Hip-Hop Meets Kung Fu: SOUND PATTERNS Art Exhibition No. 8
In the early-to-mid ’70s, two cultural forces burst into the consciousness of American pop culture and each other.
As that first awareness of the fighting arts rose, so did interest in learning more, whether from hucksters and pretenders or actual schools. Karate, judo, and kung fu exhibitions were held, usually with demonstration matches. These transformed into full-contact leagues and eventually the Mixed Martial Arts federations that we know today. The impact of these movies and schools on youth culture in the ‘70s and ‘80s cannot be measured.
The brainchild of Gerald Watson and DJ 2-Tone Jones, Shaolin Jazz is a mixed-media event organization that examines the pop culture connections between hip-hop and martial arts. Founded in 2011, Shaolin Jazz is perhaps best known for its Can I Kick It series, reimagining old-school kung fu and action movies with a soundtrack of classic hip-hop, cut by a live deejay, for appreciative audiences throughout DC and beyond.
While “Kung Fu” cinema had existed since the late ’30s, the economic boom in 1970s Hong Kong created fierce competition for Asian movie screens by action film studios like Shaw Brothers, Golden Harvest, and Seasonal Films. This resurgence of kung fu cinema reached epic proportions after the financial success of Bruce Lee's first feature-length film, The Big Boss (aka Fists Of Fury), in 1971. The film grossed nearly $50 million worldwide (approximately $300 million adjusted for inflation), against a production budget of $100,000. It was the highest-grossing Hong Kong film of any genre at that time. Noting the huge profit to be made, the competing Shaw Brothers, Golden Harvest, and other international distributors began releasing dubbed kung fu films in the United States and Europe. The cheaply-made (and cheaply-dubbed), but compelling, action films hit the U.S. cinemas, particularly in larger cities, like a freight train.
By the late ‘70s, the majority of feature film theaters in Times Square in New York City were showing Asian action movies almost exclusively. With such a large catalog of films to choose from, movie-goers soon became well-versed in martial arts lingo and culture. American TV and Hollywood caught the fever and began releasing their own fare. From TV’s “Kung Fu” to exploitation movies like “Billy Jack” and “Black Belt Jones”, and eventually even mainstream Hollywood fare like “The Karate Kid”, martial arts-themed shows and movies became one of the most popular international genres.
But another cultural force arose in American cities at roughly the same time. Starting in the Bronx, hip-hop culture emerged, slowly at first, then picking up speed and spreading beyond NYC by the mid-’80s. Hip-hop culture was created by young inner-city youth who absorbed and adapted ANY cultural influence that spoke to them. And at that time, the myth of the practiced underdog warrior, seeking revenge against the wicked powers-that-be, struck a deep chord. Mountain-top monasteries, arcane fighting styles, and strange, almost-alien weapons were just icing on the cake. From the beginning, the influence of martial arts on hip-hop can be recognized. From the slang and dress of early Bronx gang members to the 90s blatant appropriation by hip-hop of kung fu as a musical and lyrical metaphor, to current hip-hop artists performing and producing music for action movies, the influence has come full circle.
Sound Patterns is a series of multimedia visual art exhibitions featuring a range of works following the Shaolin Jazz theme. This year’s showing was held at Anacostia’s premiere art space, Honfleur Gallery, and featured a wide selection of local artists, each interpreting the hip-hop meets martial arts theme in their own voice.
Artists mentioned or shown in this article:
Terence Nicholson and Instagram
Maurice James Jr. and Instagram
