ACCEPTANCE

I hereby state that I, Hoang Thi Thuy Hang – 061.E14, being a candidate for
the degree of Bachelor of Arts (TEFL) accept the requirements of the
College relating to the retention and use of Bachelor’s Graduation paper
deposited in the library.

In terms of these conditions, I agree that the origin of my paper deposited in

the library should be accessible for the purposes of study and research, in
accordance with the normal conditions established by the librarian for the
care, loan, or reproduction of the paper.

Signature

Hoang Thi Thuy Hang

Hanoi, May 5th, 2010

1
 ACKNOWLEDDGEMENTS

I would like to express my sincere gratefulness to a number of people,

without whose support, encouragement, and cooperation, this graduation
paper would not have been completed.

Firstly, special thanks are due to my supervisor, Mr. Dang Ngoc Sinh, M.A.,
for his guidance, cooperation, careful instruction and comments throughout
the process of writing the thesis.

Besides, I would like to thank my classmates at group 061.E14, my

roommates at 103A ULIS Dormitory and all 200 students in four universities
in Hanoi for their enthusiastic cooperation and support for this study.

I also owe a great debt of gratitude to my family, teachers, and other friends
who constantly encouraged me during the time this study was conducted.

Finally, I would like to give a thank to those whose works have been used in
this study.

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 ABSTRACT

Hip – hop nowadays becomes a modern trend and is considered as the youth
fashion music. Being transitioned to Vietnam, hip-hop quickly becomes a
new wave in youth.

The paper attempted to investigate Hanoi students’ perception on the

influence of hip hop culture by applying quantitative and statistical analysis
to student survey data.

It was found that Hanoi students’ perception towards hip-hop culture is not
clear. Some students think about hip-hop like thinking about a type of
entertainment or music. However, their perceptions towards some aspects of
hip-hop influence are quite impressive. Results and implications of the study
are expected to contribute to current researches in Country Studies.

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 TABLE OF CONTENTS

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
List of figures and tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
CHAPTER 1: INTRODUCTION

1.1. Statement of the problem and rationale of the study . . . . . . . . . . . . . . . 3

1.2. Aims of the study and research questions . . . . . . . . . . . . . . . . . . . . . . . 4
1.3. Scope of the study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1.4. Significance of the study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.5. Research methodology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.5.1. Research design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.5.2. Data collection methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.5.3. Data analysis methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.6. Organization of the study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.7 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

CHAPTER TWO: LITERATURE REVIEW

2.1. Key terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2.1.1. Culture and hip-hop culture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2.1.1.1. Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2.1.1.2. Hip-hop culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
2.1.2. Elements of hip-hop culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
2.1.2.1. DJing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

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 2.1.2.2. Rapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2.1.2.3. Breakdancing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2.1.2.4. Graffiti art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
2.2. Development of hip-hop culture in the U.S . . . . . . . . . . . . . . . . . . . . 13
2.2.1. Origin of the term “hip-hop” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
2.2.2. Evolution of hip-hop in the U.S . . . . . . . . . . . . . . . . . . . . . . . . . . 13
2.2.2.1. The Roots (1970-1986) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
2.2.2.2. The Golden Era (1987-1993) . . . . . . . . . . . . . . . . . . . . . . . . 14
2.3. Impact of hip-hop culture on the U.S society . . . . . . . . . . . . . . . . . . 16
2.3.1. Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
2.3.2. Fashion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.3.3. Sit-coms, movies, and magazines . . . . . . . . . . . . . . . . . . . . . . . . 18
2.3.4. Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.4. Development of hip-hop in Vietnam . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.5 The impact of hip-hop culture on Vietnam society . . . . . . . . . . . . . . .21
2.5.1. Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.5.2. Fashion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
2.5.3. Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
2.5.4. Graffiti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

CHAPTER THREE: METHODOLOGY

3.1 The Research Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

3.2. Participants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
3.3. Data collection instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
3.3.1. The questionnaires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
3.3.2. Validation of the Questionnaire . . . . . . . . . . . . . . . . . . . . . . . . . . 26

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3.4. Data collection procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
3.4.1. Phase 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
3.4.2. Phase 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
3.5. Data analysis methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
3.6. Data analysis procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

CHATER FOUR: RESULTS AND DISCUSSION

4.1. Respondent profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

4.2. Perception towards hip-hop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3. Hip-hop activities that they have ever involved in . . . . . . . . . . . . . . . 33
4.4. Frequency of living in hip-hop events . . . . . . . . . . . . . . . . . . . . . . . . 34
4.5. Perception on the influence of hip-hop . . . . . . . . . . . . . . . . . . . . . . . . 35
4.5.1. Personal aspects affected by hip-hop . . . . . . . . . . . . . . . . . . . . . . 35
4.5.2. Opinions about the influence of hip-hop . . . . . . . . . . . . . . . . . . . . 37
4.5.3. Perception on the influence of hip-hop on youth issues . . . . . . . . 38
4.5.4. The aspect of hip-hop that has the worst influence . . . . . . . . . . . . 39
4.5.5. Whether hip-hop artists in the past affected the same as recent do
now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
4.5.6. Whether hip-hop/rap promotes rebellion, prostitution and sex . . . 41
4.5.7. Perception on the influence of hip-hop on artists, media, values and
society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

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CHAPTER FIVE: DISCUSSION AND CONCLUSION

5.1. Discussion and conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

5.2. Implications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
5.3. Limitations and suggestions for further studies . . . . . . . . . . . . . . . . . 48

REFERENCES

APPENDICES
Appendix 1: Survey questionnaire
Appendix 2: Phiếu điều tra sinh viên
Appendix 3 & 4: Hip-hop fashion
Appendix 5 & 6: Graffiti art

7
 LIST OF FIGURES AND TABLES

Figure 1: Total number of participants

Figure 2: Number of participants in percentage
Figure 3: Perception towards hip-hop
Figure 4: Hip-hop activities that students have ever involved in
Figure 5: Frequency of living in hip-hop events
Figure 6: Opinions about the influence of hip-hop
Figure 7: The aspect of hip-hop that has the worst influence
Figure 8: Whether hip-hop artists in the past had the same influence as
recent artists do now
Figure 9: Agreement or disagreement with hip-hop promotion of rebellion,
prostitution and sex

Table 1: Personal aspects affected by hip-hop

Table 2: Perception on the influence of hip-hop on youth issues
Table 3: Perception on the influence of hip-hop on artists, media, values and
society

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 CHAPTER 1: INTRODUCTION

1.1. Rationale of the study

Hip-hop is somehow the great movement of the 21st century. It is a

culture of not only music, but also expression and dance, which embraces
human tolerance and peace. Although the current status of hip-hop is
seen as violence, drugs and overt sexual content, it originated as a
movement that spoke out against those ideas. Hip-hop nowadays actually
becomes a modern trend.

In Vietnam, hip-hop penetrated in the early 1990s and attracted

immediately the youth at that time. Vietnamese hip-hop developed
directly through the students learning in North America (the U.S,
Canada). To some extent, hip hop has become a part of US culture as
well as Vietnamese one. Nowadays, hip-hop is considered as the youth
fashion music.

Transitioned from the US, hip-hop could be seen as a common part of

culture of both countries. It is, somehow, the influence of US culture on
Vietnam. This research aims to study this influence. However, because of
the limited time, the paper cannot cover all the aspects of the influence.
Thus, in this paper, only a specific sight of the issue will be considered:
to what extent hip-hop culture affects Vietnamese one and what is Hanoi
students’ perception on the influence of hip-hop.

1.2. Aims of the study and research questions

3
This paper is expected to contribute a small part to the study of the
influence of US culture on Vietnam. On conducting this study, several
specific goals are set up and hoped to be achieved. The research is hoped
to give a portrayal of hip-hop culture both in Vietnam and the US then
from this picture, what evaluation can be drawn out. The main aims of
the paper are expressed through 4 research questions:

1. What is “hip hop culture”?

2. To what extent hip-hop is transitioned and fulfilled in Vietnam?

3. What is Hanoi students’ perception on the influence of hip-hop

culture?

4. What is the implication under the transition?

1.3. Scope of the study

The paper chiefly focused on two main points. In the first place, it is the
basic information of hip-hop culture in the U.S and in Vietnam that is
presented on the study. Specifically, hip-hop culture has undergone 2
main stages (Steward, 2005) including: The Roots (1970-1986), The
Golden Era (1987-1992). This study will explore how hip-hop culture
grew up and developed through these stages as well as how hip-hop
affected other aspects of life. Moreover, the paper will investigate Hanoi
students’ perception on the influence of hip-hop culture.

1.4 Significance of the study

“Hip-hop culture” seems to be a great topic to deal with. However, there

has not been any research on hip-hop culture as well as how Hanoi
students perceive its influence on other aspects of life. Hence, this study
will be the first one investigating Hanoi students’ perception on the

4
influence of hip-hop. The research, hopefully, would become a referential
source of material for further study.

1.5. Research Methodology

1. 5.1. Research design

As mentioned above, 2 main parts are presented in this paper are

Literature Review (Theoretical background) and practical work (the
study). The information collected from various sources such as books,
references, journals, reports, videos related to the topic serves for the
Theoretical background part through analyzing and synthesizing
methods. In the latter part, data and information obtained through survey
questionnaires conducted to 200 students in 4 universities in Hanoi are
employed to complete this part.

1. 5. 2. Data collection methods

The survey questionnaire is adopted for the reason that it offers the
researchers a chance to get factual, behavioral and attitudinal data from
considerable number of respondents, which, in turn, permits the
researchers to generalize the information (Nunan, 1991, p.60).
Furthermore, the “employment of open-ended questions in addition to the
conventional close-ended questions of this method provides more helpful,
reliable data and more accurately reflecting what the respondents want
to say” (Nunan, 1992, p.56). Through the survey questionnaire, the
information on the influence of hip-hop on Hanoi’s students will be
revealed.

1.5.3. Data analysis methods

5
 In this step, the data obtained through step 1 will be categorized
according to 4 Research questions. Namely, all the data from books,
journals, references, videos, reports, and the Internet will be processed by
using interpretive method. This data will play a very important role in
addressing the two first questions whereas the survey questionnaire will
help to make a replied path to the third and fourth ones.

1.6. Organization of the study

This study is divided into 5 chapters as follows:

Chapter 1 _ Introduction _ introduces the reasons for choosing the topic,

the objectives and the study and research questions, the significance of
the paper as well as the scope of the study and methods employed to
conduct the study

Chapter 2 _ Literature review _ presents the theoretical background of

the study including definitions of some key terms, the development and
influence of hip-hop culture

Chapter 3 _ Methodology _ details the methods employed to complete

the research. Specifically, the participants, instruments of the study and
the procedures employed to carry out the research are shown in this
chapter

Chapter 4 _ Data analysis and discussion _ summarizes, analyses and

discusses the findings found out from the data collection

Chapter 5 _ Conclusion _ sums up the main points discussed in the paper,

the limitations of the research and suggestions for further studies.

6
1.7. Conclusion

In this chapter, the researcher presented the following points:

1. Statement and rationale for the study

2. Aims of the study and research questions

3. Scope of the study

4. Significance of the study

5. Research methodology

5.1. Research design

5.2. Data collection methods

5.3. Data analysis methods

6. Organization of the study

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 CHAPTER 2: LITERATURE REVIEW

This chapter portrays a review of literature on theoretical arguments

including the definitions of culture, Hip-hop culture, elements of Hip-hop,
the development of Hip-hop culture both in America and in Vietnam as well
as the impact of hip-hop culture on Vietnamese and American societies.

This chapter is divided into 5 sections, starting with the definitions of

culture, Hip-hop culture and influence. In the next part, four main elements
of Hip-hop including: DJing, Rapping, Graffti and Break Dancing will be
presented. The third section provides with the origin of term “hip-hop” and
the development of Hip-hop culture in America, namely the Roots (1970-
1985) and the Golden Age of Hip-hop (1985-1993) and also the
development of Hip-hop in Vietnam. The chapter continues with the
influence of Hip-hop culture on both Vietnamese and American society. The
last section concludes the chapter.

2.1. Key terms

2.1.1. Culture and Hip-hop culture

2.1.1.1. Culture

Before coming to the concept of “hip-hop culture”, it is necessary to

understand the term “culture” itself. Culture is a very broad definition and is

8
highly misunderstood. Edgar H.Schein in his book named” Organizational
culture and leadership” said that:

“Culture as a concept had a long and checkered history. It has been used by the layman as
a word to indicate sophistication, as when we say that someone is very “cultured”. It has
been used by anthropologists to refer to the customs, and rituals that societies developed
over the course of their history. In the last several decades it has been used by some
organizational researchers, and managers to refer to the climate and practices that
organizations develop around their handling of people, or to the espoused values and
credo of an organization.”(Edgar, p.7)

In this definition, he mentions that “culture” is defined in different ways

based on different people. Indeed, there are many definitions of culture.
According to the Oxford Advanced Learner’s Dictionary (7th ed, 2005,
p.373)), culture is defined as “the way of life: the customs and beliefs, art,
way of life and social organization of a particular country or group such as
European or American culture” or “art/music/ literature: art, music,
literature, etc thought as a group”.

Meanwhile, the United Nations Scientific and Culture Organization states

that

“Culture compromises the whole complex and distinctive spiritual, material, intellectual
and emotional features that characterize a society or social group. It includes not only the
arts and letters but also modes of life, the fundamental rights of human beings, value
systems, traditions and beliefs” (Daily Herald, 2005).

Despite differences, these mentioned definitions intersect at main content,

which is culture may be art, letters, customs, beliefs, way of thoughts,… of a
society or social group. These help characterize the society or social group.

9
In UNESCO point of view, culture also includes the fundamental rights of
human beings, and value systems.

2.1.1.2. Hip-hop culture

Hip-hop with many people is just a kind of music with gang, violence and
sex .This point of view partly misdescribes Hip-hop. In fact, everything has
two sides and hip-hop is not an exception. In the Oxford Advanced
Learner’s Dictionary (7th ed, 2005, p.736), hip-hop is defined as “a type of
modern dance music with spoken words and a steady beat played on
electronic instruments, originally played by young African American” and
“the culture of the young African American and others who enjoy this type of
music, including special styles of art, dancing, dress, etc.” As can be seen,
the term “hip-hop” in this definition is not just hip-hop music as someone
may misunderstand, but it is the culture with some elements related
respectively to style of art, dancing, and dress.

2.1.2. Elements of Hip-hop

Originated in the Bronx, the Northernmost of the Five Boroughs in New

York City, Hip-hop culture developed during the 1970s (American history of
Hip-hop culture, 2007). Initially, it consisted of 4 elements: DJing, Rapping,
Break Dancing (B-boying) and Graffiti art.

2.1.2.1. DJing (Disc Jockey)

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In Longman of Contemporary English, DJ is defined as someone who plays
record on a radio show or in a club where you can dance. In fact, a DJ is a
person who selects and plays recorded music for audience. DJ is the
abbreviation of Disc Jockeying. Originally, disc is referred to phonograph
records, while disk is referred to compact disc and has become more
common spelling. This distinction refers to the source of music: from a
phonograph disc or from the compact dick. However, now these words are
used interchangeable with simpler abbreviation: DJ. Today, the term
includes all forms of music playback, no matter the source with some
musical instruments such as DJ mixer, amplifier, speakers and various
pieces electric music equipments. By combining two or more separate songs,
the DJ will then create a very unique sound.

2.1.2.2. Rapping (Emceeing)

According to Clive Calvin (Dirty South Beats or History Rapper, 2010), Rap
is a type of Hip-hop music that “includes rhyme patterns, fast lyrics and
verses that are broken.” Meanwhile, the Oxford Advanced Learner’s
Dictionary (7th ed, 2005, p.1248), defines Rap as “a type of modern music
with a fast strong rhyme and words which are spoken fast, not sung” or “a
rap song.” As can be seen, the definition in the Dictionary considers rap as a
type of modern music with a rapid rhyme and lyrics. Hence, in this light, rap
music is considered as a modern type of music with fast rhyme.

11
2.1.2.3. Break dancing (B-boying)

The third element of Hip-hop is break dancing or in other words, B-boying.

This element originated from DJ. It is said that the break beats of Hip-hop
DJing gave birth to the dance form which the boys would dance during the
break span by the music of the DJ.

The Oxford Advanced Learner’s Dictionary (7th ed, 2005, p.181)) also
defines break dancing as “a style of dancing with acrobatic movements,
often performed in the street.” More specifically, the website
www.bbc.co.uk states that:

“As an element of Hip-hop culture, break-dance is a sort of acrobatic dance, which is

sharp and short movements combined with flowing and wave-like motion, along with
difficult floor acrobatics structured on balance techniques, and spinning on body parts
such as the head, shoulders, and stomach, etc.”

In spite of differences, the definitions all present break-dance as a dance

form that is an element of Hip-hop culture.

2.1.2.4. Graffiti Art (the writing on the wall)

According to the Dictionary of Art (Mc Milan Publisher, 1996), graffiti art
is:

“a term applied to an arrangement of an institutionally illicit marks in which there has

been an attempt to establish some sort of coherent composition: such marks are made by

12
an individual or individuals (not generally professional artists) upon a wall or other
surface that is usually accessible to the public.”

The Oxford Advanced Learner’s Dictionary (7th ed, 2005, p.674) also
defines it as “drawings or writing on a wall in a public places.”

Overall, in this section, by elaborating the key terms, the researcher has
briefly overviewed the definitions as well as elements of hip-hop culture. As
a matter fact, hip-hop culture includes four elements: Djing, Rapping,
Breakdancing and Graffiti art. Each has its own features as mentioned
above. In the next part of study, development of hip-hop both in the U.S and
Vietnam will be presented.

2.2. Development of Hip-hop culture in the U.S

2.2.1. Origin of the term “hip-hop”

The origin of the term “hip-hop” is somewhat unclear, though it is often

attributed to a Jamaican named DJ Kool Herc. According to the Urban
Dictionary, he is also credited as being a pioneer of hip-hop during the
1970s and much of his work focused on the Bronx section in New York City
where this musical genre attracted many adherents (Urban Dictionary, 2).
Alternatively, a rival DJ named DJ Afrika (born in April 10th, 1960), known
as one of three originators of break beat DJing and is respectfully known as
the “Grandfather” and “God father” of Universe Hip-hop culture may have
invented the term to describe the culture it subsumes. According to J.J
Reilly, in the early 1980s, the culture was identified as “hip-hop” by DJ

13
Afrika Bambaata (The Hip-hop culture Identify, 2008). Since that time,
“hip-hop” has played a very important role in the way of expressing of the
young and has become a culture with its own language, style, art, and dress.

2.2.2. Evolution of Hip-hop in the U.S

It is believed that the origin of hip hop is from Africa American and West
American music. Hip hop has originally begun in the Bronx and developed
through two main historical eras: The Roots (1970-1986), the Golden Era
(1987-1992).

2.2.2.1 The Roots (1970 – 1986)

The roots of hip hop started in New York in the late 1970s (Marcas Grant,
2010). At house parties and block parties, DJs would play popular soul, junk
or R & B music, emphasizing “break”. Immigrated to the United States from
Jamaica in 1967, DJ Kool Herc is one of the early pioneers to begin
performing this type of music around the world. Because of the reason that
in New York, audiences did not pay much attention to his performance and
the breaks created were generally short, Herc and others began extending
them using an audio mixer and two records to make the sound larger and
larger. This remarks the appearance of DJing. Along with this, MC & DJ
often added call and response chant to the beat such as “one, two, three,
y’all…” This is the early rap. During this time, break dancing also arose.
(Wikipedia)

In short, this is the early time of hip-hop. This is the time when DJ appeared
for the first time along with Rapping. The next periods saw the stronger
development of hip-hop wave: The Golden Era (1987- 1993)

14
2.2.2.2. The Golden Era (1987 – 1993)

According to Dany in Urban Dictionary, the Golden Age of hip-hop refers to

the period of mainstream hip-hop (Jon, 2005).

This era is known for the flourishing of different regional styles and a
freeing up of the manner in which rap music was written, composed and
performed. These regional styles contributed to much tension and rivalry as
well.

The Golden Age of hip hop is noted for its innovation, in which the Rolling
stone called “when it seemed that every new single reinvented the genre”
(Cheo, 1995). The Golden Age also surprised because of the number of so
many albums coming out the time, twenty five albums in all twenty six
(Spain magazine picks Radiohead CD as best, 2005). The era became so
great for the reason that “nothing was contrived”, everything was new and
always innovative, said Calloway (Scott Mervis, 2003).

This period saw the greatest advances in rapping techniques with many of
hip-hop’s biggest artists at their creative peak: LL CoolJ, Bublic Enemy, and
EPMD.

15
Hip hop scholar Micharl Eric Dyson states: “During the Golden age of hip
hop, from 1987 to 1993, fro centric and black nationalist rap were
prominent”.(Dyson, 2007, 64).

Being called “The Golden Age”, hip-hop in this period became mainstream,
popular all around the word with the appearance of many artists and albums
"The thing that made the era so great is that nothing was contrived.
Everything was still being discovered and everything was still innovative
and new” (Scott Mervis, 2004.)

Summary:

In short, through two main development eras, hip-hop achieved considerable

goals. Many artists appeared and became icons of the youth, teenagers and
children all around the world. Many albums were sold contributed to the
development of the world economy. Hip-hop truly became a culture with
much influence.

2.3. Impact of Hip-hop culture on the U.S society

To be a culture, more and less, hip-hop has certain influence on different

aspects of society not only in the USA but also in other countries.
Specifically, language, fashion, sit-coms, movies and magazines, and art
have been affected most.

2.3.1. Language

16
Language is the product of society. As a society changes, so does its
language. As stated in the rationale of the study, hip-hop is somehow a great
movement of the 20th century. Thus, it certainly has influence on the society
in general and language in particular. According to Dr Renford Reese, “the
street language is transmitted to the hip-hop culture through rap music”
(Popular culture review, 2000). In his point of view also, hip-hoppers
everywhere use the same slang with each other such as adjectives like: dope,
da bomb, legit, hittin, all that, to describe something that is excellent. The
word “nigga” is one typical example. Contrary to the traditional derogatory
meaning of the word, hip hoppers use the word as a term of endearment. As
can be seen, hip-hop language has become a kind of common language
among hip-hoppers. Even if they had their different first language, they still
can understand the slang of hip-hop.

Another influence of hip-hop on the language is the addition of some words

or phrase to the dictionary. According to Emmett G. PriceIII,

“Whether it is the addition of the phrase "bling-bling" to the Oxford English Dictionary
in 2003 or the inclusion of the term "crunk" in the 2007 volume of the Merriam-Webster
Collegiate Dictionary, hip-hop culture is changing the nature, the sound, and the rules of
the English language. Words such as "hood" (short for neighborhood), "crib" (which
translates as place of residence), and "whip" (meaning car) have become commonplace
within everyday conversation. Phrases such as "what's up" (hello), "peace out" (good-
bye), and the extremely popular "chill out" (relax) are frequently used in television
shows, movies, and even commercials for Fortune 500 corporations.”(EJournal USA,

2007)

17
It is clear that hip-hop has certain influence on language, specifically on
English. It makes a new common language between hip-hoppers, and affects
the language all around the world through the addition of words or phrases
to the dictionary, or appearing on TV shows, movies, and even commercials
all over the world.

2.3.2. Fashion

According to Michiko Kakutani, in her article named “Common Threads:

Why Are Homeboys and Surbanites Wearing Each Other's Clothes?”

“The 1990’s have been dominated by hip hop fashion. This fashion consists of baggy
pants worn very loosely, baseball caps worn backwards (NBA, NFL, or successful
university athletic teams), oversized rugby or polo shirts, and expensive tennis shoes. Hip
hop fashion, unlike the fashion of other generations, has uniquely cut across almost every
ethnic boundary.”(Michiko Kakutani, 1997)

Linda Mae Carlstone also adds that: “Indeed, a significant number African
American, Whites, Latinos, and Asians youth between the ages of 12 and 22
dress the same irrespective of their ethnicity.”(“Teens and Fashion, Baggy
Still Rules, but More than Ever, Anything Goes,” 1997)

The contemporary hip-hop fashion includes the wearing of baggy jeans

slung low around the waist, gold and platinum chains and boots or a fresh
pair of kicks (sneakers) and bandanas or do rags tied around the head. This
trend, at first, is for the sake of comfort and practicality. Then, it helps
wearers show their personality and style. Gradually, it became a trend. The

18
youth nowadays think about hip-hop style as fashionable and modern (see
appendix 3, 4)

2.3.3. Sit-coms, movies and magazines

The hip-hop culture has promoted various industries to pay attention to the
appetite. Sit-coms such as the French Prince of Bel Air, Martin, and
Malcolm are obvious examples. In the past, black humor had never appeared
on the screen, but with the birth of hip-hop culture, this is widespread.

Movies that help to figure out the reality of the urban streets have brought on
success for the producers such as BoyzN the Hood (1991), and New Jack
city (1991).

Magazines such as Vibe, Blaze, the Source, Rap pages and Stress are created
to attract the attention of this population. Because of its multiethnic
popularity, Vibe Magazine’s circulation has risen to 606,237, increase
17.1% compared with 1998 from 1997. “These magazines, along with the
aforementioned sitcoms and movies, have done a remarkable job of
“keeping it real” - speaking the language and the imagination of this
culture.”(Teresa Moore, 1998)

2.3.4. Art

19
Graffiti is an element of Hip-hop and it is also an influence of hip-hop on
society. It is an art with simple name: the writing on the wall. Graffiti can be
seen in public places such as subway stations, and bridges. The graffitists
intend their work to be apprehended as art that can communicate feelings
and ideas to the audience. These days, this type of art can be easily seen in
many places. Some competitions are also held to choose the best one. This
element of hip-hop really becomes an art. (see appendix 3, 4)

To summarize, eras of language, fashion, sit-com, movies and magazines,

and art have been received a great influence from Hip-hop.

2.4. Development of Hip-hop in Vietnam

Hip-hop is a new wave which has come from the West and slowly come to
many areas of Vietnam modern society. The phenomenon is attracting a lot
of young people, especially the youth who were born in the 1980s and
1990s. Now it is considered to be the youth’s fashion music.

Hip-hop, in general, has come to Vietnam more than 10 years since 1990s
through overseas students. Hip-hop, at the beginning, is differentiated
because of its American origin. There is also information that hip-hop
directly penetrated to Vietnam through American soldiers in Vietnam War.
Generally speaking, it includes 4 elements like hip-hop in America:
Rapping, DJing, Break dancing and Graffiti Art. In fact, when mentioning
Hip-hop both in Vietnam and in America, people tend to think about Hip-
hop music, to be specific, rap. Thus, it is not surprising when asking
someone about hip-hop culture, they only mention rap. Yet, it can not be

20
denied that the three rest elements including DJing, Breakdancing and
Graffiti both appear and play role in the development in hip-hop culture in
two countries. In Vietnam, though newly appeared hip-hop somewhat
influenced Vietnamese society.

The peak of Hip-hop development until present (2010) is the year of 2006
when there is a “boom” with the appearance of a series of singers: Tien Dat,
and Thanh Thao who are Vpop singers using hip-hop songs to deliver their
performances (“Is hip-hop mere fashion or a dangerous trend?” 2005). From
then on, there are still many singers trying to copy this style and bring it on
the stage. This trend, however, did not last long. As a result, hip-hop in
Vietnam once again settles down even some people turn back on Hip-hop.
This time can be considered as ice-berg period of hip-hop Vietnam. Many
people who are loyal to hip-hop try to keep the trend as well as develop their
own ability. Thanks to that, hip-hop or rap music not only exists but this
return seems to be stronger and steadier. In the “Battle of the year 2009, a
boy whose nickname is Rua (Tortoise) make the audience surprised because
of his ability of dancing. (Melanie Lidman, 2008)

2.5. The impact of Hip-hop culture on Vietnam society

2.5.1. Language

Like American society, Vietnamese one is also affected by hip-hop. As can

be seen, many young Vietnamese now tend to add into their conversations a
few words that they learn from the rappers, such as “oh yeah”, “come on”, or
“check it”. If in the U.S, the influence of hip-hop on language is clearly

21
seen, even it has become a common language for hip-hoppers; in Vietnam, it
is not as simple as that. “By choosing hip-hop style, many young people try
to prove that they are stylish, but in the wrong way. They speak in a devil-
may-care manner, and they swear as if they are the real street children. This
is very dangerous.”(Hip-hop in Vietnam, 2005)

2.5.2. Fashion

Hip-hop followers in Vietnam often wear their distinctive clothes, including

loose trousers, colorful T-shirts, head bands, necklaces and mental chains
with monstrous images. It does not stop there, many schoolboys and school
girls, who want to show their personality, wear hip-hop clothes instead of
uniforms. This is a cultural phenomenon that can cause discomfort to many
people. Moreover, hip-hop followers in their typical clothes walking around
solemn places such as lecture halls or pagodas can cause bad feeling to many
others.( Where is hip-hop “made-in-Vietnam”?, 2005))

2.5.3. Movies

Lately, “Buoc Nhay xi tin”- a film with content about the youth, hip-hop has
got much attraction from not only the youth but others also. This is the first
drama taking hip-hop - a new trend as the topic. The movie has got good
respect from the audience.

22
2.5.4. Graffiti

In recent years, graffiti has become unstrange with the Vietnamese. From the
cities to the suburbs, from the bridge pier to the road way, graffiti could be
seen everywhere. However, this activity is not welcomed by others because
such activities are rather blot of the landscape. Some people in Vinhhung
District, Hoangmai, Hanoi said that they felt uncomfortable with many
drawings on their walls. According to them, these images pollute the image
of the city and this is a non-cultural action. (Graffiti- a deviance in youth
culture, 2005)

23
 CHAPTER 3: METHODOLOGY

The aim of this chapter is to present the methodology employed to carry out
the study. In this chapter, the research design, methods of data collection,
research procedure, as well as data analysis processing will be discussed
along with highlighting some limitation. The methodological approaches,
the theoretical framework and their relevance to the goals and aims of the
study will also be used.

3.1 The Research Design

On processing data, two different methods are employed to get the target
objectives. In detail, this study is divided into two main parts: Literature
Review (theoretical background) and practical work (the study). With the
theoretical background, document analysis and synthesis are used.
Specifically, document from various sources was firstly collected then
synthesized as well as analyzed critically to help the researcher draw out an
analysis on the document and materials. A summary and conclusion of all
the information gathered will also be provided by the researcher.

Since the methods of the study are collect and analyze the perceptions of
large-scale respondents, quantitative method was used. This method is
suitable to this study because the quantitative method helps the researcher to
clearly and precisely specify both the independent and the dependent

24
variables under investigation. According to Frankfort-Nachmias and
Nachimias, one of strengths of quantitative method is it helps the researcher
state the research problem in very specific and set terms (Frankfort-
Nachimas & Nachimias, 1992). It also follows resolutely the original set of
research goals, arrives at more objective conclusions, tests hypothesis,
determines the issues of causality and eliminates or minimizes subjectivity
of judgment (Kealey & Protheroe, 1996). Moreover, according Balseley,
quantitative method also helps researcher achieve gathered data at high level
of reliability due to mass surveys (Balseley, 1970). This study is divided into
two parts with the study part using survey with mass quantity of students.
Hence, quantitative approach fits well with it.

3.2 Participants

Since the focus of this study is how hip-hop influence Hanoi’s students, the
target population is students from various universities in Hanoi. Specifically,
200 students studying in four universities in Hanoi were employed to
complete this paper including 50 students from Hanoi University of
Industry, 50 from Hanoi University of Languages and International Studies,
Vietnam National University, 50 from Hanoi Commercial University and 50
from University of Transport and Communication.

It is the fact that the researcher could not access to all of the students
studying in Hanoi, thus within the scope of the study, only 200 students
from 4 universities are chosen by stratified random sampling because it is

25
believed that stratified random sampling can “minimize the effects of any
extraneous or subjective variables that might affect the outcomes of the
survey study (Hoang & Nguyen, 2006, p.31).

3.3. Data collection instruments

3.3.1. The questionnaires

Collecting data through questionnaire is considered as a way to provide data

economically. It is also a form that lends itself perfectedly to the purpose of
the study. Potentially information can be collected from a large portion of a
group. In this study, the questionnaire was used for a number of reasons. In
the first place, it can provide a great deal of information from a large number
of participants in the quickest and most economical way. Secondly, closed
questions were used in order to get the exact number and specific
information which are convenient for the data analysis (Burnes. A., 1999).
Thirdly, it helps “minimize the potential limitations in the study’s internal
validity caused by relying only on the qualitative approach” (Nunan, 1992).
Furthermore, the survey questionnaire serves the purposes of the researchers
to get factual, behavioral and attitudinal data from considerable number of
respondents, which, in turn permits the researchers to generalize the
information (Nunan, 1991).

In terms of the questionnaire form, the first section was for the purpose of
introducing and explaining the research topic. Then, the next part – the
questionnaire’s body- was the combination of close-ended and open-ended

26
questions. The use of close-ended question is very convenient for the
researcher to get the exact number and specific information about the matter
studied, while the latter provides extra information from the respondents
about the subject. Therefore, the use of these two kinds of questions would
help elicit the most reliable source of information.

The questionnaire was originally written in English but to ensure that all the
respondents could understand the questions, it was then translated into
Vietnamese by the researcher. There are two sections in the questionnaire.
The first part aims to acquire demographic profile of the respondents, while
the latter contains a set of attitude and assessment statements. The purpose
of these is to seek information on students’ opinions, attitudes towards hip-
hop culture and how hip-hop culture influences them.

3.3.2. Validation of the Questionnaire

For validation purposes, the survey questionnaire before delivered to a large

number of students has been pre-tested carefully. Firstly, ten students were
chosen to answer the initial questionnaire. The researcher then asked them to
give comment on the questionnaire, specifically, which one should be
improved, which one should be corrected, and suggestions if had. The
researcher, after that, again examined the form of the questionnaire, the
content of the survey questions to determine which part should be re-
expressed, which one should be changed.

3.4. Data collection procedures

27
Broadly speaking, the process of data collection can be divided into two
major phases as follows.

3.4.1. Phase 1

At the very early stage, the preparation for data collection was carried out.
All the document and materials related to the topic were read carefully to
serve for the Literature Review. In this phase also, questionnaire draft was
prepared to deliver to ten voluntary respondents to be carefully piloted. This
help to identify any ambiguous repetitive or redundant question. Doing well
this stage, the opportunity to do the following stages was more
advantageous.

3.4.2 Phase 2

Turning in this phase, the survey was conducted intensively over one month
from 28th March 2010 to 18th April 2010. Before delivering questionnaires,
200 students were chosen randomly from 4 universities.

Regarding to the questionnaire, before getting it, the students were briefly
introduced about the researcher, the aim of the study, and the confirmation
of keeping their personal information confidentially. Firstly, they were
recommended to read through the first part of the study to have a general
overview about the topic and key concepts. Secondly, they were asked to
complete all the questions in the questionnaire with careful instruction and
explanation of the researcher; so that the most comprehensive and accurate

28
answers could be drawn out. The researcher was ready to answer any
questions posed in the process.

3.5. Data analysis methods

In this phase, the statistical and interpretative strategies were employed in

order to exploit the information intensively and thoroughly.

Data collected through the survey were calculated and changed into
numerical form, then illustrated to figure to compare the different
percentages of participants’ opinion on hip-hop influence.

A total of 200 questionnaires were handed to students in 4 universities in

Hanoi, 170 ones were returned. After eliminating uncompleted questions,
the remaining 160 questionnaires were used as sample.

In general, the information gathered would be compared, interpreted and

discussed to maximize the diversity, richness, reliability and validity of the
data in chapter four( results and discussion).

3.6. Data analysis procedures

In the first place, the information gathered is categorized into 3 research

questions( What is “hip-hop culture”?, To what extent hip-hop is
transitioned and fulfilled in Vietnam?, What is Hanoi students’ perception
on the influence of hip-hop?). Then the data obtained through the survey

29
questionnaire was used to serve for the 3rd research question: What is the
influence of hip-hop culture on Hanoi’s students?

Initially, students were asked about age, sex, and universities where they are
studying. In the first survey question, students were asked: “Which of the
following best describes hip hop to you?”(culture, lifestyle, state of mind, a
type of music, and a form of entertainment). The next question on hip-hop
activities that students have involved in was provided with 5 options: DJing,
Rapping, Graffiti, Beatboxing, B-Boying(Breakdancing), and others (please
specify). Similarly, 6 – interval forced choice scale ranked from “weekly” to
“whenever possible” was used for habit question. For the first influence
question (personal aspects affected by hip-hop), the answer was on 7 choices
(lifestyle, fashion, career ambitions, political opinions, spiritual beliefs,
none and others (please specify)). 4 options were applied to exploit whether
the influence of hip-hop is positive, negative, and minimal or none in the
next question. To get deeper information about hip-hop influence on youth
issues (youth behaviors, youth spiritual development, and youth attitudes
towards education), a question with three smaller parts was answered on 3
choices (no influence, negative influence, and positive influence). Also five
choices were used to exploit what aspects of hip-hop had the worst influence
(clothing style, language/lyrics, dancing/videos, drugs& alcoholism, other
(please specify)). With regard to the two next influence questions, whether
hip-hop artists in different time have the same influence and whether hip-
hop promotes sex, prostitution and rebellion among young girls, 2 choices
were offered (yes or no). A 3 – interval forced choice question ranked from

30
“very” to “none”. Like question number 6, there were also four smaller parts
(artists, media, values and society).

31
 CHAPTER 4: RESULTS

The main purpose of the study is investigating Hanoi students’ perception on

the influence of hip-hop. To be more specific, it focused on Hanoi’s
students’ perception towards hip-hop culture, the popularity of hip-hop
culture among students, students’ habits of taking part in hip-hop events, and
the influence of hip-hop on some issues in students’ opinion.

4.1. Respondent profile

Among 200 survey questionnaires delivered, there are only 160 are
acceptable, with detailed rate as follows: the total number of males is 90
meanwhile the one of females is 70 accounting for 56.25 and 43.75 percent
respectively. These are shown in figures below:
Total number of, participants
,
,
,

female, 70

male, 90

Figure 1: Total number of participants

32
 Number of participants in percentage
,
,
,
,

Female,
43.75%
Male,
56.25%

Figure 2:
Number of participants in percentage

The average age of respondents in this survey was about 21, with a range of
18 to 25.

The participants represented for 4 different universities in Hanoi, with Hanoi

University of Industry accounting for 29.4 percent of those participating,
then comes to 25.6 percent from Vietnam Commercial University, the same
with Hanoi University Languages and International Studies, and 19.4
percent from University of Transport and Communications.

4.2. Perception towards hip-hop

Up to 29.38 percent students asked replied that they think hip-hop is a

lifestyle, 27.5 percent think that this is a type of music meanwhile only
11.87 percent suppose that hip-hop is a culture. This figure suggests that
students’ perception towards hip-hop is not clear. While some still

33
misunderstand it a lifestyle, some misdescribe it with hip-hop music – an
element of hip-hop culture. The percentage between lifestyle, a form of
music and a form of entertainment are both more than 20 percent. This
shows that students are confused about definition of hip-hop. The reason for
this maybe because of the fact that hip-hop has just come to Vietnam for a
short time (around 10 years). With such a short time, the understanding
about it is limited. Moreover, the main activity of hip-hop in Vietnam is
rapping, hence, this result is not a surprising thing.

A form of Culture, 11.87%

entertainment,
23.75%

Lifestyle, 29.38%

A type of music,
27.50%
State of mind,
7.50%

Perception towards hip-hop

Figure 3: Perception towards hip-hop

34
What is under this figure suggests that there are much misunderstanding and
misdescribing around hip-hop. Thus, it could be drawn out that the transition
of hip-hop to Vietnam is somehow not completed.

4.3. The hip-hop activities that students have ever involved in

Hip-hop activities that students have ever involved in

50.00%
44.40%
45.00%
40.00%
35.00%
30.00%
25.00%
18.70%
20.00%
15.00% 12.50%
9.40%
10.00% 8.10% 6.90%
5.00%
0.00%
g

e
ng

g
ti

)
ng

on
jin

ffi

in
pi

ox
ra

ci
D

N
ap

an
tb
R

kd
Be

ea
br
g(
in
oyb
B-

Figure 4: Hip-hop activities that students have ever involved in

35
The chart shows that the largest out of the total number of students say that
they haven’t ever involved in any hip-hop activities (up to 44.38 percent in
total of 100 percent). This suggests that hip-hop activities have not become
really popular in Vietnam, in particular, among Hanoi students. Only 30
students out of 160 say that they have ever taken part in Rapping though, as
mentioned above, this is the most popular element of hip-hop culture in
Vietnam. Then comes to the other activities, the proportion of fans that have
been involved in these is quite low (8.10 percent with DJing, 6.88 percent
with Graffiti, 12.5 percent with beatboxing and 9.38 percent with
breakdancing (B-boying)). Apart from the number of student has not joined
in any hip-hop activities, the rest (Djing, breakdancing, Graffiti, and
beatboxing) distributes dispersedly with small amount.

4.4. Frequency of living in hip-hop events

Figure 5 summarizes the frequency of participating in hip-hop events.

As can be seen from the chart, only 6.88 percent of students admit that they
take part in hip-hop activities weekly while up to 38.12 percent say that they
rarely join in hip-hop events. Following this largest number is the percent of
students who say they participate in hip-hop activities whenever possible
and occasionally with total percent of 18.12 percent and 16 percent
respectively. The percent of students monthly or every two weeks taking
part in these events accounts for a small amount (13.12 and 6.88 percent
respectively). This shows the irregular participating in hip-hop events. The
reasons may lie in the fact that hip-hop events are not hold frequently in

36
public places or in the students themselves, they are not familiar with
participating in such activities or they do not know or simply, they share no
interest in it.

Frequency of living in hip-hop events

45.00%
40.00% 38.12%
35.00%
30.00%
25.00%
20.00% 16.88% 18.12%
15.00% 13.12%
10.00% 6.88% 6.88%
5.00%
0.00%
y
y

ly
y

ks

e
el
l
kl

bl
th

al
ee

ar
ee

si
on
on

os
w
W

i
M

as
o

rp
tw

cc

ve
O
ry

ne
e
Ev

he
W

Figure 5: Frequency of living in hip-hop events

4.5. The influence of hip-hop

4.5.1 Personal aspects affected by hip-hop

The results for this question show what the influence of hip-hop on students’
personal aspects is. From what is presented in the chart, it is not difficult to
realize the number of students who think their lifestyle affected most by hip-
hop is the largest with a number of 48 students accounting for 30 percent.

37
Similar to that is the number and percent of students who believe hip-hop
affects their fashion. Then comes to the proportion of students having no
thoughts of being affected by hip-hop (making up 20.62 percent). The rest
proportion distributes to other personal aspects of students, namely, spiritual
beliefs with 13 students accounting for 8.12 percent, career ambitions with
11 selected making up 6.88 percent and the last political opinions with 6
students presenting 3.75 percent. Only one student thinks that besides these
aspects, hip-hop may have influence on his other. However, it is regret that
he did not specify it.

