hip hop and social resistance in Africa                                                                                        

*Hip hop and confrontations with African social institutions *Articulations of hip hop’s fifth element (knowledge of self) in African hip hop 

Ghanaian hip hop artist Sarkodie performing in Los Angeles

Submissions for this special issue should include an abstract of the proposed paper (approximately 300-500 words), the author’s contact details and institutional/community affiliation, as well as a short biography of the author(s) (200 words). Within the paper, do not include page numbers or the title on each page; place all end notes, footnotes and bibliographic information at the end of the paper. Abstracts (including submission queries) must be sent to guest editor, Msia Kibona Clark ( in MS word format via e-mail by 3 September 2012. Full papers are due by 1 February 2013. Potential authors should first review The Journal of Pan African Studies website ( to get a sense of the aim and scope of the journal. Authors should also follow the guidelines for authors at

CONTACT INFORMATION: For queries/ submissions contact Msia Kibona Clark: