The preservation and archiving of hip hop history is a complex and challenging task. According to Reece, a representative from the Smithsonian, there are numerous legalities and procedures involved in collecting items like mixtapes and TikToks, especially for an institution like the Smithsonian. However, the museum is committed to digitizing as much of its archive as possible, making it accessible to the public.
One successful example of these efforts is the Smithsonian Anthology of Hip-Hop and Rap, a collaboration between writers, artists, scholars, and community members. Released in 2021, this collection features 129 songs and a 300-page book that illustrates the cultural, political, and historical importance of hip hop. While it is impossible to capture the entirety of the movement in one collection, this anthology serves as a valuable representation.
When considering where these collections should exist, there are larger questions to ponder. Many individuals and institutions emphasize the importance of keeping their own physical stash of CDs, tapes, party fliers, and MP3s as digital archives continue to disappear. Cornell’s archive and a similar one at Harvard University are available to the public, although appointments may be necessary. The Smithsonian also has some of its collection on view, with the National Museum of African American History and Culture offering free access.
However, a significant portion of hip hop’s physical artifacts are held in private collections. Surprisingly, even DJ Kool Herc, often credited as the birth of hip hop, auctioned off much of his gear through Christie’s. Additionally, the Smithsonian’s Radio Raheem boom box was previously owned by Gene Siskel and acquired at auction after his passing. While donations are the primary source for the Smithsonian’s archive, they are open to acquiring items through other means, as demonstrated by their participation in the Kool Herc auction.
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The Universal Hip Hop Museum, located in the Bronx, presents a promising space that can be accessible to the community. However, museums and academic archives inevitably raise questions. Jenkins draws a parallel to African art that currently resides in US museums, questioning whether those items were acquired as gifts or taken without proper consent. The creation of plaques and the positioning of artifacts within the museum also play a significant role in shaping the narrative. These factors are especially relevant because hip hop often challenges traditional institutions, individuals, and ideas.
Moreover, putting hip hop behind glass invites the risk of transforming an evolving and interactive culture into a one-way conversation. Aku highlights the potential negative impact of academia being the sole repository for hip hop artifacts, emphasizing the importance of maintaining the open and inclusive nature of the culture. Hip hop originated in block parties that welcomed everyone and restricting access through institutional gatekeeping goes against its essence.
In conclusion, archiving hip hop’s history is a complex endeavor that necessitates navigating legalities, licensing, and procedural requirements. Institutions like the Smithsonian strive to digitize as much of their collections as possible, to ensure accessibility. Key examples, such as the Smithsonian Anthology of Hip-Hop and Rap, showcase the cultural significance of the genre. However, challenges remain in terms of where these collections should reside, as many physical artifacts are found in private collections. The Universal Hip Hop Museum shows promise in providing community access, but careful consideration is needed to avoid imposing restrictions on a culture that thrives on openness and inclusivity.
