An Integral Representation of Hiphop

How I and others understand what Hiphop is or isn’t has been an obsession of mine for the last 35 years. As a lifelong student of religion and spirituality its been difficult to not view the search to know Hiphop as similar to if not the same as the search for ultimate reality. People take perspectives on the world, revealing how they relate to their everyday lives through how they allow themselves to explore and interpret the layers of their experience. Since I began asking the question of "what is Hiphop”, i’ve realized that people understand Hiphop in three distinct ways and by using what is known as Integral Theory can be better understood.

In the context of Integral Theory, as developed by Ken Wilber, the different typographical representations of "hiphop" can be correlated with the various dimensions of human experience as outlined in the theory i.e. behavioral, psychospiritual, cultural and social. These dimensions are often depicted through the Four Quadrants which include the Interior Individual, Exterior Individual, Interior Collective, and Exterior Collective. Here's how these can be related to the expressions of Hiphop:

1. hiphop (lowercase) - All Quadrants: sensory/emotional experience individually and collectively

   - hiphop: The lowercase usage suggests a personal, intimate engagement with Hiphop. It represents how individuals personally experience and internalize Hiphop culture through their emotions and personal reflections. This form emphasizes the personal meaning and emotional connection that Hiphop has for an individual, aligning with the subjective nature of the Interior Individual quadrant.

2. Hiphop (Capitalized) - Exterior Individual and Collective (Objective and Interobjective)

   - Hiphop: Capitalizing "Hiphop" indicates a recognition of the more formal, structured aspects of the culture. It encompasses the observable practices such as dance, art, and music, and the organizational structures like music labels and social groups within the Hiphop community. This perspective views Hiphop as a significant cultural and social phenomenon that can be studied and analyzed, reflecting the objective and interobjective dimensions.

3. HIPHOP (Uppercase) - All Quadrants (Integral)

   - HIPHOP: The use of all uppercase letters suggests a comprehensive, all-encompassing view of Hiphop. It recognizes not only the external, observable elements but also the deep, internal experiences and the broader cultural and societal impacts. This usage implies a holistic view that encompasses personal feelings, communal values, social behaviors, and the global influence of Hiphop culture. It aligns with the integral approach, which seeks to understand phenomena through multiple perspectives and dimensions.

By using the framework of Integral Theory, we can see how different expressions of "hiphop" reflect different levels of engagement and understanding within the culture, ranging from personal subjective experiences to broad, integrative perspectives that consider both internal and external dimensions of human experience. This approach allows for a deeper appreciation of Hiphop's complexity and its impact on both individuals and society.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

An Homage to the 3 Lineages of Hiphop

Buddhist Lineage Chant

A Buddhist lineage chant (sometimes called an homage) is a form of liturgical practice performed within the Buddhist community that pays respect to the lineage of practitioners and teachers who have preserved and transmitted the teachings of the Buddha through generations. These chants often involve the recitation of names and virtues of past masters, acknowledging their contributions to the Dharma and expressing gratitude for their guidance. The lineage chant serves to remind practitioners of their spiritual heritage, creating a sense of continuity and connection with the historical Buddha and the successive lineage of enlightened teachers.

Benefits of Lineage Chants

Lineage chants are beneficial as they help practitioners prepare their minds for meditation, fostering a conducive mental environment for spiritual practice. They also serve to reinforce a sense of belonging and shared identity within the Buddhist community, strengthening the collective commitment to the path of enlightenment. By invoking the lineage, practitioners feel part of a larger group that transcends time and space, providing inspiration and support in their spiritual journey.

Drawing parallels between Buddhist lineage chants and the concept of a Hiphop centered lineage chant, we can see how such a practice could be beneficial within the Hiphop community. A Hiphop lineage chant pays homage to the pioneers and influential figures of Hiphop culture, acknowledging their contributions to the art form and the community. This includes the founders of the genre, influential MCs, DJs, breakdancers, graffiti artists, and other key figures who have shaped Hiphop's evolution.

The benefits of a Hiphop centered lineage chant are similar to those in Buddhist practice:

1. Preparation for Creative Expression: Just as Buddhist chants prepare the mind for meditation, a Hiphop lineage chant prepares artists for creative expression, grounding them in the history and values of Hiphop culture before engaging in their art.

2. Sense of Community and Continuity: Reciting the names and achievements of Hiphop's forebears fosters a sense of community and continuity, reminding current practitioners that they are part of a larger narrative that stretches back to the origins of hip-hop.

3. Inspiration and Motivation: Acknowledging the struggles, successes, and artistic innovations of Hiphop's lineage serves as a source of inspiration and motivation for artists, encouraging them to carry the torch forward and contribute to the culture's ongoing evolution.

4. Cultural Preservation: A lineage chant helps preserve the history and core values of Hiphop, ensuring that the contributions of its pioneers are not forgotten and that the culture's roots remain respected and integrated into its future development.

This Hiphop centered lineage chant honors the past and hopefully inspires current and future generations to continue innovating and contributing to the rich tapestry of Hiphop culture.

Homage to the 3 Lineages of Hiphop

(Read slowly in a monotone voice)

In the spirit of the sacred, we chant in homage,  

To the pioneers of beats, rhymes, and knowledge.  

From the streets of the Bronx to the corners of the globe,  

Hiphop's lineage unfolds, a story told in strobe.

(Verse 1)

From the parks of the Bronx, the beats arose,

Kool Herc spun the tables, Hiphop's heart composed.

With breaks and loops, the crowd engaged,

A culture birthed, a new stage was laid.

From Herc's Herculoids to the spread of the sound,  

The seeds of Hiphop culture were sown in the ground.  

Behavioral shifts in dance and art,  

Cultural revolutions, a brand new start.

Hook:  

We chant for wisdom, we chant for peace,  

Through Hiphop's expression, our souls release.  

From Herc, to Flash, to Rakim's rhyme,  

We honor their teachings, time after time.

(Verse 2)

Black Benji, peacekeeper, with unity's call,

Stood for justice, breaking down the walls.

In the face of strife, his courage shone bright,

A beacon for change, in the darkest of night.

Benji's spirit, through Hiphop, found a form,  

Transforming street energy into a cultural norm.  

Social contributions, a legacy so bold,  

A story of redemption, forever retold.

Hook:

We chant for justice, we chant for truth,  

In every lyric and in every booth.  

From Benji's peace to Tupac's cries,  

We see the world through their wise eyes.

(Verse 3)

KRS-One, the teacher, with wisdom so vast,

Spoke of a culture where spirituality's cast.

With the Zulu Nation, he stood at the fore,

Promoting peace, love, and so much more.

Awareness and knowledge, their powerful tools,

Used to educate the streets and the schools.

In rhymes and rhythms, they found the divine,

A movement of consciousness, line by line.

Hook:

We chant for connection, we chant for love,  

For the culture below and the stars above.  

For love, wisdom, spirit, body and mind. 

Through peace and unity we experience Hiphop Alive.

(Closing)

From raw expressions to refined global rhymes,

Hiphop evolved, transcending the times.

In behavior, we dance, we express our voice,

In culture, we dress, with style our choice.

In society, we stand against oppression's weight,

In spirit, we rise realized at a higher state.

From the South Bronx alleys to the world's vast stage,

Hiphop's lineage grows, from sage to sage.

Artists and activists, women and men,

Their legacy endures, time and again.

In homage we chant, to the pioneers of sound,

Their contributions profound, forever bound.

To the lineage of Hiphop, we bow and we nod,

For the path they paved, and the journey we trod.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Space: The Problem and the Promise of Hiphop

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

Space: The Problem and the Promise of Hiphop

In the Tantric tradition of Tibetan Buddhism, one of the qualities of fundamental reality — how our mind and material world truly exists — is vast spaciousness, without bounds. So vast, in fact, that it cannot be conceptualized. It is beyond labeling and apprehension.

This spaciousness is not empty nothingness. It is actually raw potency — alive, vibrant and awake. Experiencing it is possible through meditative practices that deeply relax the mind and body, cutting through our attempts at holding onto thoughts, feelings, and material existence.

What holds onto the phenomena arising in our awareness is the ego — which, upon arising in spaciousness, is uncomfortable with the vastness and needs to secure itself. It’s like if the floor suddenly fell out from under you or if the sky were suddenly turned upside down: you would find yourself scrambling for something to grab onto; something that would make you feel secure in our new found reality.

The ego finds security by attaching itself: to a name, an identity, a label, a definition of its own existence and environment… But these could never actually provide any real sense of security, because as real those labels seem, they never describe anything that has any lasting existence; things are always changing. As soon as we latch onto something, its inherent instability and insubstantiality begins to reveal itself. With everything and everyone always changing, there is no stability to be found in space, only groundlessness.

 That groundlessness creates anxiety and the need to define self and other — what am I? Who am I? What is real? — because if I can define my reality then I can find comfort in it. But groundlessness can also be the source of peace. Because, in groundlessness we are found as we are, others are found as they are, objective reality is found as it is. There is no more need to manipulate, lie to ourselves and others in order to feel relaxed.

When we realize all existence, ourselves included, as uncreated yet potent spaciousness, there is no fear of being destroyed. Just as much as cosmic bodies won’t destroy the endless fabric of universe, fear and doubt about our own life and death, when arising in a mind like a universe, don’t harm our well-being and contentment.

According to the teachings of the Buddha, not being able to live as humans in that openness is the source of all of our suffering. Instead of relaxing in the free-floating nature of things, we engage in passion, aggression, and ignorance, trying to pull things into our lives that produce satisfaction, pushing things away that don’t, and remaining oblivious to how everything truly exists. We just don’t look.

That’s how I think about Hiphop culture: I wonder how it too may fundamentally exist. When I contemplate Hiphop, I cannot find any real material or tangible existence. It is not an “it.” I can’t touch it. I can’t locate it in time and space. It has no shape, color, or place in reference to any other object. You can’t go and get Hiphop, buy Hiphop, practice Hiphop, or attain Hiphop because it is not a thing.

In the late 80’s, before there was such a thing as “not Hiphop”, there was only the feeling that came from witnessing or participating in the culture. There was nothing to measure real Hiphop against. So, defining Hiphop as a subtle experience, I can only describe that feeling as joy, excitement, and anticipation. The only real definition that I’m left with is that it is not an objective “it” but the experience of spaciousness itself.

Afrika Bambaataa, the former head of the Universal Zulu Nation, an organization that evolved out of the gang culture of 70’s New York to become the pre-eminent torchbearer for all things true about Hiphop culture, once said that Hiphop is love, peace, knowledge, wisdom, understanding, freedom, and having fun. (I would add confidence and compassion to that list). Those qualities don’t materially exist; you can’t touch fun or peace because they are felt experiences.

The elements of Hiphop are: emceeing, djing, bboying, and graf writing (Some scholars include knowledge, music production, beatboxing, street fashion, street language and entrepreneurship). But what is the link between experiencing Hiphop as its subtle fundamental qualities and the elements of Hiphop themselves? An argument could be made that everything I’m saying is invalidated by artists who seem to embrace the materialistic, violent, and misogynistic aspects of Hiphop (The recent discovery of Afrika Bambaataa's unforgivable behavior of sexually molesting young Zulu Nation members comes to mind). If the qualities of Hiphop were peace and such, wouldn’t that be ever-present in the art? What is the link between practicing Hiphop and experiencing its more subtle, arguably enlightened, qualities?

As an emcee, dj, beatboxer, and music producer, I’ve had to figure how to put words together, mix and scratch records, make sounds with my mouth that mimic drum patterns, and chop and sequence samples into tracks worthy of head-nodding. I’ve been able to do these at least well enough to create something that’s enjoyable. But, given enough time, I think that anyone could. I believe that that’s part of the beauty of Hiphop; that anyone who dedicates themselves to the craft can create something that seems to represent what Hiphop is commonly thought to be.

However, the experience of Hiphop (peace, knowledge, etc.) i.e. what is revealed from creating is not a strict matter of behaviorally imitating common methods of Hiphop behavior. The flavor of the experience is based on how deeply I can rest with the natural sense of my own being, however I honestly experience it, express that through one or more of the elements while also acknowledging that however I find myself is just a temporary truth. My self sense is always evolving along with all other phenomena. I believe that that’s how we get such a colorful variant of the worldviews expressed in Hiphop music, dance, and art. It is in the simple act of self acceptance and continually paying attention to the mind that gives the artist the ability to both transmit something authentic while knowing that they haven’t done all the growing that they could do. Self-acceptance comes from appreciation of my journey in life thus far without the need to edit, elevate or reduce who I find myself to be. Continually paying attention comes from returning over and over again to investigate the experience of my mind so that I am constantly experiencing a sense of freshness in my art and in my life.

How does one accept oneself? How does one return to the experience of the mind? By being with that which one wants to accept and experience. We have to spend time with ourselves intentionally watching who and what we are. As Yogi Berra once said, “Its amazing what you see when you look.”

How else will we know what is true? Meditation, maybe. After all, it’s  a science and art that has existed for thousands of years to address this very concern. By taking time to watch who we think we are we can be more sure of who we truly are. The Buddhist idea of non-conceptual, natural spaciousness awaits our investigation and discovery. If we commit to meditation as a lifestyle we may realize that there is a difference between what we think and what’s really real.

We can also wake up to a deeper reality through the approach that we take towards our everyday activities.

For me one of those activities is freestyle rhyming. I’ve freestyled everyday and for many years. Aside from the enjoyment of putting words together, freestyling allows me to let go of the need to be anything other than who I am in that moment. I don’t have to be good. I’m not looking for a record deal or to be on TV. I just have to be me and let whatever arises hold its space.

It forces me into a place of accepting that I don’t know what i'm going to say and not knowing what i'm going to do. Genuinely returning to that place of not knowing — i.e. not spitting a written rhyme or relying on ideas or metaphors that I’ve used in the past — plunges me into groundlessness. I have nothing to hold onto and i'm not looking. It feels like stepping on a sheet of ice; there’s that “oh shit!” feeling and that fear of making a fool out of myself that we all try to avoid. That is the ego, saying “I'm uncomfortable in spaciousness, I'm falling and I need to find some ground.” So what do I do? I default to using to the comfortable old catchphrase, or the time-tested metaphor or simile.

But if I stayed in that space? What would happen? Would I crash and burn?

How could I? It’s just me. Am I trying to be impressive? Why? If I freestyle in front of others and I don’t come off like Craig G in his prime will I become the laughing stock of the cypher? What if we always embraced the space, and all of the “oh shit” feelings? What may happen then? One thing is for certain, the more we returned to that sense of groundlessness the more familiar it would be. What if we removed the need to impress anyone and replaced it with just being?

The point of freestyling does not have to be to be dope, the point could be that BEING IS DOPE. That feeling the sense of freedom from having to be anything other than myself is a wonderful thing, Of course, it’s always nice to kill a cypher and I’m not saying anything against that. What I am saying is that you’ll only really kill it when you allow yourself to embrace the natural openness of your mind. When you let go of the need to find security the presentation is endless; it is substantive and it is authentically you.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Cultivating Mindfulness Through Freestyle Rhyming

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

CULTIVATING MINDFULNESS THROUGH FREESTYLE RHYMING

Justin F. Miles LCPC-S, LGADC-S

Hiphop Alive

Abstract

This article explores the intersection between the practice of freestyle rhyming in Hip-Hop culture and the stages of Shamatha meditation, a technique rooted in Buddhist tradition aimed at developing calm abiding and mindfulness. By drawing parallels between the cognitive and creative processes involved in both practices, we propose a framework and practice called Mindful Freestyle Practice (MFP) that correlates specific types of freestyle rhyming with the nine progressive stages of Shamatha meditation. This framework suggests that the improvisational and expressive nature of freestyle rhyming can serve as a secular and culturally relevant pathway to cultivate mindfulness and enhance psychological well-being.

Introduction

Mindfulness, a state of active, open attention to the present, has been traditionally cultivated through meditation practices such as Shamatha, which involves focusing the mind on a single object to develop calmness and stability[3][16]. Freestyle rhyming, a form of improvised rap, requires a similar presence of mind and has been shown to engage brain regions associated with creativity, language processing, and emotional expression[19][20]. This article proposes that the stages of Shamatha meditation can be aligned with the cognitive and creative processes of freestyle rhyming, offering a novel approach to mindfulness training.

Shamatha meditation, also known as "calm abiding" or "tranquility" meditation, is a foundational practice in Buddhist tradition aimed at developing a calm, focused, and stable state of mind[1][2][4]. This practice is often used as a precursor to vipassana (insight) meditation, as it provides the necessary mental stability to engage in deeper analytical practices[3][4][16]. Mindfulness, in this context, refers to the quality of being fully present and engaged with whatever we are doing at the moment, without distraction or judgment.

The Nine Stages of Shamatha Meditation

Shamatha meditation is a methodical practice that progresses through nine stages, each characterized by an increasing level of concentration and mindfulness[16][18]. These stages are:

1. Placement: Initial focus on the meditation object.

2. Continual Placement:  Maintaining focus with occasional lapses.

3. Repeated Placement: Continuously returning focus after lapses.

4. Close Placement: Developing greater focus with fewer interruptions.

5. Taming: Overcoming gross distractions and cultivating clarity.

6. Pacifying: Subduing subtle distractions.

7. Thoroughly Pacifying: Further refining concentration and overcoming subtle dullness.

8. Single-Pointed: Achieving sustained, effortless focus.

9. Equanimity: Perfecting balance and stability in concentration.

How Shamatha Practice Cultivates Mindfulness 

The processes involved in Shamatha meditation lead to more mindfulness through a series of steps that stabilize the mind and enhance awareness[27][30][31]. Progressively training in experiencing the mind as it naturally is without alteration or motive to change it while through effort and focus keeping one's attention on an object of meditation/attention invites relaxation, concentration and trust in present mindedness. What follows is a brief outline of how mindfulness develops through the stages of Shamatha meditation. 

Stabilizing the Mind: The primary purpose of Shamatha meditation is to stabilize the mind by cultivating a steady awareness of the object of meditation, such as the breath. This stability is achieved by repeatedly bringing the attention back to the breath whenever the mind wanders. This process trains the mind to remain present and reduces the tendency to get lost in distractions, thereby increasing mindfulness[27][30].

Cultivating Concentration: As practitioners focus on their meditation object, they develop deeper levels of concentration. This concentration allows for a more sustained attention to the present moment, which is a key aspect of mindfulness. The ability to concentrate on a single point helps to quiet the mind and makes it more receptive to the present[27][30].

Acknowledging and Letting Go of Thoughts: During Shamatha meditation, practitioners learn to acknowledge thoughts as they arise without engaging with them. This practice, often referred to as "touch and go," involves gently touching upon a thought and then letting it go, returning to the breath. This helps in developing a non-reactive stance towards thoughts and emotions, which is essential for mindfulness[30].

Experiencing Tranquility: As one continues to practice Shamatha, the mind becomes calmer, and a sense of tranquility emerges. This tranquility allows for a more serene and clear observation of thoughts and sensations, which contributes to a mindful state where one is fully aware and engaged with the present experience[27][30].

Developing Clarity and Equanimity: Through regular practice, Shamatha meditation fosters clarity of mind and equanimity. Clarity enhances the vividness of present experiences, while equanimity allows for an even-minded reception of all phenomena. This balanced approach prevents extreme reactions to pleasant or unpleasant experiences, promoting a stable and mindful presence[30].

Preparation for Insight: The calm and stable mind achieved through Shamatha is an ideal basis for vipassana or insight meditation. Insight meditation builds upon the mindfulness developed in Shamatha, allowing practitioners to investigate the nature of reality and the mind itself. This deeper level of mindfulness can lead to profound insights and spiritual awakening[27][30].

Integration into Daily Life: The mindfulness cultivated in Shamatha meditation is not limited to the cushion; it extends into daily life. Practitioners learn to maintain awareness and presence in all activities, leading to a more mindful and attentive way of living[30].

The processes involved in Shamatha meditation—experiencing progressive stages of present centered restfulness, stability, clarity and strength of concentration— lead to a more mindful state of being. This enhanced mindfulness allows individuals to live with greater awareness, presence, and peace[27][30][31]. This writer posits that the same qualities cultivated in Shamatha practice can be cultivated through freestyle rhyming by intentionally sustaining a relationship with an object of focus and a relaxed welcoming of the fullness of one’s experience. 

Freestyle Rhyming

Freestyle rhyming can be seen as a dynamic cognitive process that involves spontaneous linguistic production, creativity, and emotional expression. Freestyling is associated with the element of Hip-Hop called “Emceeing”, where an artist improvises an unwritten verse from the head, with or without instrumental beats. In this form of freestyle, lyrics are recited with no particular subject or structure, akin to other improvisational music forms like jazz.

As explained by the emcee Big Daddy Kane in a 2010 interview, the term "freestyle'' originally referred to verses that were "free of style," meaning they were written rhymes that did not follow a specific subject matter or predetermined cadence [36]. However, beginning in the early 1990s, the term evolved to predominantly refer to rap lyrics that are improvised on the spot, a trend that grew through arranged battles like Scribble Jam [38]. Modern battle rap, where emcees use pre-written verses to verbally degrade, belittle or out impress one's opponent continued into the early 2000’s and became the current and prevalent presentation of freestyling. This newer definition of freestyle is widely used and respected within the Hip-Hop community today, despite its lack of an improvisational approach.

Although freestyle rhyming has purported benefits of boosting confidence, overcoming writer's block and having a tool of self expression, it is this writer's concern that there has been little research and study about how freestyle rhyming can do more than facilitate an experience that is personally and/or socially entertaining [37]. The elements of Hip-Hop are largely presented as extensions of and beneficial to the ego and not seen through the lens of ego transcendence or examined for their ability to foster qualities of wisdom, insight, awareness of self and other qualities associated with personal and social health. As the mainstream presentation of Hip-Hop’s elements continues the decades long trend of moving closer and closer towards embracing the values of materialism, conspicuous consumption, hypersexuality, violence and misogyny, this writer is concerned that the trans egoic benefits of Hip-Hop’s elements (including freestyle rhyming) will go ignored and be used to worsen issues already linked to lyrics and music that emphasize self aggrandizement over care for ones body, mind, community and world.

MFP is not about freestyling with the intention of “being good” but instead is about experiencing the “goodness of being”. MFP encourages emcees to freestyle in order to experience oneself as they are without self deception or need for self improvement or deprecation. Cultivating mindfulness of one’s first person experience is an invitation to examine the truth of the mind vs one’s tightly held beliefs, to care and be responsible for one's relationship with reality and to be accountable for one's behavior, thinking, feeling and speech. Preparing Hip-Hoppers not just for the stage show but the stage of life may not result in as many fans, but it may result in Hip-Hop practitioners causing themselves and others less harm and conversely increasing their motivation to be of benefit to others in the Hip-Hop community and family of humanity. 

Correlation of Shamatha Meditation to Freestyle Rhyming

The correlation between Shamatha meditation and freestyle rhyming is explored through the lens of cultivating mindfulness and mental stability, by employing specific freestyle practices that parallel the stages of Shamatha meditation in regards to how the participant relates to the object of meditation and awareness.

In the practice of Shamatha meditation what is referred to as the “object of meditation” is the means by which the practitioner keeps their attention focused in the present moment. Traditionally the object of meditation of Shamatha meditation is the breath (thought to be formless) but at times the use of counting breaths is advocated and as one evolves in their Shamatha practice the object of meditation is needed less and less as attention has become trained to stay without the need for an assistive device. By giving the mind an object to focus on, attention is gathered and centered instead of displaced or engaged in its usual information gathering functions. By gently returning to the present centered object of meditation again and again as the mind inevitably wanders and plays out familiar habitual tendencies, trust is cultivated in the experience of present centeredness, the mind wanders less and like training wheels on a child’s bicycle, the object of meditation can be reduced over time as confidence and concentration become natural and welcomed experiences.  

The innovative MFP approach suggests that by engaging in freestyle rhyming in a manner that encourages attentiveness to ones present centered experience through the gradual introduction  of an object of meditation, while also allowing space for relaxation, self acceptance and simple Being that freestyle rhyming can serve as a practical method for training the mind, similar to the structured progression found in Shamatha meditation practices. 

A basic MFP framework for understanding how the application of types of freestyling may correlate with the experience of progressively cultivating mindfulness as found in the stages of Shamatha meditation are as follows:

1.  Placement/Off the Dome: This type of freestyle is purely improvisational, akin to the initial stage of Shamatha where the emcee places their focus on the beat and theme].

2.  Continuous Attention/Pre-scripted: Reliance on comfortable concepts with intermittent moments of relaxation represent continual placement, where the emcee maintains focus on premeditated lyrics with occasional improvisational elements.

3.   Repeated Attention/Hybrid: A mix of prepared and improvised lines, similar to repeated placement, where the emcee navigates between memorized content and spontaneous creation.

4.   Close Placement: As the emcee becomes more adept, they can closely integrate written/memorized material with freestyle, reflecting the fourth stage of Shamatha.

5.   Taming: The emcee begins to overcome the challenge of staying on topic and rhythm, paralleling the taming stage of meditation.

6.   Pacifying: Subtle distractions such as off-topic thoughts or filler words are reduced, mirroring the pacifying stage in Shamatha.

7.   Thoroughly Pacifying: The emcee achieves a flow state, with minimal distractions and a clear, focused delivery.

8.   Single-Pointed: The freestyle becomes seamless and effortless, indicative of single-pointed concentration in meditation.

9.   Equanimity: The emcee reaches a state of balance and stability in their flow, analogous to the final stage of Shamatha.

MFP Methodology

Here's a more detailed look at how this writer utilizes various types of freestyles to cultivate correlating qualities of Shamatha meditation. This practice is called MFP or Mindful Freestyle Practice. As you may notice when reading further, practitioners are gently invited into experiencing their minds (without an attempt to change the quality of their mind) and over time asked to apply increased concentration to a present centered object of attention or focus. In the case of this practice it is the recapitulation of the number of bars which they are asked to be aware of.

1. Ferguson Welcoming/Free association: Pre-Practice/Remembering the Instructions. Working with the mind as it is: 

The instructions for our first foray into cultivating mindfulness through freestyling are to meet ourselves as we always already are: “Be as you are, without shame or fear. Without need to be any more or less than you are right now. Do not try to be good or fear being “bad” at freestyling. Allow whatever arises to arise.” Free Association is a technique of psychoanalysis devised by Sigmund Freud, where the patient expresses the content of their consciousness without censorship as an aid in gaining access to the unconscious mind. Similarly with MFP, Free Association means saying whatever comes to mind (whether it rhymes or not) despite it sounding like nonsense. This form of freestyling is engaged in as a means of experiencing the mind as it is in all of its randomness and discursiveness. The point is to not sound good or to entertain, but to become used to witnessing how the mind works. If the mind begins to try and formulate some sense of coherent thought the instruction is to notice this tendency, let go and to return to allowing the mind to be free from any attempts at style or structure. Learning to allow the mind to find acceptance as it is without alteration is the ground and fruition of the practices of freestyling and meditation.  

2. Eight and Out Random (Stage of Shamatha: Placement):

The practice of this stage is to free-associate rhyme for eight bars (a musical eight bar count), then to either allow another person to rhyme or to then stop for eight bars and to then compare and contrast the experience of their body and mind during and after rhyming. Afterwards returning to free association rhyming after an Eight bar count. This works with the stage of Shamatha called Placement. During the placement stage the object of meditation is the eight bar count, its beginning and ending while allowing the mind to be as it is during the eight bars. Additionally, awareness of the mind's tendency to seek control and ground through self-contraction and returning to randomness is also an object of meditation. When one gets nervous and begins to feel as if they need to be impressive or sound as if they’re “getting it right” the instruction is to return to randomness. When the practitioner is aware of the eight bar count the mind is placed on a mental object that exists in this moment. For those new to mindfulness and meditation, the in-between space of eight bars allows time and room for wandering.

3. Four and Out Random (Stage of Shamatha: Continuous Attention): 

This practice is similar to the former stage except that instead of eight bars the practitioner rhymes for four bars. This increases the amount of mindfulness needed to engage in the practice because the practitioner has to be more aware of when their four bar time limit has been reached. If practicing with someone else the practitioner will allow the other person to rhyme and then as soon as that person has completed four bars they immediately begin to free associate rhyme again. Again the emphasis is on focusing on the four bar count as well as the mind's tendency to try and establish stability instead of experiencing the natural stability that comes from returning to an object of meditation over and over again.

4. Two and Out Random (Stage of Shamatha: Repeated Attention): 

This practice involves rhyming for two bars and then either passing the turn to another person or pausing if alone. This type of freestyle requires increased mindfulness as the practitioner must be aware of when to rhyme and when to pause, experiencing the body and mind during these intervals. The frequent return to rhyming cultivates mental stability by requiring the mind to engage and disengage repeatedly, akin to the initial focus on the meditation object in the placement stage of Shamatha.

5. Eight and Out Focused (Stage of Shamatha: Close Placement): 

In this practice, the emcee rhymes for eight bars with a focus on coherence, possibly around a specific topic. This mirrors the continual placement stage of Shamatha, where the practitioner's mind returns to the object of meditation (in this case, the topic of the rhyme) when it wanders. This practice indicates the dawning of clarity and confidence as the emcee gets accustomed to coming back to the topic, overcoming distractions and anxiety.

6. Four and Out Focused (Stage of Shamatha: Taming): 

Similar to the eight and out focused, but with a shorter duration of four bars. This practice demands quicker mental adjustments and enhances the speed of returning to the focused topic, further developing clarity and trusting in stability experienced from earlier stages. The reduced time increases the challenge of maintaining coherence, thereby sharpening the practitioner's ability to focus and stabilize the mind.

7. Two and Out Focused (Stage of Shamatha: Pacifying): 

This method involves rhyming for two bars with a focus, then pausing or allowing another to rhyme. The focused nature of this practice, despite its brief duration, continues to cultivate stability by requiring the mind to engage in a concentrated manner within a limited timeframe. This practice symbolizes the dawning of the quality of strength in that attention has ceased to wander and peacefully finds comfort in presence.

The overarching theme in correlating these freestyle practices with Shamatha meditation stages is the emphasis on cultivating mindfulness, stability, and focus through the rhythmic and creative process of rhyming. By engaging in these structured freestyle practices, individuals can train their minds in a manner analogous to the gradual progression through the stages of Shamatha meditation, ultimately enhancing their mental clarity, stability, and mindfulness.

8. TBD

9. TBD

10. TBD

Discussion

The correlation between freestyle rhyming and Shamatha meditation stages suggests that engaging in MFP can potentially cultivate mindfulness. The improvisational nature of freestyle requires presence, adaptability, and a non-judgmental acceptance of the unfolding creative process, which are core aspects of mindfulness[12][13]. Furthermore, the flow state achieved during advanced freestyling is similar to the meditative absorption of later Shamatha stages, characterized by a deep immersion in the activity and a loss of self-consciousness[19][20].

The potential benefits of cultivating mindfulness for freestyle emcees are multifaceted, impacting both their artistic expression and personal well-being including enhanced creativity, improved focus, emotional regulation, connection with the present moment as well as improvements in neurological functioning. [21][22]

Potential Benefits of MFP in everyday life

Stabilizing the Mind

MFP like Shamatha meditation may help to stabilize the mind by training it to maintain steady awareness on a chosen object of meditation, such as the breath[24][25][28]. This stability is crucial for mindfulness, as it allows for sustained attention and reduces the tendency of the mind to wander into distractions, which is a common barrier to being fully present.

Developing Concentration

Through the practice of MFP, practitioners may develop greater levels of concentration[24][25]. This enhanced concentration supports mindfulness by enabling the practitioner to focus more intently on the present moment and the task at hand, whether it be observing thoughts, sensations, or external stimuli.

Overcoming Distractions

Like Shamatha meditation, MFP involves recognizing when the mind has become distracted and gently returning focus to the meditation object[24][25][27]. This process of repeatedly acknowledging distractions and refocusing cultivates a mindful attitude towards distractions, allowing practitioners to become less reactive and more equanimous in their daily lives.

Enhancing Clarity

As with Shamatha practice, as MFP practice deepens, the mind becomes not only stable but also clear[24][25]. This clarity is an essential aspect of mindfulness, as it allows for a more vivid and precise perception of the present moment, leading to a richer and more nuanced experience of life.

Fostering Emotional Balance

MFP involves cultivating progressive states of restfulness like Shamatha meditation and can lead to a tranquil state of mind, which is conducive to emotional balance[24][25][27]. A calm mind is less prone to emotional turbulence and can approach experiences with a balanced perspective, which is a key component of mindfulness.

Preparing for Insight

By progressively calming the mind, MFP like Shamatha sets the stage for vipassana or insight meditation, where mindfulness is used to investigate the nature of reality and the mind itself[26][27][28]. This investigation can lead to profound insights and a deeper understanding of the interconnectedness of all things, which is often the ultimate goal of mindfulness practice.

Potential Benefits of MFP for Freestyle Emcees

The potential benefits of Mindful Freestyle Practice for freestyle emcees are multifaceted, impacting both their artistic expression and personal well-being. Despite a lack of research, here are some potential benefits:

Enhanced Creativity: Mindfulness can lead to a state of open awareness where new ideas can surface more readily. For freestyle emcees, this can mean more creative and innovative rhymes, as well as the ability to connect disparate ideas in novel ways[13][29].

Improved Focus: Mindfulness practices help in developing a sharper focus. This can be particularly beneficial during freestyle rapping, which requires sustained attention to maintain flow and coherence in lyrics[13][29].

Emotional Regulation: Mindfulness aids in recognizing and managing emotions. Freestyle emcees can use this skill to channel their emotions into their performance, enhancing the emotional depth and authenticity of their rhymes[13][29].

Stress Reduction: The act of freestyle rapping itself can be a form of mindfulness, providing a flow state that reduces stress and anxiety. This can contribute to an emcee's overall mental health and well-being[13][29].

Cognitive Flexibility: Mindfulness encourages a non-judgmental attitude and the ability to view situations from multiple perspectives. This flexibility can translate into more dynamic and varied freestyle performances[13][29].

Enhanced Self-Expression: Mindfulness can foster a greater sense of self-awareness and authenticity. Freestyle emcees may find that they can express themselves more genuinely and connect more deeply with their audience[13][29].

Better Emotional Expression: Mindfulness can help emcees become more attuned to their emotions, allowing for a richer and more nuanced expression of feelings through their lyrics[13][29].

Increased Confidence: As mindfulness practices help individuals become more centered and self-aware, freestyle emcees may experience a boost in confidence, both on stage and in their daily lives[13][29].

Improved Mental Agility: The spontaneous nature of freestyle rapping requires quick thinking and mental dexterity. Mindfulness can enhance these cognitive abilities, allowing emcees to come up with rhymes and responses more swiftly[13][29].

Connection with the Present Moment: Mindfulness is fundamentally about being present. For freestyle emcees, this can mean a more profound engagement with the beat, the crowd, and the moment of creation, leading to a more impactful performance[13][29].

Neurological Benefits: Research has shown that engaging in creative activities like freestyle rapping can stimulate the brain and potentially contribute to neuroplasticity and cognitive well-being[6][13][23].

Social Connection: Freestyle rapping often occurs in social settings, and mindfulness can enhance the sense of connection with others, fostering a supportive environment for artistic expression[13].

MFP can serve as a powerful tool for freestyle emcees, enhancing their artistic capabilities while also supporting their mental and emotional health. By cultivating mindfulness, emcees can improve their ability to create, perform, and connect with their art and audience.

Implications for MFP and Cultural Competence 

Practicing mindfulness through freestyle rhyming can be a culturally competent form of fostering an understanding and appreciation of diverse cultural expressions, enhancing empathetic communication, and promoting inclusivity. This approach integrates the cognitive and creative processes involved in both mindfulness practices and the art of freestyle rhyming, offering a unique pathway to cultural competence.

Understanding and Appreciation of Diverse Cultural Expressions

Freestyle rhyming, rooted in Hip-Hop culture, is a powerful medium for storytelling and expressing personal and communal narratives. By engaging in freestyle rhyming with mindfulness, individuals can delve deeper into the cultural significance and historical contexts of the themes and stories presented in their rhymes. This practice encourages an exploration of diverse cultural identities and experiences, fostering a greater understanding and appreciation of the richness and complexity of different cultural backgrounds[32][33].

Enhancing Empathetic Communication

Mindfulness practices cultivate presence, awareness, and empathy, which are crucial for effective and compassionate communication. When combined with freestyle rhyming, these qualities can enhance one's ability to listen actively and respond empathetically to others' perspectives and emotions. This empathetic engagement is essential for building bridges across cultural divides, as it allows individuals to connect on a deeper level, beyond surface-level stereotypes or assumptions[32][34][35].

Promoting Inclusivity

Incorporating mindfulness into freestyle rhyming can also promote inclusivity by creating a space where diverse voices and experiences are valued and respected. Mindfulness encourages non-judgmental acceptance of the present moment, including the thoughts, feelings, and expressions of oneself and others. By applying this principle to freestyle rhyming, participants can create an inclusive environment where everyone feels empowered to share their unique cultural perspectives and stories. This inclusivity not only enriches the creative process but also strengthens communal bonds and fosters a sense of belonging among individuals from different cultural backgrounds[32][34][35].

Practicing mindfulness through freestyle rhyming as a form of cultural competence involves a deep engagement with diverse cultural expressions, empathetic communication, and the promotion of inclusivity. This innovative approach leverages the transformative power of mindfulness and the expressive potential of freestyle rhyming to bridge cultural gaps and cultivate a more understanding and inclusive society[32][33][34][35].

Potential Limitations of MFP

The practice of MFP to cultivate mindfulness, while innovative and potentially beneficial, may come with certain limitations. These limitations primarily may stem from the inherent characteristics of freestyle rhyming and the specific needs and goals of mindfulness practices. Although this framework is largely theoretical and not well researched, here are some potential limitations:

Potential for Distraction: Freestyle rhyming is an active, dynamic process that requires cognitive engagement in creating rhymes, maintaining rhythm, and possibly interacting with an audience. This outward focus might divert attention from the inward focus that is central to mindfulness, which emphasizes quiet, introspective attention to one's mental and physical state without active external engagement.

Emphasis on Performance: Freestyle rhyming, especially in a social or performance setting, might place emphasis on the quality of performance, which could lead to performance anxiety or self-judgment. This is contrary to the non-judgmental awareness promoted in mindfulness practices, where the goal is to observe thoughts and feelings without criticism or pressure.

Cultural and Personal Relevance: The effectiveness of using freestyle rhyming to cultivate mindfulness may vary widely depending on individual and cultural backgrounds. Individuals who do not resonate with Hip-Hop culture or who are not comfortable with expressive forms of art may find this approach less accessible or effective.

Complexity in Skill Development: Freestyle rhyming is a skill that requires practice and development. For individuals new to freestyling, the initial learning curve might be steep, which could detract from the mindfulness aspect if too much focus is required on developing rhyming skills rather than on cultivating mindfulness.

Variable Stress Responses: While freestyle rhyming can be a stress-relieving activity for some, it might cause stress for others, especially in a competitive or public setting. This variability can affect how effectively it promotes mindfulness, which aims to reduce stress and enhance relaxation.

Focus on External Metrics: In some cases, the success of freestyle rhyming might be measured by external validation (e.g., audience approval), which could shift focus from internal experiences—central to mindfulness—to external outcomes. This shift might undermine the self-reflective and intrinsic goals of mindfulness practice.

While MFP may offer a creative and engaging way to potentially enhance mindfulness, it is important to consider these limitations. It may be most effective when used as a complementary practice alongside more traditional mindfulness exercises that emphasize quiet reflection and introspection. 

Conclusion

Freestyle rhyming and Shamatha meditation share common cognitive and emotional processes that can be harnessed for mindfulness training. By understanding the parallels between the stages of Shamatha and types of freestyle, individuals may find a secular and culturally relevant practice for developing mindfulness. Future research with MFP could empirically test the efficacy of freestyle rhyming as a mindfulness practice and explore its potential benefits for psychological well-being.

Acknowledgments

The authors would like to thank the lineage of practitioners and scholars of both freestyle rhyming and Shamatha meditation for their insights and contributions to the development of this framework.

Sources

[1] What Is Mindfulness? - Verywell Mind https://www.verywellmind.com/mindfulness-the-health-and-stress-relief-benefits-3145189

[2] Mindfulness - American Psychological Association https://www.apa.org/topics/mindfulness

[3] Effects of Mindfulness on Psychological Health: A Review of ... https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3679190/

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[5] The 9 Stages of Meditation (Shamatha) - Awakened Zen https://zenawakened.com/the-stages-of-meditation-Shamatha/

[6] THE NEUROLOGIST WHO COULD NOT STOP RHYMING AND RAPPING - PMC - NCBI https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9064902/

[7] for the people who are truly gifted at rhyming and freestyling, was there ever a brain scanner MRI test on why/how some people rhyme/freestyle so effortlessly? : r/hiphop101 - Reddit https://www.reddit.com/r/hiphop101/comments/n8g5n9/for_the_people_who_are_truly_gifted_at_rhyming/

[8] What are the stages of Meditative Concentration? - Glorian https://glorian.org/connect/blog/stages-of-meditative-concentration

[9] The 9 Stages of Resting the Mind - Kagyu Osal Chodzong http://www.osalchodzong.com/the-9-stages-of-resting-the-mind.html

[10] Mindfulness Meditation and Hip Hop | Mesocosm https://mesocosm.net/2012/11/19/mindfulness-meditation-and-hip-hop/

[11] The Craziest List of Rap Rhymes, Freestyle Words, & Epic Rhyming ... https://rapauthority.com/rhyming-words-for-rap/

[12] Cultivating Mindfulness through Freestyle Rhyming: Justin F. Miles ... https://milesinstitute.net/blog/2018/2/25/cultivating-mindfulness-through-freestyle-rhyming

[13] The Therapeutic Flow: How Freestyle Rapping Benefits Your Mental State https://www.podcastdoc.com/voiceover-and-podcasting-tips-and-tricks/the-therapeutic-flow-how-freestyle-rapping-benefits-your-mental-state

[14] Mindfulness-based positive psychology interventions https://bmcpsychology.biomedcentral.com/articles/10.1186/s40359-021-00618-2

[15] Mindfulness and Behavior Change - PMC - NCBI https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7647439/

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[17] How To Freestyle Longer Without Messing Up | How To Improve Your ... https://colemizestudios.com/how-to-freestyle-longer-without-messing-up-how-to-improve-your-freestyle-rap/

[18] Nine Stages of Samatha Meditation | Thangka Painting https://enlightenmentthangka.com/blogs/thangka/nine-stages-of-samatha-meditation

[19] 14 Rap Rhyme Schemes Every   emcee Should Know - eMastered https://emastered.com/blog/rap-rhyme-schemes

[20] The science of freestyle rap - The Varsity https://thevarsity.ca/2023/07/16/the-science-of-freestyle-rap/

[21] Is Shamatha complimentary to mindfulness? And Pema Chodron https://www.everyday-mindfulness.org/forum/viewtopic.php?t=5014

[22] Samatha Buddhist Meditation https://samatha.org/what-we-offer/samatha-meditation

[23] The Neuroanatomy of Freestyle Rap - The Atlantic https://www.theatlantic.com/health/archive/2012/11/the-neuroanatomy-of-freestyle-rap/265414/

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[26] Help on Shamatha - Dharma Wheel https://www.dharmawheel.net/viewtopic.php?t=28366

[27] How to Practice Shamatha Meditation | Lion's Roar https://www.lionsroar.com/how-to-practice-Shamatha/

[28] Samatha Meditation: The Antecedent to Vipassana https://enlightenmentthangka.com/blogs/thangka/samatha-meditation-antecedent-to-vipassana

[29] Article - “The Importance of The Freestyle” - Ayesharp Review Blog https://www.ayesharp.com/blog/article-the-importance-of-the-freestyle

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[31] Shamatha Meditation: The Nine Methods of Placement https://khenposodargye.org/meditations/Shamatha-meditation-the-nine-methods-of-placement/

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[33] https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6364322/

[34] https://commons.lib.jmu.edu/cgi/viewcontent.cgi?article=1100&context=diss201019

[35] https://cultureplusconsulting.com/2015/05/25/mindfulness-and-cultural-intelligence

[36] https://hiphopdx.com/interviews/id.1597/title.big-daddy-kane-rap-like-no-equal

[37] “10 Weird Benefits of Learning How To Freestyle Rap”, YouTube, https://www.youtube.com/watch?v=nnC1MuF3r1k

[38]https://www.cincinnati.com/story/entertainment/music/2016/06/10/scribble-jam-cincinnatis-high-water-mark-hip-hop-history/84690740/ 

A Refuge and Bodhisattva Vow for Bboys, Bgirls and Bthems

Please feel free to enjoy some of my music while you read. Thanks for listening with your eyes and ears if you see what i’m saying…

"I know I can't change the world, but I can change the world in me." - J-Cole

Seeking Refuge

In life we often encounter challenges, injustices, and existential questions that shake our core. Whether it’s the struggle for recognition, the battle against systemic inequalities, or the search for meaning amidst chaos, these experiences push us to seek refuge—places or practices that offer solace, strength, and clarity. In Buddhism, taking the refuge vow is about consciously choosing a path that provides a genuine sanctuary from the turbulence of life and the cyclic sufferings we face. It’s akin to finding that beat, that rhyme, or that community in Hiphop that feels like home, where you can be your most authentic self and find support for your struggles and aspirations.

The refuge vow is a foundational practice in Buddhism through which an individual formally commits to the Buddhist path by taking refuge in the Three Jewels: the Buddha (the enlightened one), the Dharma (the teachings), and the Sangha (the community of practitioners). This vow is not merely a formal ceremony but a deep, personal commitment that signifies a turning towards a life of wisdom, ethical conduct, and compassion. It represents a pledge to pursue enlightenment for oneself and to work for the welfare of all beings, embodying the principles of mindfulness and service.

At its core, Buddhism addresses the fundamental nature of suffering and the path to its cessation. Taking refuge in the Three Jewels (the Buddha, the Dharma, and the Sangha) is a commitment to pursuing this path, seeking liberation from suffering for oneself and all beings. This practice offers a spiritual sanctuary and a methodical approach to overcoming life's inherent difficulties.

Similarly, Hiphop serves as a refuge for many seeking to reduce the suffering that we cause ourselves and the world has caused us. Hiphop emerged from the socioeconomic hardships and racial injustices faced by African American and Latino communities in the Bronx in the 1970s. It served as a form of refuge and expression for marginalized youths, offering a creative outlet to articulate their struggles, aspirations, and criticisms of social injustices. Like the Buddhist refuge, Hiphop provided a means to confront and transcend suffering through community solidarity, creativity, and vocalization of truth.

Hiphop artists often use their medium as a refuge from which to explore and articulate profound truths about their lives, communities and societal structures. Through lyrical narratives, beats, and art, they express realities that are often overlooked or misunderstood by mainstream culture, striving for authenticity and meaningful existence despite external challenges.

Finding refuge in community is equally vital in Hiphop where collaboration, battles, cyphers, and shared spaces for performance create a dynamic ecosystem. This community not only nurtures individual talent but also uplifts the collective, fostering a sense of belonging and mutual support.

In essence, both the Buddhist practice of taking refuge and Hiphop culture offer profound ways to navigate life's adversities, seek truth, and foster personal and collective transformation. While their methods and expressions differ, the underlying quests for understanding, empowerment, and community resonance make the connection between these practices rich and meaningful. 

The Three Jewels of Buddhism and Hiphop

Buddha - The Enlightened One

• Buddhism: In Buddhism, taking refuge in the Buddha means to look towards the Buddha as an example of the potential for enlightenment that lies within every being. It is a commitment to awakening one's own inherent wisdom and compassion.

• Hiphop: In the context of Hiphop, taking refuge can be seen as looking up to the pioneers and influential figures within the culture who have used their art to enlighten and uplift communities. It's about recognizing the power of the individual voice to inspire change and using one's platform responsibly to foster awareness and empowerment.

Dharma - The Teachings

• Buddhism: Taking refuge in the Dharma involves a commitment to studying and practicing the teachings of the Buddha. It is about applying these teachings to one's life, in order to understand the nature of reality and to live in a way that alleviates suffering.

• Hiphop: For Hiphop practitioners, this translates to embracing the core values of Hiphop—such as authenticity, respect, social justice, and community—and using them as a guide for both their art and their life. It's about conveying messages that challenge injustices, inspire self-reflection and promote unity.

Sangha - The Community

• Buddhism: Taking refuge in the Sangha means seeking support from and offering support to the community of fellow practitioners. It recognizes the importance of collective effort and mutual encouragement on the spiritual path.

• Hiphop: In Hiphop, this is akin to valuing the community that Hiphop creates—embracing the diversity within it and contributing to a culture of mutual support and upliftment. It's about working together to address social issues and using the collective power of Hiphop to make a positive impact on society.

Integrating the Refuge Vow into Hiphop

Integrating the principles of the refuge vow into Hiphop practice offers a powerful framework for personal development and social engagement. It encourages practitioners to:

• Seek Wisdom and Inspiration: Just as Buddhists look to the Buddha, Hiphop artists can draw inspiration from the visionaries within their field, striving to use their talents in a way that enlightens and educates.

• Live by Core Values: Adapting the Dharma to Hiphop means making the culture's core values a living practice, not only in music but in daily life, thereby fostering authenticity and ethical conduct.

• Build and Support Community: Following the example of the Sangha, the Hiphop community can strengthen its bonds by supporting emerging talents, fostering inclusivity, and coming together to address societal challenges.

Refuge Vow Liturgy for Hiphop Practitioners

Preparation

- Begin by finding a quiet, comfortable space where you can sit undisturbed, reflecting on your intentions and the significance of taking these vows.

- If possible, surround yourself with symbols of Hiphop culture (like music, art, or writings) that inspire you, along with any representations of the Three Jewels that resonate with your understanding.

Invocation

"In the presence of the boundless beat that connects us,

Under the gaze of the pioneers, the enlightened ones who laid the paths before us,

With the teachings of our culture, our struggles, and our victories as our guide,

Surrounded by the global family, our sangha, with whom we share our journey,

I stand ready to declare my refuge in the Three Jewels of Hiphop."

Taking Refuge in the Buddha - The Enlightened Ones of Hiphop

"I take refuge in the Buddha, the enlightened ones of Hiphop,

In the masters of flow, the lyrical geniuses, and the pioneers of the beat

Who have shown us the power of voice and the path to awakening our true selves.

May their wisdom inspire my journey, guiding me to express my truth with clarity and creativity."

Taking Refuge in the Dharma - The Teachings of Hiphop

"I take refuge in the Dharma, the teachings of Hiphop,

In the stories told in verses, the battles fought with words, and the wisdom woven into rhythms.

These teachings illuminate the struggles we face and the strength we possess

Guiding me to live with integrity, to seek justice, and to cultivate understanding and compassion."

Taking Refuge in the Sangha - The Community of Hiphop

"I take refuge in the Sangha, the community of Hiphop,

In the circle of artists, fans, activists, and dreamers who share this cultural journey.

Together, we uplift one another, sharing our experiences, our art, and our aspirations,

Committed to building a world where every voice is heard, and every soul is empowered."

Dedication

"With these vows, I dedicate myself to the path of Hiphop, embracing its challenges and its joys.

May my words, my art, and my actions reflect the light of the Three Jewels,

And may the spirit of Hiphop continue to inspire change, foster unity, and celebrate the diversity and beauty of our human family.

As I walk this path, may I contribute to the healing and empowerment of all beings, without exception."

Closing

- Practice calm abiding meditation for ten minutes, allowing the commitment you've made to resonate within you.

- Conclude the ceremony with a gesture of gratitude, perhaps playing a piece of music that deeply moves you or writing a few lines that express your feelings at this moment.

Refuge Practice in Everyday Life

Taking refuge is not like taking a pill where after you’ve taken your medicine you may feel as if you’re protected from getting sick. Although committing to vows may feel powerful, the vows have no power of their own and without actualizing them through practice it's hard to see how our words alone could have any lasting effect. Below is an example of how to understand and practice the three jewels using a Hiphop based methodology.

Refuge in the Buddha (The Enlightened Ones)

- Intention: Recognize and honor the pioneers and influential figures of Hiphop who have demonstrated wisdom, creativity, and integrity. Reflect on their journeys towards self-expression and authenticity.

- Practice: Listen to tracks or read about the lives of these figures. Meditate on their messages and the paths they've carved out of adversity. Contemplate how you can embody their innovative spirit and resilience in your own life.

Refuge in the Dharma (The Teachings)

- Intention: Embrace the teachings of Hiphop culture, including the values of self-expression, social justice, respect, and the continuous quest for knowledge.

- Practice: Engage with the lyrics, beats, and stories within Hiphop music that speak to the human experience, personal growth, and community upliftment. Write your own lyrics or poetry that reflect your understanding and experiences, using Hiphop as a vehicle for exploring ethical and philosophical questions.

Refuge in the Sangha (The Community)

- Intention: Acknowledge and foster the sense of community within Hiphop. Recognize the diversity and strength of the global Hiphop family, committed to supporting one another and sharing in the cultural expression.

- Practice: Participate in Hiphop events, workshops, and discussions. Collaborate with other artists and enthusiasts, sharing knowledge, skills, and experiences. Work on projects that benefit your local community, reinforcing the bonds of solidarity and mutual support.

Daily Practice and Reflection

Incorporate these practices into your daily routine, dedicating time for listening, creating, and connecting with the Hiphop community. Reflect on how the principles of wisdom, ethical conduct, and compassion manifest in your life and work. Keep a journal of your reflections, ideas, and artistic expressions.

Living the Teachings

Extend the values and teachings of Hiphop into your everyday actions and interactions. Practice mindfulness in your speech, actions, and artistic expressions, being conscious of the impact they have on others. Strive to be a source of positivity and empowerment within your community, embodying the principles of the Three Jewels in your life.

Practice Meditation

Commit yourself to the practice of meditation. I recommend Shamatha Vipashyana meditation as it fosters concentration, stability, clarity, strength, insight and most importantly reveals the direct experience of who and what I am. If the qualities of mindfulness, compassion and wisdom are truly within us already then they are waiting to be revealed, not created through any activity outside ourselves. Live a life where meditation and life are no longer separate.

The Bodhisattva Vow

The Bodhisattva vow is a profound commitment made by practitioners of Mahayana Buddhism, aiming to achieve enlightenment not just for oneself, but for the benefit of all sentient beings. This vow encapsulates the essence of selfless service, compassion, and the relentless pursuit of alleviating suffering in the world. 

This mirrors the ethos of Hiphop, which at its core is a powerful medium for giving voice to the voiceless and addressing social injustices. Hiphop has historically been used as a tool for social change, empowering communities, and shining a light on systemic issues. Just as the Bodhisattva vow signifies a commitment to the welfare of all beings, Hiphop artists often use their platform to advocate for change, uplift others, and foster a sense of community and mutual support.

As Bboy bodhisattvas we can vow to shift our awareness from our self-centered goals towards a broader, more inclusive perspective that seeks the well-being of all beings without discrimination.

Below is a Hiphop centered Bodhisattva Vow that I've developed that I hope brings benefit to any who practice it. 

Bodhisattva Vow Liturgy for Hiphop Practitioners

Setting the Stage

- Find a place that resonates with the spirit of Hiphop for you, whether it’s a personal space adorned with Hiphop memorabilia, a studio or a community center.

- Begin by grounding yourself in the present moment, taking deep breaths and centering your thoughts on the intention behind your vows.

Invocation of Intent

"As I stand at the crossroads of beats and breath, history and future, struggle and triumph

I call upon the spirit of Hiphop, from the graffiti-adorned streets to the turntables spinning tales of resilience

To witness my commitment to the path of the Bodhisattva, where my art becomes my vow

And my words a bridge between worlds, echoing the cries for justice and peace.”