Personal aspects Number Percent

Lifestyle 48 30

Fashion 48 30

Career ambitions 11 6.88

Political Opinions 6 3.75

Spiritual beliefs 13 8.12

None 33 20.62

Other 1 0.62

Table 1: Personal aspects affected by hip-hop

As presented in Literature Review, one of the influences of hip-hop on

Vietnam society is fashion, thus, it is not surprising if this option is chosen
most. In accordance with it, the number of students believe that their

38
lifestyle is affected by hip-hop culture is not small. This can be seen that hip-
hop possesses great power in terms of its potential to influence the behaviors
of the listeners. Even though there is a limited amount of political debate in
hip-hop music, 3.75 percent of those surveyed still believe that their political
opinions are affected by hip-hop.

4.5.2 Opinions about the influence of hip-hop

Up to nearly half of the students surveyed state that hip-hop has a positive
influence on people meanwhile only 10.63 percent of ones think in the
opposite way. 30.63 percent of students suggest that hip-hop only has a
minimal influence on people. The last 9.38 percent is for students who think
hip-hop has no influence on people.

Opinions about the influence of hip-hop

None, 9.38% ,

Minimal, Positive,
30.63% 49.38%
Positive
Negative
Minimal
None
Negative,
10.63%

Figure 6: Opinions about the influence of hip-hop

39
To be a culture, more or less, hip-hop has certain influence on people. That
influence may be positive or negative due to different people. Two man two
tastes, different people have different point of views. However, from this
result, it could be concluded that hip-hop has a certain influence on Hanoi’s
students, in this case, positive is more than negative.

4.5.3 Perception on the influence of hip-hop on youth issues

No influence Negative Positive

influence influence

Number Percent Number Percent Number Percent

Youth behaviors 44 27.5 23 14.3 93 58.2

Youth spiritual 31 19.3 21 13.1 108 67.5

development

Youth attitudes 59 36.9 16 10 85 53.1

towards
education

Table 2: Perception on the influence of hip-hop on youth issues

In general, hip-hop culture has been perceived to have positive influence on

Youth’s issues, namely, youth behaviors, youth spiritual development, and
youth attitudes towards education. In details, it seems that hip-hop has a

40
positive influence on youth’s issues for the reason that the percent shown in
the survey results are all at high level, specifically, of youth behaviors is
58.2 percent, 67.5 percent, the highest one with youth spiritual development
and 53.1 percent for youth attitudes towards education. It is striking that
opinions about the negative influence on hip-hop on youth issues are shown
at low level (all the three percentages are around 10 or more percent).
Meanwhile the percentages of “no influence” opinion are at higher level,
more details, 27.5 percent with youth behaviors, 19.3 and 36.9 percent with
youth spiritual development and youth attitudes towards education
respectively.

What should be concluded here is that, hip-hop, with its influence all around
the world, makes Hanoi’s students have a brighter view about their own
issues.

4.5.4 The aspect of hip-hop that has the worst influence on people

It is easy to realize the aspect of hip-hop that has the worst influence on
people is Drugs and Alcoholism. This one accounts for the largest percent
shown in the chart. Following is clothing style with 20.6 percent,
language/lyrics with 16.9 percent, dancing/videos with 15 percent, and the
rest 5 percent is for other ideas suggesting that all the aspects of hip-hop
have the worst influence on people.

41
 45
42.5

40

35

30

25
20.6
20
16.9
15
15

10

5
5

Clothing style Language/lyrics Dancing/videos Drugs & Alcoholism Other

The aspect of hip-hop that has the worst influence

Figure 7: The aspect of hip-hop that has the worst influence

As can be seen from the chart, hip-hop aspect that is perceived to have the
worst influence on people is Drugs and Alcoholism. This may result from
the fact that many hip-hop artists in the world today are abusing Drugs and
Alcoholism as a way to avoid the reality, relieve the stress and tension.
Moreover, these stimulants also inspire them; help them to be more
enthusiastic when on stage. However, it also has its dark side and this is seen
as the worst aspect of hip-hop.

42
4.5.5 Whether hip-hop artists in the past affected the same as recent do
now

The rate choice for this question is quite equal specifically, 57.5 percent of
students with yes answer while 42.5 percent choose no answer.

Whether hip-hop artists in the past had the same influence as

,
recent artists do now
,

No, 42.50%

Yes, 57.50%

Figure 8: Whether hip-hop artists in the past had the same influence as
recent artists do now.

Obviously, there are more students think that hip-hop/rap artists in the past
have had the same influence on people as recent artists. This further proves
that hip-hop has influence on people and the artists are the one who transmit
it to the audience. Time is gone by, hip-hop has developed, and the influence
of it on the society continues being presented in many aspects of society.
Artists, besides other elements contribute to that.

43
4.5.6 Whether hip-hop/rap promotes rebellion, prostitution and sex
Agreement or Disgreement with hip-hop promotion of rebellion, prostitution and sex

Agreement, 40%

Disagreement, 60%

Figure 9: Agreement or disagreement with hip-hop promotion of rebellion,

prostitution and sex

The chart below shows the percentage of the number of students agreement
or disagreement with the idea that hip-hop/rap promotes rebellion,
prostitution and sex.

It is surprising that there is up to 60 percent of students show their

disagreement with this. Since, nowadays, it is not difficult to realize who is
for hip-hop fashion, especially, when coming to a show where there exist
hip-hop activities such as breakdancing, beatboxing, and rapping. The hip-
hop artists in these shows tend to wear clothes that can show up their
personality and these clothes sometimes get negative comment from the
audience. However, this accounts for a small account of the total. What
should be drawn out through this result is that this is a question about
negative affect of hip-hop, however, the reply seem to be very positive. Only

44
40 percent of students think that hip-hop promote such issue, however, this
number is not really small when being compared to the positive opinion.

4.5.7 Perception on the influence of hip-hop on artists, media, values

and society

Very Minimal None

Number Percent Number Percent Number Percent

Artists 55 34.4 81 50.6 24 15

Media 66 41.2 74 46.2 20 12.6

Values 44 41.2 88 46.2 28 12.6

Society 46 28.8 90 56.2 24 15

Table 3: Perception on the influence of hip-hop on artists, media, values and

society

In general, students tend to show that the influence of hip-hop on these

issues is very small. Specifically, only 34.4 percent of students think that
artists are very affected by hip-hop, 50.6 percent suggest that artists are
affected minimally meanwhile the percent with idea that hip-hop has no
influence on artists is 15 percent. The similar thing happens with the media,
values and society. The data shows that the percent for minimal influence
are at the highest one in all issues surveyed. For that reason, maybe students
here have the idea that, though having influence on some aspects of life, this
influence is minimal, not deep.

45
Summary:

In short, these data somewhat express Hanoi students’ thoughts and opinion
about hip-hop and its influence on some issues. This is considered as
findings of the study. In details, students’ perception on hip-hop as well as
hip-hop influence were synthesized and analyzed carefully. The following
chapter will discuss and conclude the study. Along with them, some
limitation will be given to take into account for further research.

46
 CHAPTER 5: DISCUSSION AND CONCLUSION

5.1. Discussion and conclusion

This paper attempts to study about hip-hop culture and its influences on
Vietnam as well as the implication drawn out from it. Hip-hop culture is a
very broad term and may be mistaken with hip-hop music. The history of
development of this culture is very young (from 1970s in Bronx, New York
city). Through this paper, the definition, evolution and certainly the
influence of hip-hop culture in both the U.S and Vietnam are revealed.

Like two sides of a coin, hip-hop culture affects the U.S and Vietnam
societies in both positive and negative ways. In positive ways, hip-hop
culture, as mentioned in the paper, has some influence on language, fashion,
art, movies. According to Thomas El (Chris Killion, 2005), the problem is
that not all rappers are negative because “some are doing the positive
things.” In his point of view, rap is an artistic form and allows people to
express themselves in a positive way. As can be seen, people did not need a
lot of money or expensive resources to rhyme. They did not have to invest in
lessons or anything like that. Because of its inclusive aspects, allow people
to accurately and efficiently inject their personality.

Considered as the culture from ghetto (accommodation and blacks), rap also
has another positive thing. It allows the young black to articulate a certain

47
culture perspective and help others understand what is going on in the minds
of the young black or people in the urban area. It is the appearance of hip-
hop culture that brings about the appearance of many things: graffiti, hip-
hop language, fashion, and movies.

In negative ways, hip-hop “exposes the public to social problems like drug
abuse, racism and gang violence in their neighborhoods” (Kathy, 2008). As
analyzed in Chapter four, the aspect of hip-hop that has the worst influence
is Drugs & Alcoholism (accounting for up to 42.3% out of the total 200
students). As can be seen, many artists in general, and hip-hop artists, in
particular are using drugs and wine as ways to avoid reality, inspire them to
compose as well as perform enthusiastically on the stage. That is a way to
relieve stress and tension, also. However, once getting addicted, Drugs and
Alcoholism make them difficult to give up. Meanwhile, youth today tend to
copy their idol’s style, thus, when their idols use something, they will try
their best to imitate it. As a result, many young today get addicted, too.