Acknowledgment of the Hiphop Pioneers (The Buddhas)

“I pay homage to the pioneers, the Buddhas of Hiphop, whose voices broke silence

Whose creativity sparked a revolution, teaching us the power of expression.

May their journeys enlighten my path, as I vow to carry forward the torch of transformation

Illuminating the darkness with the brilliance of truth and the warmth of community."

Embracing the Teachings (The Dharma)

"I embrace the Dharma of Hiphop, the profound teachings woven within the rhymes and rhythms,

That speak of struggle and strength, injustice and aspiration, love and unity.

These teachings guide my steps, urging me to confront the shadows within and around

And to sow seeds of awareness, understanding, and change with every word I utter."

Commitment to the Community (The Sangha)

"I take refuge in the Sangha, the global family of Hiphop, where diversity fuels our strength,

Where every artist, activist, and aficionado shares in the sacred dance of creation and connection.

I vow to uplift my community, to stand in solidarity with those whose voices have been stifled,

And to use my art to heal, inspire, and unite, transcending boundaries and building bridges."

The Bodhisattva Vow

"With my crew as my witness, I vow to walk the path of the Bodhisattva within the world of Hiphop,

To create not for fame or fortune, but as an act of liberation for myself and all beings.

May my journey through the realms of sound and silence awaken the heart of compassion,

And may my actions reflect the boundless potential of the mind awakened to its own luminous nature.”

“In every verse, let me speak for the voiceless; in every beat, let me challenge injustice.

Through the strength of my commitment, may I inspire others to see their own power,

And together, may we transform the suffering of our world into a masterpiece of collective liberation."

Dedication

"As my words dissolve into silence, may their essence permeate every corner of the universe,

Touching hearts, awakening minds, and igniting a flame of hope in the darkness.

May the merit of this vow be dedicated to all beings, near and far, past, present, and future,

So that together, we may step into the endless cycle of giving and receiving, teaching and learning, loving and being loved."

Closing

- Conclude with 10 minutes of calm abiding meditation. Afterwards you may want to contemplate in silent reflection on the vows taken, feeling the weight and the joy of your commitment.

- You may desire to freestyle afterwards flowing from the heart, encapsulating your feelings and aspirations at this pivotal moment.

- You may also choose to listen to a piece of music, make a beat, scratch a record, create a graf piece or bboy with the intention of being of benefit to others.

Practicing the Bodhisattva vow in everyday life, especially within the context of Hiphop, involves integrating the vow's essence—compassion, altruism, and the aspiration to attain enlightenment for the benefit of all beings—into one's intentions, actions, and artistic expressions. For Hiphop practitioners, this can manifest in various meaningful ways, both in their personal lives and through their art. Here’s how the principles of the Bodhisattva vow can be woven into the fabric of a Hiphop practitioner's daily practice.

Setting Intentions Rooted in Compassion and Altruism

- Mindful Creation: Approach the creative process with the intention of benefiting others. This could mean crafting lyrics that inspire, uplift, challenge societal injustices, or offer solace. The goal is to use one's art to contribute positively to the collective consciousness and wellbeing of the community.

- Conscious Listening: Be mindful of the content you consume and support. Choose to engage with art and media that align with Bodhisattva principles, promoting messages of peace, unity, and compassion.

Engaging in Practices That Cultivate Compassion and Wisdom

- Meditation and Mindfulness: Regularly engage in meditation and mindfulness practices to cultivate a calm, compassionate, and clear mind. This inner clarity and peace can enhance creativity, improve mental health, and strengthen one's resolve to act for the benefit of others.

- Study and Reflection: Dedicate time to study texts or teachings that inspire compassion and wisdom. This can include Buddhist teachings but also works from other spiritual traditions or philosophical works that resonate with the practitioner's personal journey and the universal quest for understanding and kindness.

Taking Action to Benefit Others

- Community Engagement: Actively participate in or initiate community projects that aim to uplift and support others, especially those in need. This can range from educational workshops and charity events to public art projects that beautify and inspire communities.

- Advocacy and Activism: Use the platform of Hiphop to advocate for social change, raise awareness about critical issues, and amplify the voices of those who are marginalized or oppressed. The intention is to not only highlight problems but also to contribute to finding solutions.

Fostering a Supportive and Inclusive Community

- Building Sangha: Cultivate a sense of community (Sangha) within the Hiphop scene by fostering environments of mutual respect, support, and learning. This can involve mentoring young artists, collaborating in ways that honor everyone's unique contributions, and creating spaces where diversity of thought and expression is celebrated.

- Leading by Example: Embody the values of the Bodhisattva vow in daily interactions, showing kindness, patience, and understanding. By living these values, practitioners can inspire others to adopt similar principles in their own lives, creating a ripple effect of positive change.

Embracing the Bodhisattva Path in Artistic Expression

- Intentional Artistry: Infuse music, performances, and other artistic expressions with the spirit of the Bodhisattva vow. Whether through direct messages of compassion and unity or through more subtle themes of interconnection and personal growth, aim to make art that reflects a deep concern for the wellbeing of all beings.

- Promoting Healing and Understanding: Recognize the power of Hiphop to heal, connect, and bridge divides. Strive to create art that opens hearts and minds, encouraging empathy, reflection, and a deeper understanding of our shared human experience.

Practicing the Bodhisattva vow as a Hiphop practitioner is about integrating these principles into all facets of life and art. It's a commitment to using one’s talents, influence, and community engagement to contribute to the greater good, aspiring toward a world marked by wisdom, compassion, and justice for all.

Justin F. Miles

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Freestyle: Gateway to the Beyond Within (Redux pt. 2)

Hiphop as Binding Force of a Cypher

Hiphop can be envisioned as the connective essence of the cypher, a dynamic interplay that facilitates recognition and discernment among its participants. It serves as a medium through which Hiphoppers can identify the genuine from the insincere, whether in reference to an individual, a collective, or their ideologies. This concept of energy or force is articulated not merely for the sake of definition but to encapsulate a phenomenon that, while intangible, is akin to concepts such as chi, prana, spirit, essence, the All, Ultimate Reality, or Truth. These terms attempt to articulate an omnipresent Reality that permeates all matter, yet eludes complete characterization.

For those immersed in the culture, Hiphop represents the vital force that ignites creativity, shapes the environment for its manifestation, and underpins all musical genesis. It evokes a profound sense of joy, euphoria, or ecstasy experienced within spaces where Hiphop thrives—whether it's being played, nurtured, or exhibited. This exultation is tied to the communion with the creative source itself, a connection paralleled in spiritual traditions such as Buddhism, Hinduism, Christianity, Judaism, and Islam. Each of these paths speaks of a transcendent unity with the All, a sensation of oneness that is deeply personal yet universally acknowledged through the teachings of prophets, saviors, avatars, sages, seers, and masters. These figures serve as exemplars of those who have encountered the Ultimate Reality within their respective belief systems.

In a similar vein, the spectrum of consciousness within Hiphop acts as a conduit toward experiencing its Reality—a Reality realized by the prophets of Hiphop who, like ancient seers, forecast and steer the culture towards heightened self-realization, emancipation, and resistance against both external and internal oppressive forces.

Hiphop and Diunitality

The concept of diunital nature, which resonates with the ethos of Hiphop, encompasses both the self and the other, forming the cohesive dynamic of the cypher. Participants step into the cypher with dual intentions: firstly, for personal enrichment, whether driven by ego, curiosity, or spiritual growth; secondly, to contribute to a collective energy exchange that fosters the imparting of self-knowledge from individual to group, or from the collective to the divine. The term "diunital" implies that phenomena are amalgamations of dualities that are interdependent (Myers, 1988; Nobles, 1980; Phillips, 1990). When we harmonize our internal and external energies, we experience an elevation in well-being and balance. It is the freedom to express oneself authentically within an accepted space that cultivates harmony within a cypher. Whether at home with family, in an educational environment with teachers, or on the streets interacting with law enforcement, individuals may feel constrained in their expression compared to the liberty found within a cypher. This is not solely due to the presence of peers but rather the intrinsic Hiphop energy within the cypher itself, which can manifest in any setting where its members are receptive and engaged.

The concept of diunital existence, as it relates to the cypher in Hiphop culture, is deeply rooted in the idea that phenomena are unions of opposites that are mutually dependent on each other. This term, which is derived from African American cultural values, suggests a harmonious coexistence of dualities, such as self and other, individual and community, competition and collaboration. In the context of the cypher, this diunital existence is manifested through the dynamic interplay between emcees who come together to express themselves both as individuals and as part of a collective.

The cypher, an integral part of Hiphop culture, is a space where emcees engage in freestyling, a form of improvised lyrical performance. It is a communal practice that fosters kinship and is derived from original Hiphop conceptions of identity, community, and anti-corporate cultures. Within the cypher, participants contribute their unique styles and perspectives, yet they are also part of a larger whole, sharing and exchanging energy, knowledge, and skills. This reflects the diunital principle where the self-benefit of one's ego-mind, curiosity, or spiritual expression is balanced with the collective benefit of assisting in the sharing of energies to facilitate the transference of knowledge from self to other, or group to creator.

The diunital nature of the cypher is also evident in the way it serves as a training ground for aspiring MCs and a platform for more experienced artists to pass on their knowledge. It is a democratic space where the microphone is willingly passed among lyricists, and while some artists may be more skilled than others, no one is considered superior. This reflects the diunital concept of mutual dependence, as both novice and veteran emcees rely on each other to create the energy and learning environment that is unique to the cypher.

Furthermore, the diunital existence in Hiphop culture is not just about the balance between individual and community within the cypher; it also encompasses the relationship between Hiphop and the broader society. Hiphop itself is a response to and a reflection of the social, political, and economic conditions that gave rise to it. The music and culture serve as a form of resistance and empowerment, providing a voice to marginalized individuals and communities. The cypher, as a microcosm of Hiphop, embodies these same principles of resistance and empowerment, creating a space where individuals can assert their identities while contributing to the collective strength and voice of the community.

The concept of diunital existence in Hiphop culture, as it relates to the cypher, is about the interdependence of individual and collective identities, the balance of competition and collaboration, and the connection between Hiphop and the larger societal context. It is a reflection of the African American cultural values of unity, community, and resistance that are central to the ethos of Hiphop.

Cyphering: Youth and Spirituality 

The success of a cypher, a space of creative and authentic exchange, hinges on the participants involved—be they practitioners, listeners, or facilitators. Take, for instance, a disagreement between a youth and a parent; the parent's grasp of the youth's cultural context is crucial for effective communication. Given that the child may not yet have a fully developed set of principles, it often falls upon the parent to guide the dialogue, effectively becoming the mediator of the cypher.

Engaging in a cypher with one's child transcends the acts of rapping or beat-making; it invariably involves genuine conversation and a rhythmic flow of energy. The communication approach adopted by the parent—or facilitator—must extend beyond conventional methods like eye contact, reflective listening, and the use of "I" statements. It should also honor the child's unique expression, employ a shared dialect, and demonstrate an awareness of one's own communicative style, akin to that of an emcee.

The diunital essence of the cypher remains constant, irrespective of the setting, situation, or circumstance. The objectives for both the self and the other align: for the self, it is about articulating inner thoughts and feelings with the hope of being understood and receiving constructive feedback. For the other, it is about exchanging emotions to improve the situation and to deepen the spiritual or subjective connection among participants.

The establishment and preservation of a subjective relationship foster bonds between individuals. When the subjective link is severed, even the most objective relationship can falter, as both object and subject rely on a shared understanding to function. Today's youth often seek solidarity in peer groups rather than familial ties, driven by a shared alignment of values rather than blood relations. The challenge lies in the perception of the morals and values held by contemporary youth. Hiphop culture, with its elements of emceeing, DJing, breakdancing, graffiti and cyphering is frequently viewed as solely youth-centric or as a vehicle for commercialization, thus its profound capacity for relationship-building and healing remains underutilized.

Hiphop and cyphering, often practiced by youth, serve as a form of spirituality, though this spiritual dimension may not be explicitly recognized by its practitioners. Young people come together in these cyphers, spontaneously forming on any given day, to share a collective experience that transcends mere social gathering. Here, they express and exchange deep-seated emotions and thoughts through the medium of freestyle rap. The cypher's goal is multifaceted: participants strive to showcase their linguistic prowess, intellectual depth, or even their persona within the Hiphop culture, whether that persona is intellectual, reflective, or street-hardened.

In this context, the act of freestyling can be likened to a spiritual offering, similar to how a choir member might "make a joyful noise unto the Lord." The lyricist, through their verses, connects with a creative force, channeling and vocalizing their innermost feelings and thoughts. However, unlike traditional religious practices where a pastor or priest provides guidance, Hiphop artists often navigate their spiritual and artistic paths without such direct mentorship. This lack of guidance is particularly felt in the mainstream Hiphop scene, which has increasingly focused on themes of materialism, misogyny, and violence, overshadowing the more conscious and positive aspects that characterized the genre's early days in the 1980s and continued into the early 1990s. In the past, this mentorship aided in the development of a lineage of freestylers who offered support not just for their artistry but for their personal development.  

Despite the commercialization of the genre, the essence of Hiphop as a spiritual and cultural practice persists, particularly in freestyling and cyphering. These practices offer young people valuable lessons about self-awareness and cultural identity, providing a framework within which they can explore and affirm their place in the world. Imagine a scenario where a young person, seemingly in need of direction, is introduced to a spiritual path that resonates with their existing beliefs and experiences. This path, rooted in the cultural and spiritual energy of Hiphop, does not require conversion or persuasion; it is already meaningful and relevant to their lives. The cypher, in this sense, becomes a sacred space, a "place of worship" where these spiritual energies are cultivated and celebrated.

However, there is no formalized system within contemporary society that recognizes or supports this kind of spiritual practice for youth or adults. This absence is symptomatic of a broader disconnection fostered by Western institutions, which, since the Industrial Revolution, have increasingly promoted values of individualism, personal power, and economic success. These institutions have contributed to a mechanization and despiritualization of human existence, alienating individuals from the foundational subjective relationships that shape their interactions with family, educational systems, religious organizations, and social controls.

As a result, many young people remain on the periphery of consciousness, lacking the encouragement to develop deeper, more subjective relationships that resonate with their current realities. In this context, the world of Hiphop offers a vital, albeit underrecognized, arena where young adults can engage with and develop their identities and worldviews. This cultural space provides a counter-narrative to the prevailing societal norms, offering a platform for expression, connection, and personal growth.

Cypher as A Gateway to the Divine

In the realm of Hiphop, the practice of freestyling within a cypher serves as a profound gateway to deeper self-awareness and collective consciousness. This artistic expression allows participants to be "free" with their chosen "style," fostering a dynamic environment where lyricists are continually challenged to innovate and evolve. This constant push for freshness not only sparks new thoughts and behaviors but also facilitates the exploration of various archetypes and sub-personalities within oneself.

Freestyling in a cypher is akin to a spiritual practice, where the lyricists connect with a universal creative force, often referred to in various cultures as the All, Absolute Being, Godhead, or simply Truth. This connection is the mystical element often absent in contemporary religious teachings, which tend to convey the divine through structured doctrines and established hierarchies. In contrast, Hiphop offers a more direct, unmediated experience of this force, akin to the spiritual concept of the All, which transcends conventional religious imagery and dogma.

Every religious or spiritual tradition has a primary method of expressing how to access the divine. The three primary modes are: analogy, negation, and injunction, each offering a unique pathway to understanding and experiencing reality. When freestyling, Hiphop practitioners use these same three modes to express how it understands reality:

Analogically, Hiphop lyrics use metaphors, similes, and vivid storytelling to paint a picture of reality, often embellished with the same type of imaginative elaboration found in religious icons and mythologies. This method helps listeners draw parallels between the lyrical content and their own life experiences, making the spiritual and existential themes in Hiphop relatable and impactful.

Negation, a concept deeply rooted in the Vedantic tradition of "neti, neti" (not this, not that), is also prevalent in Hiphop. It involves defining what something is by stating what it is not. In Hiphop, this is often seen in the critique of "Wack MCs," where the authenticity of Hiphop is defended by denouncing what it is not. This method mirrors the way certain spiritual traditions strip away labels and attributes to grasp the true, indescribable nature of the divine, which is beyond dualistic distinctions.

Finally, the injunctive approach in Hiphop is about direct experience. Similar to spiritual practices in Hinduism, Buddhism, and Taoism, where followers are guided through specific practices to experience reality directly, Hiphop imparts knowledge through a set of experiential 'rules' embedded in its culture. These rules are not just about creating music but about living a life that reflects the truths Hiphop stands for. This is akin to the spiritual injunctions found in mystical branches of world religions, which guide adherents toward direct encounters with the divine.

Thus, Hiphop, much like these ancient wisdom traditions, does not merely describe reality; it offers a lived experience of it. Through its unique blend of analogy, negation, and injunction, Hiphop invites both its artists and audiences to engage with and understand the All in a deeply personal and transformative way. This engagement is not just about listening or performing but about embodying the principles and truths that Hiphop stands for, making it a powerful medium for spiritual exploration and expression.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Freestyle: Gateway to the Beyond Within (Redux pt.1)

Freestyle Gateway To the Beyond Within (Redux pt. 1)

Freestyling is the area within Hiphop culture where I've found a home. Not only does freestyling allow me to honor my love for being creative but it also allows me to genuinely connect with others in a very human way. Sharing the vulnerable space of cyphering with others who are trying to be as completely welcoming of their experience and unafraid to be themselves as possible, reminds me of many experiences that i’ve had in my life that felt spiritually genuine. For me the intimacy, openness and loving support i’ve found in cyphering has been similar to attending a Sweat Lodge with the lights on. I write about the subject of freestyling the most because I've found it to be the area of Hiphop where pretense isn’t admired and where authenticity and self acceptance equal success. Cyphering is also one of the only Hiphop centered activities that asks me to directly confront the fundamental human fear of not being enough and needing to continue the exhaustive search of being someone else. I hope that these writings are of some benefit to those who read it.

There is more to freestyling than just rhyming and what follows are how I’ve come to understand and practice cyphering. My advice: Don’t worry about being good. Be more concerned with experiencing the goodness of Being.

I wrote most of what follows in 2002-3 during a time of my life when I was doing a lot of what my teacher called spiritual weightlifting. I recently decided to dust it off and re-edit it. To me all my writings are living documents and always worthy of reanalysis and rewriting. It was the first piece of Integral Hiphop literature I believe and it was how I became friends with my brother Corey DeVos (now Editor of integrallife.com and a dope integral woodworker) who found it in a chat room and reached out to me and invited me into a world that included Rick Rubin, Saul Williams and Deepak Chopra. Since that time i’ve continued writing and experimenting with Hiphop based theories and practices that I hoped would benefit humanity.

May a second look a these writings turn us all towards our nature.

Meaning of the Cypher

In the vibrant world of Hiphop, the freestyle cypher is not merely a gathering; it is a crucible of creativity and a sacred circle where practitioners and aficionados converge to engage in freestyling—the art of improvised, spontaneous lyrical delivery. This dynamic arena serves multiple purposes: it is a battleground for sharpening lyrical prowess, a sanctuary for personal expression, and a communal space where individuals connect through the power of words and rhythm.

The term "cypher" has deep roots in Hiphop culture, symbolizing a complex matrix of meanings. Firstly, it represents a 'code' or 'hidden meaning,' reflecting the layered, often metaphorical language of rap lyrics which convey intricate messages and cultural commentaries. Secondly, it denotes a 'nobody' or 'non-entity,' emphasizing the transformative potential of the cypher, where unknown artists can emerge as significant voices within the community. Thirdly, the cypher is literally a circle—enclosed and intimate—where participants and observers are drawn into a shared experience of authentic discourse.

Understanding the Freestyle Cypher

The freestyle cypher is a dynamic and multifaceted element of Hiphop culture, serving as a platform for spontaneous lyrical improvisation. It is a communal space where emcees, beatboxers, and other musicians gather to express themselves through the art of freestyle rhyming. The cypher (often conducted in a circular formation) allows each participant to contribute their unique voice to the collective experience. This practice is deeply rooted in the traditions of African oral culture and has evolved to become a significant aspect of Hiphop's global influence.

Purpose

The primary purpose of the freestyle cypher is to foster a sense of community and collaboration among Hiphop practitioners. It is a space where artists can showcase their skills, exchange ideas, and engage in friendly competition. The cypher also serves as a training ground for emerging artists, providing an opportunity to hone their craft and gain recognition within the Hiphop community. Additionally, the cypher acts as a conduit for cultural expression, allowing participants to address social issues, share personal narratives, and celebrate their identities.

Processes and Dynamics

The process of engaging in a freestyle cypher involves a series of unwritten rules and etiquette that ensure a respectful and inclusive atmosphere. Participants take turns performing, typically adhering to a set number of bars, and are encouraged to build off one another's energy and content. The dynamics of the cypher are characterized by a balance between individual expression and collective interaction. This balance is maintained through active listening, responding to the cues of others, and contributing to the overall flow of the session.

Therapeutic Uses of Freestyling

Freestyling has been recognized for its therapeutic potential. The spontaneous and improvisational nature of freestyling allows individuals to tap into their emotions and articulate their thoughts in a supportive environment. This process can lead to increased emotional awareness, resilience, and a sense of well-being. The Freestyle Therapy Cypher model, for instance, utilizes freestyle rap as a medium for therapy, incorporating exercises that address self-critique, gratitude, and goal setting. Such therapeutic applications underscore the cypher's role in promoting mental health and personal growth.

Beginning in 2003 I began to utilize a therapeutic freestyle framework called NTU FREE when working with adjudicated adolescents at Progressive Life Center Inc. I utilized the 5 stages of Dr. Frederick Phillips Afrikan centered psychotherapeutic model called NTU Psychotherapy. As the therapist I guided the participants through the stages of NTU psychotherapy as I would in an individual therapy session, listening and processing in the moment, staying with and guiding the participant through the stages. When the participant displays qualities of stabilization I transition the session to the next stage sometimes unknowingly to the participant and at other times I stop, check in and move on, starting a new stage with a new rhyme. 

The NTU FREE process involves 5 stages and key elements:

1. Harmony: Participants verbalize their connection with the group and a creative energy, fostering a sense of unity and shared purpose.

2. Awareness: Individuals articulate personal challenges and joys, using the cypher as a reflective space to address life's complexities.

3. Alignment: Through their lyrics, participants acknowledge personal responsibilities and challenges, fostering a sense of personal accountability.

4. Actualization: The cypher becomes a platform for declaring intentions for change or continuity, allowing artists to vocalize their developmental trajectories.

5. Synthesis: Emcees express their integration with the forces of change and continuity, symbolizing their commitment to personal growth and artistic evolution.

I’ve utilized this model with clients who are more “Hiphop” centered and it has served as a therapeutic relationship building tool as well as a means of culturally connecting with my patients who understand themselves through the lens of Hiphop. 

Cultural Significance

The cultural significance of the freestyle cypher lies in its ability to create a microcosm of the broader Hiphop community. It is a reflection of the values and experiences that shape the culture, including themes of resistance, empowerment, and social justice. It is also a reflection of how we have learned to work with each other and often exposes challenges with social listening and participation. The cypher embodies the principles of Hiphop as a form of creative placemaking, where artists use their talents to impact the social fabric of their communities. Furthermore, the cypher is a manifestation of Hiphop's oral tradition, drawing parallels with African and religious practices where the circle symbolizes unity and shared knowledge.

Outcomes of the Cypher

The outcomes of participating in a freestyle cypher can be multifaceted. For individual artists, the cypher can lead to skill development, increased confidence, and artistic validation. For the community, cyphers can strengthen bonds, foster a sense of belonging, and provide a platform for voices that might otherwise be marginalized. Additionally, the cypher can have broader societal impacts, such as influencing public perception of Hiphop, contributing to cultural preservation, and facilitating social change.

The freestyle cypher is a complex and integral component of Hiphop culture that serves various functions, from artistic development to community building and therapeutic intervention. Its processes and dynamics reflect the collaborative spirit of Hiphop, while its outcomes demonstrate the culture's capacity for personal and social transformation. The cypher continues to be a vital space for expression, innovation, and connection within the ever-evolving landscape of Hiphop.

Freestyling with Intention

Far from just being a tool to entertain ourselves or others, freestyling when done with the intention of knowing one's own mind can enhance self-awareness and self-worth, deepening their understanding of others' styles and lyrical skills and connecting more profoundly with a creative or divine force. 

Moreover, the cypher is a conduit for transmitting messages of personal significance to the audience—referred to here as the 'congregation'—enhancing the collective's understanding and connection to the creative forces that drive the Hiphop ethos. It is a space where harmony, balance, interconnectedness, and authenticity are not only practiced but celebrated.

The cypher, therefore, is more than just a feature of Hiphop culture; it is a microcosm of the culture itself. It encapsulates the principles of relationship and interconnectivity that are foundational to the human experience, mirrored in the communal and improvisational nature of Hiphop. Whether participants are conscious of it or not, each cypher session is a step towards mastering the art of freestyle and a deeper engagement with the cultural, spiritual, and communal roots of Hiphop

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

J-Cole and The 10 Paramis

J-Cole and The 10 Paramis

The recent Kendrick Lamar vs. J-Cole and Drake battle has been exciting for Hiphop fans nostalgic for an energy that has driven much of how Hiphop was experienced at its foundation; claiming who’s the best and proving it. Hiphop fans love a good beef but for a couple decades now I've questioned not just the point of beef but the usefulness of it. Battling seemed to have somewhat of a purpose a long time ago. Kool Moe Dee vs. Busy B was necessary to evolve the artform of lyricism and creative writing, Common vs. Ice Cube and Company Flow vs. Sole was necessary to reveal the consequences of self inflation i.e. taking lyrics that weren’t meant for you personally. I could also argue that the Biggie and Tupac beef was necessary in order to show the world that the issue wasn’t between them. The issue was (and is) a world eagerly willing to watch two Black men destroy themselves through materialism and violence (on their own, prior to and during their beef) and the world of those who dehumanize themselves as a seemingly valid response to and extension of capitalism and slavery. The other conflicts surrounding the K-Dot v. Drake beef i.e. Kanye + Rick Ross + The Weekend vs. Drake as well as the budding Quavo vs. Chris Brown beefs, all seem to have little to not use other than to reinforce illusory superiority while ignoring the genuine behavioral and mental health challenges of everyone involved.

Recently, me and a couple Hiphop minded middle aged brothers (Remedy and Scott ZloRock) were texting and one of them asked if the Kendrick Lamar vs. J-Cole and Drake beef matters. This was my response: 

I think psychospirtually and culturally it matters in terms of what it says about the levels of identity and moral development of those that people idolize and listen to. J-Cole’s admission of his feelings and retracting his song says a lot about his ability to 1.) not be ruled by emotion, to 2.) allow himself to experience challenging feelings and hold them in his awareness long enough to find a way to respond to them honestly and in a healthy way and 3.) to display the powers of hindsight, insight, forgiveness and reparations.

In short, my point was that the conflict mattered much more because of J-Cole’s apology (and the mind behind it) than anything related to how behaviorally skilled K-Dot or J-Cole (and now Drake with Taylor Made….sheesh) were, or who was the more successful camp i.e. OVO, Dreamchaser or TDE (even though Kendrick is independent now). 

Why did it matter more? 

Because when we usually talk about conflict (internal or external) surrounding Hiphop artists the tendency is to focus on the the dynamics of what we can see, but when the focus turns to interiority or an internal world the conversation goes away. When our artists suffer and die we don't have extensive conversations about the mind behind the addiction, the overeating, the poor health, the violence, the drug dealing, the out of control emotions, the clearly unreconciled trauma, the narcissism…we appreciate the art, call them legends and move on. We’d rather appreciate the entertainment of an ODB, Shock G or Phife Dawg than openly discuss their internal struggles with caring for their health.

That J-Cole said through his apology, “Hiphop is not just what you see outside, Hiphop has something else going on inside” (which is the same message passed down from the now disgraced and defunct Afrika Bambaataa to KRS-ONE to De La Soul to J-Cole), indicated that he’s aware of values that transcend his ego or even the group ego of battle rap culture. Hiphop practitioners and fans suffer because our culture often wilfully ignores the benefit of exploring and identifying the struggles and richness of its insides, and instead validates the behavior and social presence of Hiphop linked to entertainment. Hiphop is largely about being seen, not seeing oneself. By my approximation, most of the deceased artists who have claimed to practice any of the Four Elements died violently, and very often because of something preventable had they had a better relationship with their emotions, thoughts and awareness. 

I like to focus on finding areas of how Hiphop can cause itself and others less suffering. It's been a driving force behind much of what I write and think about and it's because I love not just “the culture” so much, but because I also understand it as another way that humans are attempting to express their desire to be happy, and the pain and suffering of the struggle to not be the ones causing themselves the unhappiness. 

Recently I began exploring Hiphop culture through the lens of the Ten Paramis of the Buddhist tradition that I think offers a profound understanding of the ethical and moral dimensions that underpin Hiphop as a vibrant art form, as well as provides a foundation for exploring the application of intentional morality in Hiphop. The Ten Paramis, also known as the Ten Perfections, are essential virtues in Buddhist practice that serve as a foundational framework for ethical and spiritual development. These virtues are particularly significant for those on the path to becoming a Buddha, known as bodhisattvas, but they are also relevant for lay practitioners seeking to cultivate a meaningful and morally grounded life. Although the Paramis are thought to be virtues central to Buddhist practice, they also provide a framework for analyzing how Hiphop artists can cultivate a practice that is not only artistically fulfilling but also morally enriching. Below, we delve into each Parami to understand its relevance to Hiphop culture and how artists might embody these virtues in their craft and daily lives.

Dāna (Generosity)

Generosity within Hiphop manifests as the sharing of knowledge, skills, and resources with the community. Hiphop artists practice Dāna when they mentor emerging talents, organize workshops to hone the skills of fellow artists, and participate in charity events to give back to their communities. This Parami emphasizes the importance of contribution over competition, fostering a culture where artists support one another and uplift their communities.

Sīla (Morality)

The practice of Sīla, or ethical conduct, is crucial in ensuring that Hiphop does not perpetuate harm through its messages. Artists embody Sīla by creating music that promotes positive values and refrains from glorifying violence, substance abuse, or misogyny. This alignment with the 10th Element of Hip Hop, which emphasizes health and wellness, ensures that Hiphop serves as a force for good, guiding listeners towards constructive and ethical lifestyles.

Nekkhamma (Renunciation)

Nekkhamma involves the renunciation of materialistic desires and attachments that do not contribute to personal or communal well-being. For Hiphop practitioners, this might mean prioritizing the art form and its cultural significance over the fame and material gain that can accompany success. By focusing on the essence of Hiphop and its potential to effect change, artists can maintain integrity and authenticity in their work.

Paññā (Wisdom)

Wisdom, or Paññā, in Hiphop is cultivated through continuous learning and reflection. Artists can deepen their understanding of the genre's history, cultural roots, and social implications by engaging with the stories and experiences that have shaped Hiphop. This knowledge informs their creative process, enabling them to produce work that is not only artistically sophisticated but also culturally and socially relevant.

Viriya (Energy)

Viriya represents the energy and effort dedicated to mastering the craft. Whether it's DJing, MCing, breakdancing, or graffiti, Hiphop demands diligence and persistence. Practitioners of Viriya commit to refining their skills and pushing the boundaries of their art, demonstrating that excellence in Hiphop is achieved through passion and perseverance.

Khanti (Patience)

The journey to success in Hiphop, as in any field, is fraught with challenges. Khanti teaches patience and resilience, encouraging artists to withstand setbacks and frustrations with grace. This Parami is especially relevant in the competitive and often critical world of Hiphop, where the path to recognition and respect is long and demanding.

Sacca (Truthfulness)

Sacca is about authenticity and honesty in one’s expression. In Hiphop, this means ensuring that one's music, public persona, and actions reflect true personal beliefs and experiences. Artists practicing Sacca engage with their audience and the broader culture in a way that is genuine and sincere, fostering trust and respect.

Adhiṭṭhāna (Determination)

Adhiṭṭhāna refers to the determination to set and pursue goals, even in the face of adversity. For Hiphop artists, this could mean dedicating themselves to mastering a challenging piece of music, advocating for change through their art, or striving towards personal and professional milestones. This Parami underscores the importance of commitment and resolve in achieving success and making an impact.

Mettā (Loving-kindness)

Mettā involves extending kindness and compassion to others. Hiphop artists can embody this virtue by using their platform to spread messages of love, unity, and social justice. Through their lyrics and actions, they can address issues affecting their communities and advocate for change, demonstrating how Hiphop can be a conduit for empathy and solidarity.

Upekkhā (Equanimity)

Finally, Upekkhā teaches the value of maintaining a balanced and composed mind in all situations. Hiphop artists face both criticism and acclaim, success and failure. Equanimity allows them to navigate these highs and lows with grace, staying true to their art and values regardless of external circumstances.

By embodying these virtues, Hiphop artists not only elevate their craft but also contribute positively to their communities and the broader cultural landscape. Through ethical and moral reflection, the Hiphop community can foster an environment of growth, respect, and social responsibility, ensuring that the culture continues to thrive and inspire.

J-Cole and the Paramis

J. Cole's recent apology to Kendrick Lamar for creating a diss track marks a significant moment in Hiphop culture, embodying the ten Paramis, or virtues, that guide ethical and moral behavior. This gesture not only quells potential discord between two influential artists but also serves as a powerful example of maturity and introspection within the industry. Below, I explore how J. Cole's actions reflect these virtues:

Dāna (Generosity)

By publicly apologizing, J. Cole demonstrated generosity not only towards Kendrick Lamar but also towards the Hiphop community at large. His willingness to share this moment of humility and reconciliation offers a valuable lesson in ego management and the power of amends, enriching the cultural fabric of Hiphop.

Sīla (Morality)

Choosing to apologize and steer clear of perpetuating beef reflects a strong moral compass. J. Cole's action aligns with promoting positive interactions within the industry, steering clear of negativity that often plagues rap battles and diss tracks, which can glorify conflict and detract from the music's artistry and message.

Nekkhamma (Renunciation)

In apologizing, J. Cole renounced the potential personal gain that comes from rap beefs—be it attention, fame, or financial profit. This shows a commitment to higher values over material or ego-driven desires, focusing instead on the well-being of the community and the integrity of his and Kendrick Lamar's work.

Paññā (Wisdom)

This apology reflects wisdom gained through reflection on the consequences of his actions—not just for himself but for all involved. It demonstrates an understanding of the impact words can have and the importance of resolving misunderstandings and conflicts constructively.

Viriya (Energy)

It takes significant effort and dedication to confront one's mistakes and address them publicly. J. Cole's determination to put in the hard work of reconciliation and personal growth, rather than taking the easy route of silence or continued antagonism, embodies the virtue of diligence in self-improvement and community healing.

Khanti (Patience)

Patience is crucial in navigating the fallout of public disputes. J. Cole's approach suggests a willingness to wait for understanding and forgiveness, recognizing that healing and reconciliation are processes that cannot be rushed.

Sacca (Truthfulness)

J. Cole's apology is an act of truthfulness, requiring him to honestly assess his actions and their impact. This candidness fosters trust and authenticity, strengthening his relationships with peers and fans alike.

Adhiṭṭhāna (Determination)

The decision to apologize and seek a peaceful resolution demonstrates J. Cole's determination to uphold his values and commitments, even when doing so involves personal vulnerability and the risk of public scrutiny.

Mettā (Loving-kindness)

Extending an apology is a clear act of loving-kindness, as it seeks to repair harm and restore harmony. J. Cole's gesture towards Kendrick Lamar is an embodiment of compassion, prioritizing peace and mutual respect over conflict.

Upekkhā (Equanimity)

Through his apology, J. Cole exhibits equanimity by maintaining a calm and balanced perspective in the face of potential criticism and controversy. His ability to stay composed and focused on what he believes is right, regardless of the outcome, reflects a mature and stable approach to life's ups and downs.

J. Cole's public apology serves as a compelling illustration of how the 10 Paramis can guide actions and decisions within Hiphop culture, promoting ethical conduct, personal growth, and community solidarity. By embodying these virtues, artists like J. Cole contribute to a more positive and impactful musical landscape, setting a powerful example for others in the industry.

Hiphop Alive

Justin F. Miles — the founder of Hiphop Alive — is a pioneering practitioner, theorist, and educator at the intersection of Hiphop culture, mindfulness, and contemplative studies. He is the leading voice championing the use of Hiphop-infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Void School Rules Vol. 3: Cyphering in 3's

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Void School Rules Vol. 3: Cyphering in 3's

I find that in my life when asked to be present in a way that shines the light on me and only me (even if its only for a second) I experience anxiety. However, freestyling with others (sometimes called cyphering) allows me an opportunity to engage and make space for my fears.

I have no shame in saying that cyphering makes me nervous. What makes me the most nervous is that when it’s my turn to rhyme, it feels as if i’m being judged, and not just for what anyone can see but also for what they can’t. Because my presentation is filtered through another persons subject (which I have no control over) their perception will never match the reality of who I am.

Once i’ve started, even if I wanted to run there’s nowhere to go except deeper into the rhyme and the anxiety.