Another negative influence of hip-hop on the society is on the language.

Street language was transmitted to the hip-hop culture through rap music
which is the common language of hip-hoppers. However, this kind of
language somewhat brings negative affect on the society. According to
Kathy SaeNgian, one of the negative influences of hip-hop is that it
encourages sexualisation. This is presented through the use of language in
lyrics of the song. The most popular song that openly promotes this belief
system is "Gold Digger" by Kanye West: "She takes my money, well I'm in
need/Yeah she's a triflin' friend indeed/Oh she's a gold digger way over

48
time/That digs on me." The accompanying music video shows women
provocatively dancing in black lingerie and posing in sexual positions. This
affects seriously the viewers. Who can imagine what a person would do after
everyday watching such images like that.

The next negative influence of hip-hop on society lies in the appearance of

many people. Obviously, hip-hop culture created a new fashion trend with
loosing-pants and many accessories going with this. However, sometimes,
this style is considered as impolite, especially, if the wearer takes them to the
polite places such as a meeting or a conference. Cloth is one way to show
one’s personality, in some places, such cloths are considered as impoliteness
and making others feel they are unrespected.

Graffiti is an element of hip-hop culture. It could not be denied that this is

very impressive and could be used to decorate walls or streets; however, the
fact is not as simple as that. The abuse of graffiti makes some streets or
walls unacceptable because of the drawings. This contributed to the
environment pollution influence of hip-hop.

Being transitioned to Vietnam, hip-hop has not become a culture(as

analyzed in the results, Hanoi students’ thoughts just stop at the opinion that
hip-hop is a form of entertainment, a kind of music, only a small number
think that hip-hop is a culture). It is a part of the youth culture. According to
Mr. Dang Canh Khanh, Ass. Professor, Director of Youth Institute, “It
makes the social scientists realize that besides the current official culture of
our society, there is still another culture. That culture may be not academic,

49
but it is very strong and creative”(Youth, 2009). Hip-hop in Vietnam still
includes 4 elements: DJing, Rapping, Breakdancing and Graffiti. However,
the development as well as the characteristics of each is not clear. Hip-hop
has just come to Vietnam in recent years; all elements are still in
development. There is not any element that comes to the peak like hip-hop
in the U.S in Golden Age. Yet, clearly seen from the paper in social impact
section, the influence of hip-hop on Vietnamese culture is not small,
however, most of these influences are not positive. We can take rapping as
an example. It is one of the four elements of hip-hop; however, Vietnamese
rap does not include all the good characteristics like American rap.
According to Mr. Tuan Khanh, a composer, it can be said that “in Vietnam to
find out a rapper with good performance is an extremely difficult thing. To
some extent, the singers have just approached to this type of music but have
not mastered it” (Where is hip-hop “made in Vietnam”, 2005). In his
opinion also, the appearance of hip-hop music in Vietnam has just been
contemporary although this is now an international trend in the world.
However, in Vietnam, this type of music is underestimated.

All in all, though transitioned to Vietnam about 20 years, hip-hop has just
been something very new. Being an evitable result of globalization trend, the
penetration of one culture to another culture is understandable. However, for
a culture to be transitioned from this country to another, it usually takes a lot
of time. Thus, hip-hop in Vietnam has just stopped at a part of youth culture
not the whole hip-hop culture like in the US. Hopefully, in the future, along
with the time, hip-hop in Vietnam will soon develop and bring positive
things like its influence on the US.

50
5.2 Implications

The findings of this research suggest that the transition of hip-hop to

Vietnam is a certain thing due to the globalization, the influence of a
stronger country to a weaker one.

Though still including 4 elements: DJing, Rapping, Breakdancing, and

Graffiti Art, it could not been said that the transition of hip-hop to Vietnam
has been fulfilled.

The influence of hip-hop culture on Vietnam, especially, Hanoi’s students, is

just a small part of the influence of American culture to Vietnamese one

5.3 Limitations and suggestions for further studies

The primary limitation of this study is its lack of Vietnamese documents.

Most of document found on the Internet is about hip-hop culture in the US
and the other countries. Thus, this causes difficulties to the researcher in
analyzing as well as synthesizing the information collected. Due to that,
some analysis for implication is just in general and drawn out from
researcher’s thoughts and thus, the conclusion is limited. Other researchers
should be encouraged to use the similar research to get insight into the
problem, get more authentic document about Vietnamese and American hip-
hop, especially Vietnamese one.

The second limitation of the study is the quality of the document. Some
document found is in condition of just the opinion of some members of a
forum, not the research or the book of authors.

51
Another limitation is the access to some documents, especially with some e-
books. The researcher can just read excerpt and some comments of others.
Hopefully, in the future, with the limitations given out here, other researchers
can help overcome these obstacles and conduct a better research.

Additionally, a weak point of this research lies in its potential lack of external
validity. Hip-hop culture could be considered as the culture of “the black” or
“the street culture”. Meanwhile the information obtained in this study has
been limited to a number of students in a few universities in Hanoi. This paper
would be more valid if it could be conducted with more respondents apart
from students who are taking part in some universities in Hanoi.

Last but not least, the study would be better if the researcher could apply
more instruments besides the questionnaires. Doing this, the data collected
would be more reliable and objective.

52
 REFERENCES

Calvin, C. (2010, March 3). Dirty South Beats Or Hip Hop Rapper - How to
Become a Great Artist in Any Style and Get Signed. Retrieved April
20, 2010, from http://ezineartic - 53 -les.com/?Dirty-South-Beats-Or--
Hip-Hop-Rapper---How-to-Become-a-Great-Artist-in-Any-Style-and-
Get-Signed&id=3862960
Cheo, H. (March, 1995), Slick Rick: Behind Bars, The Rolling Stone
Scott, M. (February, 2004), “From Kool Herc to 50Cent, the story of rap—
so far”, Pittsburgh Post-Gazette
Chris, K. (May, 2oo5), Experts debate hip-hop’s influence on American
culture, youth, for better or for worse, Brigham Young University
press
Daily Herald – Steering group adopts UNESCO definition of culture – 19th
October 2005 (Sept, 2005), retrieved on 20th April from
http://sxmprivateeye.com/node/2059
Dictionary of Art (1996), retrieved on 18th April, 2010 from
http://ww.graffiti.org/faq/graf/graf.def.html
Dany(November, 2007), Golden Age of hip-hop, retrieved on 18th April from
http://www.urbandictionary.com/define.php?term=Golden-Ag-eof-
hip-hop
Dyson, M. (2007), Know what I mean?, Westview Press
Edgar, H. (1992) Organizational culture and leadership, Tossey-Bas, Inc.,
Publishers
Emmett, G. Price III( August, 2007), What’s new? The effect of Hip-hop
culture on Everyday English, eJournal USA

53
Grant, M. (2010), The History of hip-hop music, retrieved on 20th April,
2010 from http://www.ehow.com/about_5079046-history-hip-hop-
music.html
Graffiti- a deviance of hip-hop on youth culture (May, 2006), People’s army
press
Hip-hop in Vietnam ( July, 2005), retrieved on 20th April, 2010 from
Kathy, S. (June, 2008) Researcher cites negative influences of hip-hop,
Pittsburgh Post-Gazette
Linda Mae Carlstone, (1997), “Teens and Fashion, Baggy Still Rules, But
More Than Ever, Anything Goes,” Chicago Tribune
Michiko, K. (, February, 1997), “Common Threads: Why Are Homeboys
and Surbanites Wearing Each Other's Clothes?”, The New York
Times Magazine
Melanie, L. (2010), Hip-hop Hanoi Style: Dancing in the shadow of Lenin
and Uncle Ho, retrieved on 18th April, 2010 from
http://www.merill.umd.edu/dateline/Vietnam/hiphop.html
Nunan, D. (1991), Language Teaching Methodology, Cambridge, UK:
Cambridge University Press
Nunan, D. (1992), Research methods in language learning, Cambridge, UK:
Cambridge University Press
Reilly, J. (2008, March 1st), The hip-hop culture identity, retrieved on 20th
April, 2010 from http://www.ezinearticles.com/?The-Hip-Hop-
Culture-Identity&id=1019317
Reese, R. (2000), Popular Culture Review, volume xi, no.2, retrieved on 18th
April from http://www.csupomona.edu
Steward, T. (Spring 2005), Exploring the culture of hip-hop, Cornel
University

54
Scott, M. (February, 2004), “From Kool Herc to 50Cent, the story of rap—
so far”, Pittsburgh Post-Gazette
“Spin magazine picks Radiohead CD as best” ( June, 2005), USA Today
Dyson, M. (2007), Know what I mean?, Westview Press
Toby, G. (2006) Breakdancing, Retrieved on 20th April, 2010 from
http://ww.bbc.co.uk/devon/content/articles/2008/10/17/breakdancing-
video-feature.shtml
Urban Dictionary (Sept, 2010) retrieved on 18th April, 2010 from
http://www.urbandictionary.com/define.php?term=djing
“Where is hip-hop” made in Vietnam”? (2005) retrieved on 4th April, 2010
from http://www.vietbao.vn/van-hoa/hip-hop-made-in-vietnam-dang-
o-dau/20366781/181/

55
 Further reading
Craig, S. (2005), Hip-hop matters, Beacon Press
Jeff, C. & D.J Kool Herc(2005), Can’t stop Won’t stop: A history of the hip-
hop generation, Thunder’s Mouth Press
Jim, F & Charlie, A. (2002), Yes, Yes, Y’all, Da Capo Press
Muray, F. & Mark, N. (2004), That’s the joint!: The hip-hop Studies reader,
Taylor and Francis Group
Vibe Magazine(1999), The Vibe History of Hip-hop, Three Rivers Press
Yvonne, B. (2006), Encyclopedia of Rap and hip-hop Culture, Greenwood
Publishing Group, Inc.