I’m in the spotlight, falling through the groundlessness of the moment, not knowing what will arise in my mind, feeling into the dynamism of emotions and thoughts with a mind that moves constantly outside (“what will they think?”) and then inside itself (“what am i thinking?”). In a freestyle cypher there is no refuge to be found aside from the immediate reality of the experience of our body, mind and what some may call spirit. In the cypher there is no place to hide; your refuge is your experience.

Similar to how we may show up in our everyday lives, instead of allowing ourselves to relax and accept ourselves as we are, its common in a cypher to present that we need to be more than we are in attempt to convince ourselves and others that we are confident and competent. Sometimes to appear less nervous we present as humorous or do something entertaining to distract others from the truth of our uneasiness. At other times we hide in our self deprecation acting as if we aren’t even worthy of being there. Regardless of the way we try to hide our anxiety we only genuinely hide from ourselves and in turn continue the exhaustive search for how we can be someone else. In that act there is no genuine acceptance of myself (which is also profoundly unkind towards myself).

Therefore, in a cypher let your refuge be the truth of what’s real about you and your immediate experience.

Unless it is the point of the rhyme scheme or topic, don’t elevate or reduce your sense of worth or embrace a false feeling or disingenuous sense of self.

Be natural.

You have everything you need and your simple presence is enough.

If we can relax a bit and welcome our complete experience (and not just our worry or hope) we may find that what we have at our disposal is the reliable richness of our body, mind and nature.

Our body, mind and nature can actually be represented in three groups of three’s.

• The three bodies

• The three perspectives

• The three faces of spirit

The 3 Bodies

All sentient beings have three bodies and it is these three bodies that we have immediate access to at all times. They are the areas of our immediate reality that are able to be experienced by us without any other persons assistance or influence.

These three bodies can be called:

Gross: or your physical body, bones, organs, systems etc.

Subtle: your energetic body, electricity, heat, qi, jing, shen, prana, elan vital or commonly thought of as “energy”.

Causal: this is body of your fundamental awareness, your witness mind, the mind that is witnessing you reading this right now. It is spacious, attentive, calm yet full of activity, and the home of fundamental wisdom, unconditional compassion and equanimity.

When cyphering all of these bodies are touched into to some extent, but what facilitates true relationship with these bodies is what facilitates true relationship with anyone or anything; returning to it over and over again in order to know it intimately. Eventually, that which you didn’t have a relationship is seen as a part of you and your life. This stands for healthy and unhealthy activities.

In order to know and benefit from the experience of these bodies it is important to train prior to cyphering.

If you practice when you’re not cyphering experiencing and trusting the three bodies is easier.

When we do not practice we do not know the capacity or the direct experience of these bodies and the benefit of the relationship diminishes.

A simple practice of engaging the three bodies can look something like this.

Gross:

before rhyming drink two glasses of water, give yourself a 5 minute deep tissue self massage, take three deep slow breaths, stretch your limbs, Buddhist Mindfulness of Body practice. Overall, be aware of your physical body.

Subtle:

before rhyming, practice a simple set of qigong movements, intently trying to feel qi moving through your body, tai chi, self tonglen/acceptance/kindness practice to relax energetic reactivity to self deprecating mind states. Overall, be aware of the feeling of energy moving throughout your body.

Causal:

before rhyming, engage in a practice that allows you to rest in unobstructed awareness and experience the expansiveness of the mind as vast as the sky., Big Mind practice, Shikantaza, Zuowang, Mahamudra.

Why is this important to freestyle practitioners?

The three bodies are your home and they include the totality of our immediate experience. When cyphering, the three bodies serve as both refuge and source of sustenance. When we need to know what is reliable and available our bodies are here for us.

Freestyling also allows us to work with two fundamental experiences of the mind:

• our fundamental awareness: the part of us that’s watching, witnessing, seeing etc.; our internal experience

• our conditioned mind: the self, our identity, that which is experienced as ever changing and can be studied .

Our fundamental awareness is related to the word “free” in freestyle.

Our fundamental awareness is free, meaning it is unencumbered, unburdened, not obstructed and nothing blocks its ever presence. It is one of the aspects of the experience of being “in the zone” or “getting open”. The truth is that you’re neither getting open and you’ve never left the zone. The zone is an ever available field of awareness in which you already exist. The vastness of your awareness is ever present and available but we do not relax into it, but instead become nervous in its largeness (ignoring the potential largess) and begin to search for ground as it will, seeking stability through thinking instead of stability in the natural openness of our awareness. We are not creating openness we are revealing it. When we let go of needing to go anywhere else or to search for something to remedy our experience of being truly present in the cypher, openness presents itself. We are dis-identifying with the totality of our experience as only existing in our comfortable everyday relationship to thinking and feeling, that pre-informs us of our experience instead of allowing us to experience things as they are. As the renowned psychologist Viktor Frankl pointed out, “between stimulus and response is a space, in that space is our power to choose our response. in our response lies our growth and freedom”. Learning to rest in the space between being moved to do something and doing something, is trusting that I will not be destroyed in that space and in fact can make wise decisions based on not reacting to the fear of boundlessness or feeling that we need to be more than this experience. how we choose to respond determines not only how we learn to navigate our experience but also freedom from the faultiness of fixation on a permanent sense of self, that in truth is changing moment to moment. we are free from being trapped by shortsighted perception and have learned to take refuge in a relaxed yet attentive mind. This aspect of the mind is seen from the inside, experiences various states of consciousness and is associated with the scientific field of phenomenology.

Our conditioned mind refers to the word “style” in freestyle.

Style is what your bodymind looks like from the outside, can be experienced as various structures and stages of physical, mental and spiritual development and is associated with the field of hermaneutics. What you appear to be doing on the outside can be viewed from three perspectives: body style i.e. style of kinesthetic movement and activity (ex. stiff, fluid), how you physically interact with space. mind style i.e. the archetype you inhabit, level of identity development, morality, values, meaning making etc. spirit style i.e. how your relationship with awareness/consciousness presents itself. if awareness is like an ocean, our relationship with it could be likened to the waves. some waves are very close to the ocean and are not very destructive. some are middling, more destructive and powerful in their capacity to do harm but still connected to the source. some waves are very large and cause widespread destruction to many people; still, it remains connected to the source, the ocean. there is nothing you can do to disconnect from consciousness. the most you can do is obscure your experience of it by associating yourself with what is distant from the source, instead of seeing yourself as the source itself. Styles express relationship with our bodies, minds and spirit, and like relationships can change depending on the amount of effort we put into our desired area of growth.

When we freestyle or cypher, we are cultivating a relationship with both the free and the style aspects of our being but there is a difference between reading it and doing it; knowing it and experiencing it. When we rhyme with the full awareness of our bodies, we increase the potential of experiencing an integrated body mind and reap the benefits to our rhyming and to our lives.

The Three Perspectives

There is another aspect of the mind that should not be ignored and that is the ability of the mind to take perspectives.

All human beings have the capacity to take on three various perspectives of their experience:

• 1st person: me, mine, I.

• 2nd person: you, we.

• 3rd person: they, them, it, it’s.

We inhabit these perspectives all throughout our days and when we cypher as well.

Why is this important information?

This is important because our psychological and spiritual growth is based on our capacity to see both within and beyond our own perspective. Cultivating understanding, mutual resonance, peace, enlightened society etc. calls for us to be able to understand who I am and how I cause myself and my world suffering (1st person), who others are and their reality as well (2nd person) and what is the objective word around me i.e. nature, mountains, the stars, the universe etc. (3rd person).

The more we inhabit these perspectives the more we know them, can feel into and understand them and hopefully be able to hold multiple perspectives (mine, yours and all of ours) at once.

We can cultivate perspective taking through freestyling when we intentionally choose a perspective to inhabit or avoid.

• For example, rhyme without referencing yourself. you can’t say I, me, mine or my. You can only take on 2nd and 3rd person perspectives. Why would i do this? in order to go beyond a fixation on “me” and how i see things. It promotes connection through living in the perspectives outside of my own.

• Another example is to intentionally take on the perspective of another person or object. Rhyme as if you are that 2nd or 3rd person. Speaking from your first person perspective, take on the perceived first person perspective on that second person or third person objects first person perspective.

• You may also want to try taking the second person perspective of a third person objects first person. If the earth could have a conversation with you what would it say?

Using what is called Integral Mathematics, there are 27 possible permutations of primordial perspectives. Practicing taking perspectives cultivates mutual resonance across culture and consciousness when we allow ourselves to walk in the shoes of others.

The Three Faces of Spirit

Expanding further, we can also take on the three available relationships with what is called Spirit, the Divine or God. Sometimes it is called the Three Faces of Spirit. The Three Faces of Spirit practice, as described by Teilhard de Chardin and Ken Wilber, involves viewing Spirit from three perspectives: 1.) as the actual direct phenomenological experience of God/Spirit in the form of satori, kensho, ecstatic reverie and other sorts of "peak experiences" of the divine (God/Spirit-being-us) 2.) as a living intelligence that we can interact with in our own lives (God/Spirit-beside-us) and 3.) as an objective, transpersonal, nontheistic, cosmic face that we reflect about (God/Spirit-beyond-us). These three faces correspond to the three ways of relating to Spirit and are experienced through different spiritual practices, such as contemplative practice, meditation, or prayer.

Exploring the Three Faces of Spirit through the lens of freestyle rhyming offers a unique and creative approach to understanding and experiencing these distinct perspectives on the Divine. Here's how each face of Spirit can be experienced and articulated through freestyling:

1st Face of Spirit: Inner: The "I AM" Presence

The 1st Face of Spirit is experienced as the Eternal, transcending space and time, often described with words like Stillness, The Infinite, The Womb, Peace, The Ground of Being, and Oneness. In freestyle rhyming, this face can be explored through introspective and meditative lyrics that reflect a deep sense of unity with the Divine. The freestyler might use imagery of nature, the cosmos, or the inner self to convey this sense of oneness and eternal presence. The focus is on the internal experience, the "I AM" that exists beyond words, yet is expressed through the flow and rhythm of the rhyme.

Example:

"In the silence, I find the rhyme, transcending space, beyond the time,

Eternal presence, in the flow, where I end, there's no 'I' to know,

Stillness in the beat, peace in the sound, in the womb of the infinite, I am found."

2nd Face of Spirit: Intimate: The Relational "Thou"

The 2nd Face of Spirit is experienced in a relational context, where the Divine is seen as the Holy Other, the Beloved. This face is about the "I-Thou" relationship, where Spirit/the Divine/Awareness is experienced as a living intelligence with whom one can interact. In freestyle rhyming, this face can be expressed through lyrics that address the divine directly, sharing personal struggles, gratitude, questions, and love. The freestyler engages in a dialogue with the Divine, using the rhyme to bridge the gap between the self and the sacred.

Example**:

"Yo, I speak to You, in rhymes we converse, in my heart, Your love, I immerse,

Through trials and joys, You're my guide, in this rap, with You, I confide,

Beloved Divine, in You, I see, the mirror of my soul, set me free."

3rd Face of Spirit: Infinite: The Cosmic Web

The 3rd Face of Spirit is often described as the "great web-of-life," experienced when observing objects of miraculous beauty or the interconnectedness of all things. This face emphasizes the transpersonal, cosmic aspect of the Divine. In freestyle rhyming, this face can be explored through lyrics that highlight the interconnectedness of life, the beauty of the universe, and the awe-inspiring aspects of creation. The freestyler might use metaphors and imagery that evoke the vastness of the cosmos and the intricate web of life, emphasizing the external, objective experience of the Divine.

Example:

"In the grand design, I find my line, rhymes that weave, the cosmic sign,

Miraculous beauty in every verse, in this web of life, we're all immersed,

From the stars to the street, all is divine, in this rap, the universe and I align."

Through freestyle rhyming, the Three Faces of God can be experienced and expressed in a dynamic and personal way, allowing the freestyler and the audience to explore the multifaceted nature of the Divine through the power of words and rhythm.

Considering and utilizing the three 3’s when cyphering allows for one’s experience to be both based in the experience of ones nature and psychospiritually beneficial as it turns the freestyler towards aspects of their immediate fundamental reality.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

The Three Lineages of Hiphop and Kohlberg's Stages of Moral Development

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In spiritual traditions like Tibetan Buddhism, the concept of lineage refers to the unbroken transmission of teachings, wisdom, and blessings from teacher to student, stretching back to the originator of the tradition. This lineage ensures the purity and integrity of the teachings, as each generation of practitioners is directly connected to the source through their teachers. The importance of lineage in Tibetan Buddhism is profound, as it not only signifies the authenticity of the teachings but also embodies the living connection between the past, present, and future practitioners.

Similarly, in Hiphop culture, lineage can be understood as the transmission of styles, techniques, values, morals and philosophies from the pioneers and originators of the culture to the current and future generations. This notion of lineage in Hiphop is not just about the music or rhyming; it's also not just about the struggles, stories and social messages of its adherents. Hiphop is also about the diverse ethical and philosophical perspectives that have been passed down through its elements. Hiphop, since its inception, has been more than just entertainment; it has been a voice for the voiceless, a form of resistance, a tool for social change and a method of examining and developing character, integrity and virtue.  The lineages of Hiphop therefore, can be seen in the evolution of its forms, impact on society and influence of its diverse moral messages but also through the lens of the values they promote. For many years I’ve contemplated the lineages of Hiphop and have identified at least three:

1. The Party and Entertainment Lineage Started by Kool Herc:

DJ Kool Herc, born Clive Campbell, is often credited as the "father of Hiphop." In the early 1970s, he began hosting back-to-school parties in the Bronx, New York, where he developed the technique of extending the breaks of funk records to create a continuous dance rhythm. This innovation laid the foundation for breakdancing and emceeing (rapping), thus birthing Hiphop as a distinct musical genre. The lineage that Kool Herc started is characterized by the party and entertainment aspect of Hiphop, focusing on DJing, breakdancing, and the celebratory nature of the culture.

2. The Sociopolitical Lineage Started by the Ghetto Brothers and the Death of Black Benji:

The Ghetto Brothers, a gang turned music group from the Bronx, played a significant role in the early days of Hiphop by promoting peace and unity in the community. The tragic death of their peacekeeper, Black Benji, led to a historic peace meeting among rival gangs, significantly reducing gang violence in the Bronx. This event marked the beginning of a sociopolitical lineage in Hiphop, where the culture became a platform for addressing social issues, advocating for peace, and bringing about community change. This lineage is characterized by Hiphop's role in social activism, political commentary, and its ability to mobilize and empower marginalized communities.

3. The Lineage of Hiphop as a Tool of Spiritual Awakening, Self Awareness, Peace, Love, and Unity Started by Afrika Bambaataa:

Afrika Bambaataa, a DJ and community leader, founded the Universal Zulu Nation, an organization that used Hiphop as a tool for social change, spiritual awakening, and the promotion of peace, love, and unity. Bambaataa's vision for Hiphop was as a "culture of peace" that could transcend racial and social barriers and bring people together. This lineage emphasizes Hiphop's potential for personal and collective transformation, spiritual growth, and the fostering of a global community based on mutual respect and understanding.

Just as in Tibetan Buddhism where lineage ensures the transmission of authentic teachings and connects practitioners across generations, the lineages in Hiphop culture preserve the essence, values, and innovations of its pioneers. These lineages—whether focused on entertainment, social activism, or spiritual awakening—highlight the multifaceted nature of Hiphop and its enduring impact on individuals and societies worldwide.

The three lineages of Hiphop can also be correlated with the moral development theories of Harvard psychologist Lawrence Kohlberg by examining how each lineage embodies the principles and values at different levels of moral reasoning. Kohlberg's theory posits that moral development progresses through a series of stages, from pre-conventional to conventional and finally to post-conventional morality, each with its own focus on the basis for moral decisions. 

Preconventional morality is based on rewards and punishments, while conventional morality focuses on adhering to societal norms and expectations. Postconventional morality involves abstract ethical principles that may transcend societal norms and laws.

Examining one's stage of moral development or the moral stage of a society is crucial for understanding how individuals and societies make moral judgments and decisions. 

Understanding one's moral development stage can help individuals recognize their thought processes and decision-making patterns, allowing for personal growth and development. For societies, examining moral development stages can lead to a better understanding of societal values, norms, and ethical principles, which can inform policy-making and social change efforts.

Examining the moral development of the Hiphop world as well as our own moral development within the context of Hiphop’s 50 year influence through images, music, values and marketing education, messaging, sound and look can help us to clarify how we and the society of Hiphoppers are making decisions around how we care for ourselves, each other and our planet.  

Let's look at how the lineages of Hiphop may align with Kohlberg's moral stages of development.

1. The Party Entertainment Lineage Started by Kool Herc: Pre-Conventional Level (Stages 1 and 2)

This lineage can be associated with Kohlberg's preconventional level of moral development, particularly stage two, which is characterized by self-interest and the pursuit of rewards. Kool Herc's innovation in extending breaks in funk records to keep the party going can be seen as a pursuit of personal enjoyment and the immediate reward of an engaged and entertained audience. This stage is about direct consequences and benefits, much like the early Hiphop scene was about creating an enjoyable atmosphere for parties and gaining recognition and status within the community.

At this level, individuals act primarily out of self-interest and to avoid punishment. Early Hiphop, emerging from the economically disadvantaged neighborhoods of the South Bronx, often reflected the harsh realities of street life (as in the cultures of gang involvement and drug dealing) including themes of survival and immediate gratification. Lyrics from this era might align with Stage 1, where the focus is on avoiding the negative consequences of the streets, or Stage 2, where the pursuit of personal gain (such as respect, money, or power) is paramount.

2. The Sociopolitical Lineage Started by the Ghetto Brothers and the Death of Black Benji: Conventional Level (Stages 3 and 4)

 The sociopolitical lineage reflects Kohlberg's conventional level of moral reasoning, particularly stage four, which is focused on law and order morality. The Ghetto Brothers' transformation from a gang to a group advocating for peace and the reduction of violence in the Bronx demonstrates a shift towards maintaining social order and a concern for the wider community. This stage of moral development is about upholding laws and societal norms, which in the context of Hiphop, translates to using the culture as a means to address social issues and advocate for community change.

As Hiphop matured, it began to reflect a more conventional level of moral reasoning. Stage 3 involves good interpersonal relationships and gaining approval from others. Hiphop artists like MC Lyte and Queen Latifah, for example, began to use their platform to address issues like gender equality and social justice, reflecting a concern for societal norms and the well-being of the community.

Stage 4 is characterized by a respect for authority, maintaining social order, and upholding laws. Hiphop's engagement with sociopolitical issues, as seen in the works of Public Enemy and KRS-One, demonstrates a shift towards this stage. These artists used their music to critique social and political systems, advocating for change within the existing social structures.

3. The Lineage of Hiphop as a Tool of Spiritual Awakening, Self Awareness, Peace, Love, and Unity Started by Afrika Bambaataa: Post-Conventional Level (Stages 5 and 6)

 Afrika Bambaataa's vision for Hiphop aligns with Kohlberg's post-conventional level of moral development, particularly stage six, which is characterized by universal ethical principles and justice. Bambaataa's use of Hiphop to promote spiritual awakening and unity transcends conventional societal norms and laws, focusing instead on universal principles of peace, love, and social justice. This stage of moral reasoning is about ethical principles that apply to all humans and the belief in a shared humanity, which is reflected in the use of Hiphop as a tool for global connection and transformation.

The post-conventional level, which includes Stages 5 and 6, is marked by a more abstract approach to moral reasoning, guided by principles that transcend specific laws or social agreements. Stage 5 involves a recognition of the variability of personal values and opinions, and a concern for the welfare of others on a societal level. Hiphop artists who focus on global issues, human rights, and activism, such as Talib Kweli and Common, exhibit this level of moral reasoning.

Stage 6, the highest level, is characterized by universal ethical principles and the commitment to justice. While Kohlberg believed that few individuals reach this stage, Hiphop artists who promote messages of peace, unity, and universal human rights, such as Afrika Bambaataa with his vision for the Zulu Nation, could be seen as operating within this realm.

In summary, the party entertainment lineage of Hiphop corresponds to Kohlberg's preconventional stage of moral development, where actions are driven by self-interest and immediate rewards. The sociopolitical lineage correlates with the conventional stage, where the focus is on maintaining social order and fulfilling societal roles. Lastly, the spiritual awakening lineage aligns with the postconventional stage, where actions are guided by universal ethical principles and a vision of global unity and peace. Each lineage of Hiphop culture thus embodies different aspects of moral reasoning as described by Kohlberg's stages of moral development.

Discussion

Far from being an exercise in intellectual masturbation, analyzing, understanding and contributing to Hiphop’s moral sense is important . When you take into account the prevalence of those who experience suffering -- from violence, physical and mental health issues, substance use disorders, and other personal and public health concerns -- as a result of modern Hiphop-centered values; and that those suffering range anywhere from emcees to producers, fans of Hiphop to its contributors, it becomes clear that a discussion around morality in Hiphop is warranted. Hiphop's moral evolution can be seen as a reflection of the broader societal changes and the individual development of artists within the culture but hindrances to intentional moral development within Hiphop should be discussed as well.

Association with lineage informs Hiphoppers of the values they align themselves with and informs their perspective and behavior. Although lineage is no determinant of a person’s genuine values or how they display them, maintaining an awareness of one’s Hiphop lineage can serve as guideposts for how one shows up in one’s everyday life.

In many ways I will always belong to the lineage of Kool Herc. However, its the lineages of Black Benji and the disgraced and dethroned Bambaataa - that emphasized Hiphop being a means of organizing, educating and mobilizing poor and disaffected people of color and Hiphop being another name for and experience of our innate Being - that I follow, because they are the lineages that I feel focus the most on how to use our relationship with Hiphop to benefit humanity.

When I contemplate Black Benji (who I never met ) I think about the power of one person dedicated to not giving up on others who even at the cost of his life attempted to bring peace to his community.

When I contemplate the contributions of the Zulu Nation I think about how liberating a people starts with freeing oneself from the tyranny of another’s epistemology, cosmology and ontology.

When I contemplate the lineage of Kool Herc I think about how Hiphop used to feel fun, safe (in that the message to harm others or oneself in the music was a rarity) and connective and how I only have that feeling now if i’m around people my age and listening to music of the 80’s and 90’s. I also think about the number of people attached to Hiphop at its morally lowest expressions who are no longer aware of Hiphop being a party because the concern is no longer to have fun but to wilfully engage in harmful thinking, speaking and behaving while ignoring the responsibility for scrutinizing the morality of our music and cultural values.

In many ways Hiphop appears to have regressed morally. It’s hard to look at Kohlberg’s early stages and not see 80-90% of mainstream Hiphop’s values. Whether through intentional moral development through using Hiphop centered methodologies or just plain old moral development through examination and change of one’s values, those that align themselves with the lineage of Herc would benefit from a revisiting of the healthiness (or lack thereof) of their affiliation with their entertainment-centric lineage. There are healthy egocentric values; self awareness, confidence and humility all come from having a healthy relationship with our egos AND that can come from one’s relationship with Hiphop. It is never that our ego must die or be wilfully mistreated in favor of a “higher self”. Our responsibility is to never forget that it’s ok to have fun but never ok to get so lost in it that we forget why were there in the first place.

As there are healthy and unhealthy aspects of the preconventional stage, there are also healthy and unhealthy expressions of Kohlber’s stages of conventional and post conventional moral development. Far too many at the Conventional stage of development are caught up in group think, unhealthy cultural nationalism, group ego, ostracization of racial or ethnic groups and other behaviors that don't contribute to a healthy ethnocentrism. Similarly those with worldcentric values are prone to overgeneralization, idealism over pragmatism and neglect of individual needs in favor of the needs of the all.

Reviewing one’s relationship with their lineage can help to realign them with their current values, explore former or new values and change behavior to respond to present centered needs. Bringing awareness to what informs our values through the lens of HIphop is one way we use Hiphop to promote purpose, meaning and a well lived life.

Hiphop Alive

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Void School Rules Vol. 2: The Cypher

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

What is the Void School?

The Void School is the body of teachings and practices utilized by the lineage of researchers, pandits and teachers of what could be called Hiphop mysticism or contemplative Hiphop. This aspect of Hiphop is primarily concerned with experiencing and actualizing the qualities of Hiphop as an embodied and shared experience. How do we make peace and wisdom real, embodied experiences instead of concepts? This is brought about through a reevaluation of my motivation for my involvement with the four elements (emceeing, djing/producing, bboying and graffiti writing) and dedicating to use them as tools of self awareness. The Void School teaches seekers how to use the four elements skillfully as a means of realizing personal and social enlightenment, and also utilizes efficacious healing modalities such as contemplation, meditation, therapy and community bonding.

The Void School can be thought of as another expression of the understanding of the value of Hiphop. As a culture, Hiphop’s values have shifted over time and although on the surface Hiphop music seems to get more and more self centered, in truth Hiphop in all its available areas of growth has evolved to be more embracing of perspectives and values that transcend the ego. However, because Hiphop is (incorrectly) often thought of as being music, looking at the history of Hiphop values in the music industry may help us to understand how our values have evolved and how a Void School is a natural emergent.

In what’s often referred to as the “Old School”, the period between 73’ and 85’ was a time when Hiphop was trying to figure out who it was. In that attempt its primary focus was on either the healthy or unhealthy aspects of the ego; either way the intent was to be dope, have fun, be original, put on a good show, make money and get high. The debate about how healthy the old school was in comparison to artists today is a fair one to have but for the purposes of this text my point was to point out that at the beginning of Hiphop’s musical development the focus was on the needs of the individual, not the collective. .

The second stage of Hiphop’s value expression, for a lack of a better term I’ll call the “Middle School”, which began in 86’ and ended around 94’. The level of values during this period were ethnocentric. This era focused on the cultural and social concerns and needs of Black people, unity, cultural nationalism, revolutionary nationalism, political awareness, justice, education, independence, adherence to group norms and cultivating healthy group ego. It is also the period when the question arose around what is and what isn’t Hiphop. The concerns of the group were the dominant concern.

Then you have the “New School” which surfaced broadly in 95’ and extends until today (but which arrived on a an underground scale at least by 91’) which on the surface embraced money, power, violence, misogyny etc. and regressed to the ego neurotic tendencies of the old school but multiplied by a thousand, but a closer examination of evolving Hiphop values at that time show that practitioners were more concerned with not just how to be original but how to play with words and sounds in a way that reflected a greater subtlety and subjectivity. I used to call underground Hiphop, subjective Hiphop. Despite mainstream values moving closer to the get money, get high aesthetic of the 80’s, underground Hiphop created a lane for those concerned with mental depth and using that depth to see and explain a wider view of the world. The New School transcended the egocentric and ethnocentric focus and began to ask the questions such as: what is the depth of my perception? How far can I see? How can I see different? What can I feel into? Who can I feel into? What is Hiphop? What are the limits and how do I break them? The human centered level of creativity around the world during this era was overwhelmingly about how to use my mind “deeper”. Don’t get me wrong, some underground Hiphop lyricism at this time were little more than word salad attempts at being deep, or lyrically intricate ego fueled rants, but regardless of the values expressed By the mainstream, the values of Hiphop grew wide enough to embrace the depth of the subject and led to wider perspective taking and space for practitioners from all over the world to connect and express themselves.

Lastly you have the Void School which actually began with the founding of the Zulu Nation and the creation of the Infinity Lessons. I also refer to the Void School as the 4th Spinning, borrowing the teaching from the Buddhist tradition that says that the Buddha gave three turnings or cycles of teachings that correspond to how to view and experience three different yet connected levels of reality. These levels of reality are not confined to or created by Buddhism and are found in every major world religion. The 4th turning or spinning of Hiphop is an attempt to look at Hiphop from an Integral perspective which simply means exploring the inside and outside of individuals (behavior, psychology and spirituality) and the inside and outside of groups (culture and society) to not only understand but to manifest Hiphop in all of its fullness. That also means not leaving out Hiphop's relationship with other lines of development such as religion, medicine, psychology, politics, philosophy, activism etc. For Hiphop to truly be of benefit to itself and to the world it must see its connection and place among the myriad paths of growth.

The Infinity Lessons are a body of teachings assembled by the Zulu Nation and compiled into a text titled “The Green Book”, that helps potential and current adherents to understand the history and the philosophy of the Zulu Nation and Hiphop. It also presents the Infinity Lessons as a pro-peace life guide applicable to anyone seeking to become more realized as a human being. Other early presentations of Hiphop consciousness can be found in the art of pioneers such as Rammellzee and Basquiat, middle school artists such as Myka 9 from Freestyle Fellowship and the Good Life Cafe in LA and new school artist, scholar and teacher Toni Blackman, the founder of the Freestyle Union in Washington DC. Since the beginning of Hiphop history, our community has been concerned with expressing the depth and potential of the heart and mind.

KRS-ONE is undoubtedly most responsible for the promotion of Hiphop’s causal existence. When he began saying “You are Hiphop” and Hiphop not being something you do but being something you live, he clarified the difference between an experience that’s created versus an experience that’s inherent. He was saying that in all of our attempts to create Hiphop we were missing the point; you are that which you seek. The qualities and experience of Hiphop are our innate qualities which is why you know it when you feel it. It doesn’t enter you and never did; you woke up to it and found that it was already there. KRS was also pointing to Hiphop existing as a “do”, Japanese for way, path or lifestyle. In the mid nineties, KRS-ONE would create the Temple of Hiphop a self described “pop up school” where people can hear KRS share about the use of the elements of Hiphop as tools for actualizing Hiphop itself (peace, love, unity and having fun).

What the Zulu Nation and the Temple of Hiphop have done is to lay the foundation of a presentation of Hiphop that exists on multiple levels of the human cosmology. That is to say, that what is more important than how we behave i.e. rhyme, dance, paint, mix etc., is why we do it, what we feel when we do it and what the outcome is when we do it. Being concerned with the why and what expands the cosmology of Hiphop beyond the gross, objective realm of form (behavior) and into the subtle and causal realms of emotion, energy and awareness. To date, what most people consider to be Hiphop is what they can see; the music, art, dance etc. What has been overlooked by most fans and adherents are the cultural, psychological and spiritual aspects of Hiphop; those aspects that lie on the inside of the artist and fan. The individual and collective minds that utilize the elements of Hiphop determine both how it manifests and how its used which means that if we desire what we call Hiphop to be of benefit beyond entertainment, education and sociopolitical awareness, we need to not only take into account but realize and cultivate a more intimate relationship with our individual and collective minds and hearts. The Zulu Nation and Temple of Hiphop present ways of looking at ones world differently. Integral Philosopher Ken Wilber calls this translation, or facilitating a new understanding or perspective. Both organizations utilize knowledge from various world religions and ways of life to help others to recognize the importance of understanding the usefulness of Hiphop as a tool of enlightenment. In KRS’s text The Gospel of Hiphop, he exhaustively fleshes out ways of seeing oneself, others and the world through the lens of a “higher self” and in many ways The Green Book does the same. The goal is to help others recognize the ubiquitous sacredness in our everyday lives. Translation is important because change begins with evaluating my view of reality, my beliefs and the way my mind works and instead adopting an outlook more in alignment with how things are versus how I wish that they were. However, as useful as translation is, understanding only implies change and doesn’t explicitly challenge the mechanisms that produce irrational thoughts, unhealthy living and spiritual disconnection. In the Tibetan Buddhist tradition, translation or study is concerned with increasing knowledge about the truth of the self, others and fundamental reality and practice is concerned with how to actualize that understanding into a life lived in accordance with those levels of reality (self, other, nature). It is said when one studies it is like having eyes; one can see where to go as well as avoid pitfalls. But a body with eyes that lacks legs can see all it wants to but it doesn’t matter because it can’t travel anywhere; at least not quickly. Conversely, having legs with no eyes, or practice without study allows one to engage in the behavior of a Buddhist but without discernment or understanding which produces unskillful behavior and unwanted consequences. The challenge of both schools of thought has been presenting an injunctive path of translation and transformation that allows adherents to both understand and use Hiphop in a way that creates psychological, cultural and spiritual development. Because the lessons taught by both schools are more descriptive than prescriptive they are less useful as methods of change but are very useful in helping others adopt a healthier view of reality. The Void School serves to fill that vacuum with transformative practices based in the world’s religious/spiritual wisdom traditions, psychological therapeutic orientations, indigenous rituals, values assessments and methods of social organization. It is the attempt to move from a loose translational model to an integrated translational and transformational model. It is the world’s first organization to integrate the teachings of Hiphop with the best practices outlined by developmental theorists from physical, mental and spiritual disciplines.

The elements of Hiphop are the vehicles of transportation and transformation that introduce us to the qualities of peace, unity, knowledge, wisdom, fun, understanding and compassion but they also can introduce us to what it means to think clearly, have a healthy ego and body, make better choices, cultivate values that embrace those that are different than us, develop social institutions that function to express care and concern for the diverse needs of the populous and to experience spirit rather than just believe in spirit. The elements point to what is inherent in ourselves and our society that we only need to uncover, not create. Hiphop is the basis of our journey, the energy of the vehicles or elements of Hiphop and the fruition of the path. After first experiencing ourselves as Hiphop, the practice is trusting in living that experience in order to uncover the peace, wisdom, understanding etc. self existing in every moment. It is nothing more than a question of dedication to resting attentively in the nature of the mind.

The word “Void” refers to the unobstructed boundless awareness that exists as the nature of all humans and indeed all beings, as well as the spacious experience of no longer projecting onto the world a sense that “I know!” when indeed you don’t. The truth is that reality (and what we commonly think of and label Hiphop) is more vast than my quickly labeled and shortsighted version of it. Myself, people and things are more than they appear, and a more fair way of speaking about how the world exists is as a Void or a great openness that both permeates and makes space for our entire human experience. The Void allows for all external and internal experience and reveals the truth of how things truly exist, instead of seeing the world through my own individual remix of things. The Void is not mine or anyone’s or anything. It is an experience that is naturally revealed when the self contraction of the ego has subsided enough to recognize the spaciousness and stark reality present, when the ego/egos present aren’t filling the space with themselves. The Void is similar to the Buddhist experience of emptiness in that it is not empty in the sense of existing purely as space, but is also full of appearance and intelligence. Through the elements of Hiphop we return again and again clarifying our relationship with reality. The Void School asks the questions: what is the nature of Hiphop, how do we experience it, how do we use it and what do we use it for? For void school adherents, entertainment is no longer a priority; Intentionally cultivating being, growth, feeling, community and authenticity is the new entertainment.

I began exploring the benefit of freestyle cyphers in the mid-nineties based on the experience of cyphering with my friends. We never battled each other, instead freestyling was about letting go and being as creative and genuine as possible. One night in 1996, I attended a cypher with the Freestyle Union in DC and was blown away at not only the level of skill of the emcees, but also the collective zone that everyone appeared to be in. All the participants were feeding off of each other and deeply in tune with themselves at the same time. It was full of movement, clarity and unbridled confidence. Most of all it was organized. Before it started, Toni Blackman outlined the rules that were to be followed for the evening; something I had never seen before. During the cyphers, participants were given instructions as to the type of freestyling the’d be engaging in. Some of the forms I remember were alliteration, proverbs, creating and coming back to a hook and telling a story. When the energy got stale, emcees were asked to be honest with themselves and pass the mic. I was stunned at how the structure corralled the mind and gathered the awareness in a way that allowed the natural wisdom of the emcee to become the central operating system and didn’t allow the wastefulness of ego centered rhymes, useless battling and unnecessary cursing. I don’t know another human being that’s done more than Toni Blackman to promote what she calls “The Wisdom of the Cypher” around the world, and I eternally thank her for the constant unpacking of new insights based on her international travels teaching and sharing the gift of cyphering with anyone willing to listen and participate. After that event in 96’, how I practiced rhyming changed and I began to research the experience of freestyling for its ability to transform the mind and society. It wasn’t until 2003 that I began writing about my experience of freestyling in a published essay titled “Freestyle: Gateway to the Beyond Within”. In it I wrote:

Cipher: 1. Code, hidden meaning. 2. Nobody, a non-entity. 3. An enclosed circle of hip-hop practitioners and listeners, engaging in authentic discourse (Freestyling) with the aim of A) strengthening self-awareness, self-worth, knowledge of other practitioners and their styles, lyrical skill, or ones connection to a creationary force through offering words of harmony (verbalizing a connection with group and creator), awareness (verbalization of issues which cause difficulty within ones life or issues that bring joy into ones life), alignment (verbalized understanding of ones issues as being their own), actualization (verbalized plan of change or continuance) and synthesis (verbalized unity with creationary forces of change and continuance as to actualize new behavior or continue old behaviors). B) Sharing a message of personal importance with the congregation in order to increase another’s self-awareness, self worth, knowledge of one’s self and style to another practitioner, and the collective’s ability to connect to a creationary force by maintaining harmony, balance, interconnectedness and authenticity.

To a hiphopper, the cipher (or cypher) represents a womb that gives birth to emcees and beatboxers through the sharing of spiritual energies, transferred around and through a cosmic circle of combined rhythms. It is the training ground for those who aspire to reach the heights of the greatest emcees, a soapbox for the believers in a higher mode of expression and communication, a forum for those who wish to just enjoy in an individual-collective experience, or a combination of all three. The cipher embodies the sacred principles and dynamics of relationship found in and between all things, even if the practitioner is not cognizant of the subtle events taking place.