56
Appendix 1:

Survey questionnaire

I am Hoang Thi Thuy Hang, a senior student of Faculty of English

Language Teacher Education – University of Languages and International
Studies – Vietnam National University, Hanoi. This survey questionnaire is
designed to collect information for my study on “Hanoi students’ perception
on the influence of hip-hop”. Your personal information will be kept strictly
confidential. Your assistance will contribute greatly to the success of my
research.

Thank you very much for your support and cooperation!

**************************

Please circle the letter(s) that you choose or fill in the missing information

Section 1: General information

Your age: ……………………
You are: Male Female
Name of your university:
……………………………………………………………………………
Section 2: Survey questions
1. Which of the following best describes hip hop to you?
a. Culture
b. Lifestyle
c. State of mind

57
d. A type of music
e. A form of entertainment
2. Which of the following hip-hop activities have you ever involved in?
a. DJing
b. Rapping
c. Graffiti
d. Beatboxing
e. B-boying(breakdancing)
f. None
3. How often do you go to live in hip hop events?
a. Weekly
b. Every two weeks
c. Monthly
d. Occasionally
e. Rarely
f. Whenever possible
4. Which of the followings do you think you have been affected by hip-
hop?
a. Lifestyle
b. Fashion
c. Career ambitions
d. Political opinions
e. Spiritual beliefs
f. None
g. Other(please specify)______________________________
5. Do you feel hip-hop/rap has a ________ influence on people?
a. Positive

58
b. Negative
c. Minimal
d. None
6. Currently, what influence does hip hop have on the following
issues?
A. Youth behaviors
a. No influence b. Negative influence c. Positive influence
B. Youth spiritual development
a. No influence b. Negative influence c. Positive influence
C. Youth attitude towards education
a. No influence b. Negative influence c. Positive influence
7. Does hip-hop culture promote criminal behavior?
a. Yes
b. No
8. What aspects of hip-hop/rap have had the worst influence?
a. Clothing style
b. Language/lyrics
c. Dancing/videos
d. Drugs& Alcoholism
e. Other(please specify)
_________________________
9. Do you feel hip-hop/rap artists in the past had the same influence
on people as recent artists do now?
a. Yes
b. No
10. Do you feel hip-hop/rap promotes rebellion, prostitution and sex
among young girls?

59
a. Yes
b. No
11. To what extent do you think the following aspects are affected by
hip-hop?
A. Artists
a. Very b. Minimal c. None
B. Media
a. Very b. Minimal c. None
C. Values
a. Very b. Minimal c. None
D. Society
a. Very b. Minimal c. None

60
Appendix 2:

Phiếu điều tra sinh viên

Chào các bạn!

Tên tôi là: Hoàng Thị Thúy Hằng, sinh viên năm thứ 4, trường Đại
học Ngoại Ngữ - Đại học Quốc Gia Hà Nội. Tôi soạn thảo phiếu điều tra này
nhằm thu thập số liệu cho đề tài khóa luận mà tôi đang nghiên cứu có tên là
“Cảm nhận của sinh viên Hà Nội về ảnh hưởng của văn hóa hip-hop”.
Rất mong các bạn nhiệt tình giúp đỡ tôi hoàn thành phiếu điều tra để kết quả
thu được chính xác và có giá trị.
Xin chân thành cảm ơn sự hợp tác của các bạn!

***********************

Xin vui lòng khoanh tròn vào câu trả lời phù hợp hoặc điền thêm thông
tin vào chỗ trống

Phần 1: Thông tin chung

Tuổi của bạn: …………………………..
Giới tính: Nam Nữ
Tên trường Đại học bạn đang học: ………………………………..
Phần 2: Câu hỏi điều tra

61
1. Theo bạn định nghĩa nào dưới đây mô tả hip-hop một cách chính
xác nhất?
a. 1 nền văn hóa
b. 1 lối sống
c. Trạng thái tâm lý
d. 1 thể loại nhạc
e. 1 hình thức giải trí

2. Hoạt động hip-hop nào dưới đây mà bạn đã từng tham gia?
a. DJing(mix nhạc)
b. Hát rap
c. Vẽ graffiti
d. Trống miệng(beatbox)
e. Nhảy breakdance
f. Không tham gia hoạt động nào
3. Bạn thường xuyên tham gia hoạt động hip-hop như thế nào?
a. Hàng tuần
b. Hai tuần 1 lần
c. Hàng tháng
d. Thỉnh thoảng
e. Hiếm khi
f. Bất cứ khi nào có thể
4. Bạn nghĩ rằng ___________ của bạn đã bị ảnh hưởng bởi hip-hop?
a. Lối sống
b. Thời trang
c. Tham vọng nghề nghiệp

62
 d. Ý kiến chính trị
e. Niềm tin tâm linh
f. Không cái nào cả
g. Ý kiến khác(vui lòng nêu rõ)
5. Bạn nghĩ rằng hip-hop có ảnh hưởng___________ tới mọi người?
a. Tích cực
b. Tiêu cực
c. Ảnh hưởng ít
d. Không ảnh hưởng
6. Hiện tại, theo bạn thì hip-hop có ảnh hưởng như thế nào tới những
vấn đề dưới đây?
A. Thái độ của giới trẻ
a. Không ảnh hưởng b. Ảnh hưởng tiêu cực c. Ảnh hưởng
tích cực
B. Phát triển tinh thần của giới trẻ
a. Không ảnh hưởng b. Ảnh hưởng tiêu cực c. Ảnh hưởng
tích cực
C. Thái độ của giới trẻ về giáo dục
a. Không ảnh hưởng b. Ảnh hưởng tiêu cực c. Ảnh hưởng tích
cực
7. Mặt nào của hip-hop/raptheo bạn có ảnh hưởng xấu nhất?
a. Phong cách ăn mặc
b. Ngôn ngữ/ Lời hát
c. Nhảy/ đĩa hình
d. Việc lạm dụng thuốc và rượu
e. Khía cạnh khác(vui lòng ghi rõ)

63
 8. Bạn có nghĩ rằng các nghệ sĩ hip-hop/rap trong quá khứ có ảnh
hưởng giống như các nghệ sĩ bây giờ không?
a. Có
b. Không
9. Bạn có nghĩ rằng hip-hop/rap khuyến khích các hành vi nổi loạn,
mại dâm, và tình dục không?
a. Có
B. Không
10. Theo bạn nghĩ ở mức độ nào những khía cạnh dưới đây đã bị ảnh
hưởng bởi hip-hop/rap?
A. Các nghệ sĩ
a. Ảnh hưởng rất nhiều b. Ảnh hưởng ít c. Không bị ảnh
hưởng
B. Các phương tiện truyền thông
a. Ảnh hưởng rất nhiều b. Ảnh hưởng ít c. Không bị ảnh
hưởng
C. Các giá trị của đời sống
a. Ảnh hưởng rất nhiều b. Ảnh hưởng ít c. Không bị ảnh
hưởng
D. Đời sống xã hội
a. Ảnh hưởng rất nhiều b. Ảnh hưởng ít c. Không bị ảnh hưởng

64
Appendix 3: Hip-hop fashion
Source:
http://i250.photobucket.com/albums/gg278/yeuv0_thu0ngc0n/24122008013.
jpg

65
Appendix 4: Hip-hop fashion
Source:
http://i250.photobucket.com/albums/gg278/yeuv0_thu0ngc0n/31122008008.
jpg

66
Appendix 5: Graffiti art
Source: http://www.abstractgraffiti.net/uploaded_images/graffiti-
738891.jpg

67
Appendix 6: Graffiti art
Source: http://www.abstractgraffiti.net/uploaded_images/graffiti_wildstyle-
731828.jpg

68