Think of Hiphop as being the binding energy of the cypher, existing between things and individuals. It is what helps Hiphoppers acknowledge each other and distinguish between authenticity and falseness of an individual, group, or their beliefs. It is important to note that the description of this energy or force is not done for convention, but to describe an existing non-entity that would be associated or equitable with chi, prana, spirit, essence, the All, Ultimate Reality, Truth, etc. These words are used to describe an ever-present Reality that pervades all substance, but which could never be fully described. To practitioners and listeners, Hiphop is the force which allows one to create, provides the atmosphere for creation to exist, and is the foundation for all creation. It can be described as a feeling of elation, bliss, ecstasy, etc. that one feels when one is in the environment that Hip-Hop is played, cultivated, or demonstrated. This bliss is associated with the connection between one and the creative force itself, the same connection described in Buddhism, Hinduism, Christianity, Judaism, and Islam, all of which describe an ethereal feeling of oneness, once one is connected to the All. It is also important to note that this feeling or experience is just as subjective as the experiences found in the ways of life described above, but can all be validated in the same way, through the prophets, saviors, avatars, sages, seers, and masters that act as archetypes of those who experience the Ultimate Reality respective of their belief systems. It is in this same way that we begin to assemble a spectrum of consciousness that acts as a pathway toward the experiencing of the Reality of Hiphop; a reality that the prophets of Hip-Hop have achieved, and in the same way as the ancients, predict and influence the current and future culture towards greater actualization, liberation, and freedom from oppressive agents and forces external and internal of the people.”

My theory was that freestyle cyphers are one of Hiphop’s gateless gateways or entry points to experiencing the Void, and when used intentionally along with gentleness, patience, compassion and discipline can reveal the true usefulness and experience of Hiphop. The ultimate benefit of engaging in cyphers is the experience of relaxed presence which has the qualities of spaciousness and attentiveness. The practitioner is calm but highly aware. There is an intense trust in the minds natural peacefulness as well as its active ability to allow words, ideas, topics or feelings to arise when needed, and an attentiveness to what themselves and others are feeling, thinking or doing. In other words it possesses the qualities of the Void that I spoke about earlier.

These days I primarily cypher with myself as its gotten harder to find others who understand freestyling as something other than entertainment and see the word “free” as permission to not be responsible to any form. Those types of practitioners tend to cultivate ego and care little about what’s to be gained from cyphers aside from props. That isn’t to say that cyphers where written rhymes are performed are wack or undesireable; even in those cyphers there can be an energetic exchange and authentic expression. However it is most common these days that rhyming with structure is antiquated, rhyming “off the top” is less preferable to written freestyles and feel constrained by the request to rest naturally and allow whatever that arises to arise. When it comes to growth, none of it happens on accident. It must be intentional and it must have rules. Just like your body, values, cognition, identity and ability to take perspectives involve following an injunctive path of development, so to must cyphering have rules if one wishes to do more than just sound impressive.

Below are fifty Void School Cypher “rules”. These rules aren’t to be taken as dogma but they are to be studied, contemplated and placed in the mind of meditation. Although they are more translative than transformative, they should be studied and reinforced through practice. The Void School has developed the “how” or methodology and trains participants to actualize these rules through practice alone or in community. Overall the rules themselves are less important than what they point to. The symbol is not the symbolized, no more than the menu is the meal.

Void School Rules

Cypher/Freestyling

• Freestyle everyday regardless of what comes up. The point of the practice is learning how to rest and trust in spaciousness and presence, not entertaining yourself or anyone else.

• Cyphers are sacred ceremonies and we are to treat ourselves, each other and “It” in a sacred way.

• Foundationally speaking, in cyphers we are cultivating two characteristics; relaxation of body and mind and attentiveness of body and mind. Relaxation leads to gentleness. Attentiveness leads to precision. What arises is less important than these two. When these two are completely present, what will naturally manifest is stability, clarity, strength, insight, and direct knowing.

• Morality, discipline and wisdom are the guiding principles of a freestyle adherent.

• Cyphers can facilitate measurable cognitive, emotional and social growth.

• Cyphers are non dual affairs; the dance of the one emcee and the many cultivates harmony with the Way. When the one does not see the many and the many not the one, clouds obscure the sun of Hiphop. 

• Hiphop is what is being experienced and what is not being experienced in a cypher.

• The zone or flow state existed before you entered it. You didn’t create it, you aligned yourself with it.

• Ego driven battles are entertaining but only cultivate ego. Very little interpersonal growth takes place then. Those who have transcended the need for ego driven battles should only battle “down” to clarify and adjust perspective, history, level of development, etc.

• Cyphering involves sending and receiving what is easy and what is difficult.

• Cultivate the awareness to know when you are hiding vs taking up too much space. 

• Know when to “pass the mic”

• Cyphers require etiquette regardless of their purpose.

• Hiphop is both the ground, path and the fruition of cyphering.

• When you freestyle, four areas of your lived reality simultaneously arise; psycho-spiritual, cultural, behavioral and social. Your developmental altitude in these areas influences your perception, and these four areas can be directly influenced when you learn to inhabit and explore them.

• Study basic human cognitive development.

• When done intentionally, cyphers can serve as therapy, healing circle, channeling, restorative justice, support group or spiritual ceremony.

• Cyphers are sanghas

• Bboys, BGirls and BThems are bodhisattva warriors

• All Hiphoppers are Buddhas

• Freedom in cyphers has much more to do with learning to play in space than it does with finding a stable ground. There is no ground.

• Never feel that you have to entertain or perform a freestyle for someone. Spontaneity should be natural and arise from stillness not urgency.

• Free styling can mean different things to different people but the definition that produces the most growth is “an unrehearsed, unwritten, spontaneous display”, the other definitions cultivate ego and very often harmful qualities.

• Psychologically speaking, when free styling one can: explore archetypes (none of which hold more value than another), explore perspectives or realms of reality and explore levels of development from the past present or future. 

• Intentionally cultivate kindness. Look for love and opportunities to expose it.

• Sometimes the best cyphers you’ve ever had are because “you” weren’t there.

• Hiphop is inherent and has no origin: you cannot get, obtain, hold, manipulate, buy, sell, kill, create, make or become Hiphop. It was never not there. Cyphers are gateways to that understanding.

• Cyphers move, YOU do not.  

• Dive in to the experience of others. Wordlessly watch.

• Bring your fear to the cypher.

• Be kind to your mind. Give it the sky until it realizes it doesn’t have to learn to fly to experience openness.

• All cyphers ain’t the same.

• The gold of the cypher is found in authenticity. The dirt is found in disownership.

• What witnesses who’s doing the emceeing?

• The seed of dope freestyling sprouts when the fear of being wack dies.

• Cyphers are great opportunities to make friends with yourself.

• You are the code of the cypher.

• Live the cypher.

• You can be lyrically nice but psychologically and spiritually wack.

• No Self to Know self

• Your simple presence is enough

• To cultivate an open heart in a cypher let it first be broken

• Learn to bear bare witness

• There is no one better than you in a cypher. The best you is you fully present which no one can do but you. Can you be free or in other words, be freedom instead of trying to achieve it? What is mind of freedom like? Unobstructed awake and open.

• Trying to be dope will end in exhaustion and failure. Being is dope.

• Cyphers last a lifetime.

• Hiphop is the binding energy of the cypher.

• To cypher is natural

• Invite your ancestors to the cypher. They’re there anyway.

• Feeling together is the unspoken cypher.

• In cyphers, to make a rule break a rule; to break a rule make a rule.

• Before cyphering, contemplate “what would you do, if you knew that all you had to do is what you can”.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Contemplation # 12

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

I'm kind, friendly, your worst enemy.

Charming, crass, and potentially.

Dangerous, have you ever heard of such?

I'm invisible and impossible to touch. - Mr. Lif:

Phantom

This paradoxical line from Mr. Lif’s 2002 album Emergency Rations leaves a lot of space for exploration.

If there were a person who could hold all of the qualities that Lif lists (kind, friendly, charming but also crass, your worst enemy and potentially dangerous) what would be the use of such a person? Who would even want to hang around someone so unsure of themselves? They don’t even seem to know who they are, AND they’re outwardly telling me that they may be bad for my health? Nah B, i’m good.

However, as bad as that person may be I have to ask myself what’s the healthiness of seeing that person as undesirable, an enemy or as dangerous? What does it do to me when I freeze my perception of others or quickly label them? Does it improve or hurt how I think? Does it help me to see others and the world with more clarity or more confusion? And who is it that’s doing all this “perceiving” and how much have I evaluated that? Much of my time has been spent trying to answer this question.

We live in an age where kindness and friendliness are not only undervalued but threatening. When we don’t trust in our own goodness we become enemies to ourselves. When we don’t trust in the goodness of others we become enemies in our society. When and how did we develop this allergy to our goodness and how can we experience it again? We are not confined to being enemies to ourselves or others. It is a matter of mistaken perception. We have forgotten the feeling of the experience of well being and because we are not relaxed within ourselves we are not relaxed with others and are constantly identifying threats to our egos. We don’t have to do that. We can make a different choice and practice being through meditation and contemplation.

Being charming, crass and potentially dangerous are the means which if used wisely can help to forge relationships, resolve conflict, illuminate hidden resources and destroy unnecessary obstacles to success. When used unskillfully they bring personal and societal defeat and foster division. May we practice resting our bodies and mind in order to naturally bring about skillful action.

When we rest in the invisible (that which is impossible to touch) we find that which is impossible to die, be defiled, be removed or to change. We find what is ultimately reliable, safe and trustworthy. It has been with you since before you were aware of a “you”. It is the ground of our kindness, friendliness towards ourselves and others, wise action and mystery. It is the source of our power and locus of our liberation.

May we contemplate Mr. Lif’s lyrics through the eyes of our nature and afterwards, practice formless meditation resting in the felt meaning of the words.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

Void School Rules Vol. 1

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

Void School Rules

The end to a new beginning of Top 5 Conversations in Hiphop

1. If you haven’t studied how something grows you have a severely limited ability to fully understand it. It doesn’t matter if you’re DJ Kool Herc or Lil Durk, if you don’t study how things evolve you will express confusion about development. Learning more about growth hierarchies and holarchies will provide insights into the reality of things.

2. Evaluating growth should be done for the purpose of self, other and global improvement not ego building. If you have yet to learn how to experience Hiphop as more than egoic enjoyment you will only evaluate Hiphop from the perspective of the ego which is what makes ego work a necessity for any practitioner or fan of Hiphop.

3. The word “best” is now to be replaced with the word “developed” and what is of upmost importance is the potential to produce growth in oneself, others, communities and nature. That is not to dismiss the enjoyment of the full range of expression of Hiphop and how it makes you feel (even if it makes you feel grimy it feels good and grimy), just that that feeling when put in action may not be beneficial to the personal or greater good. Focusing on how Hiphop is expressed to produce growth reveals its greatest potential.

4. Conversations involving who the “best” emcee, producer etc. cannot be judged by mere opinion or feeling and must include measurable levels of development such self awareness, cognition, morals, perspective taking, values, societal influence, linear vs non liner thinking and complexity of writing. Those aforementioned areas are objective, can be measured, peer reviewed and researched and in fact many of these areas of development already have validated assessment tools.

5. Judging expressions of Hiphop can be based on internal and external factors: When judging based on internal factors, three perspectives must be taken into account. 1.) If the expression makes you feel anything at all, what does it make YOU feel, 2.) What does it make US feel (those of us in the “US” of Hiphop membership) and 3.) how does it make All Of US feel? Determining what feelings are beneficial to humanity will help to determine when an expression is used wisely. External factors include: experienced, objective expressions such as those listed under Rule 1. Judgement based on feelings can illuminate new found insights but will yield NO VALUE or determine who is more developed.

6. Judgements based on feelings are expressed horizontally and correspond with archetypes or styles: No style is better or more developed than another, however the individual or group expressing that style can be more developed along measurable lines of growth. Archetypes in Hiphop such as those expressed by Carl Jung can include hero, mother/father, villain, healer, outlaw, ruler, explorer, lover, jester, artist, sage, innocent, everyman and magician and have no value greater than the others. The truth is that each archetype can be expressed along measurable areas of growth. For example: The developmental theorist Lawrence Kohlberg who studied moral development found that there were three distinct expressions of morality; pre conventional (what’s in it for me?), conventional (what’s in it for us?) and post conventional (what’s in it for all of us). These three stages of morality can be found within any of the archetypes. Kodak Black, 2 PAC and MF DOOM are all outlaws but there is a difference between the moral expression of each. We aren’t evaluating the archetype, we’re evaluating the level of moral development within the person inhabiting that archetype.

7. Exploration of archetypes fosters horizontal growth i.e. span or the ability to feel into and experience the many expressions of humanity.

8. Exploration of stages of development fosters vertical growth i.e. depth or the ability to experience the varying levels of potential of a given line of development. Where we find development in view and praxis we should unearth lessons and share them with others.

9. Stop elevating ego to enlightenment and reducing enlightenment to ego: It is common for an egocentric expression of Hiphop (anti intellectual, misogynistic, violent, materialist, inhumane, narcissistic) to be taken as deep, mystical, advanced, next level or even “evolved” (which we will touch on again soon) because there is confusion about the difference between what are called pre rational and post rational levels of development.

   The word rational has to do with the relationship with ones own mind. Pre rational means with little thought or regard or an inability to see beyond ones ego or take the perspective of the other. Rational means seeing into the perspective of others (usually others like myself) and post rational means beyond thought/mind, interconnectedness with others, oneness etc.

   An example of elevating ego to enlightenment could be artists who “name drop” as a way of pulling you into the world that they want YOU to perceive that they inhabit, when in truth pulling you in is self serving because not only have they not given you a way to experience what they’re describing for yourself, they’ve done nothing to prove that they actually DO inhabit this world (ahem...Jay Elec, Wu Tang...). It’s what the great Tibetan Buddhist teacher Chogyam Trungpa Rinpoche called “spiritual materialism”. They name drop enlightening words hoping that you’ll think they’re enlightened too but in essence its all just words. They don’t abide by a spiritual tradition or help the listener directly experience that which they’re expressing, but they’re treated as enlightened.

   Another example is complexity for the sake of complexity. It’s one thing to judge art on its own terms and artists such as Ramellzee, Aesop Rock, Freestyle Fellowship, Busdriver, Company Flow and Anticon have challenged listeners for decades to accept both abstract artistry and that their lyrics are guideposts to a greater reality. Other emcee are intellectual simply in order to be. They want to attract you to their ability to use words without concern for what you take from those words. It’s just as common these days to elevate 2 bar couplet murder rap music that sounds real pretty but is ultimately as hollow as the points they’re attempting to make.

   The reverse is true as well. Very often genuine expressions of ethnocentric and worldcentric values are reduced to egocentric expressions simply because trans egoic expressions are misunderstood. Expressions of spirituality are dismissed by intellectuals and reduced to childish thinking and often intellectualism is thought to really just be you thinking you’re better than others instead of respected as the ability to see from multiple perspectives.

   Misevaluations of expressions within Hiphop happen very often due to a misunderstanding of pre and post rational expression.

10. No one is smart enough to be wrong 100% of the time: Everyone contains a kernel of truth and it is your job to find it. Every person who feels that their Top 5 is the best around is part right and wrong. Your job is to identify both but never let go of the fact that they are not totally wrong. It is fair to point out where you think they need some work but also point out the areas that are true. The more you study how emcees, bboys, djs and graf writers grow the more you’ll be able to point out areas of consensus and disagreement.

Hiphop Alive

Justin F. Miles is the founder of Hiphop Alive and pioneering practitioner, theorist and educator at the intersection of Hiphop culture, mindfulness and contemplative studies. He is the leading voice championing the use of Hiphop infused contemplative modalities to foster resilience, emotional intelligence, and community empowerment. 

An Old Man Rapper Rant

Please feel free to listen to my music while you read. Thanks and I hope you enjoy!

I don't write rhymes much anymore for recording because I stopped being willing to say meaningful things to people who don't care and non-meaningful things to people that do. Sometimes I think about picking up a pen again until I remember that things are even worse now than they were 25 years ago when purposeful, sincere lyrics first began to disappear from mainstream Hiphop. Now people care even less about quality and the trend is to emotionally say nothing words over sparse beats to people who really don't care about what you're saying anyway.

About 20 years ago I realized that my purpose in Hiphop was to explore its nature, its true usefulness beyond ego, fame, props etc. I started interviewing emcees, dj's and producers and trying to flesh out how their art contributed to their psychospiritual growth; that way at the very least I could expose its true benefit to the practitioner and fan alike and hopefully intentionally contribute to someone's personal development.

I'm consistently disappointed with 2 bar/switch topic rhymes that try to sound witty that don't amount to anything by the end of the track. I think most fans are dupes who care little about the process or the origins of the music they're listening to and that even some of the people we call "legends" know very little about what Hiphop is or isn't. They tell the public under analyzed ideas like "Migos is the next evolution in Hiphop" without understanding the difference between newness and development. They rationalize spreading ignorance. They reduce the magic and influence of music on the impressionable. They chastise Trump, racism and the poverty in their communities while selling conspicuous consumption, materialism and substance abuse.

Cultivating the energy of Hiphop has become restricted to going to shows, battles and performances that even when put on by artists I love, come off as dry reminders of a time when people were less interested in partying and more interested in gathering and sharing who they were in order to feel felt and learn from each other. Now it seems like its all for money, fame, props etc.; entry level values that Hiphoppers have sought since 73'. Freestyling aka spontaneous authentic discourse hardly exists anymore and when it does its treated as a joke. People don't see the value of relaxing in groundlessness anymore. Being on the spot with nothing but the naked mind has been replaced with needing to not appear vulnerable and weak so a written rhyme takes the place of trusting innate awareness. Hiphop is referred to as "the game" and everyone wants to play because anyone can now emcee, dj and produce and seemingly make money at it.

How have we grown in terms of our cultural values, embrace of feminine energy, emotional expression, social and spiritual interconnectedness in the last 46 years? Have we learned to go beyond the ego or have mainstream and underground artists (including dj's and bboys…graf writers have always been at the vanguard in my opinion) just found new ways of ego validation through materialism, intellect and faux spiritual transcendence? How are we cultivating love? This is not to take away from the necessity of allowing the natural journey that artists and humans go through in finding themselves, nor to dismiss the artists and fans that clearly are using their gifts in the best way that they know how. They exist and should be lauded for their genuine contributions whether or not they manifest pain or enlightenment. My issue is with those that propagate mindlessness year after year and find pleasure in their gains on the backs of those that suffer, as well as those of us with life experience who do little to advance the cause of humanity by directly challenging themselves and others to do better.

The silver lining in everything that Iv'e said is that Hiphop isn't something that can be manipulated, controlled, co-opted, made better or made worse. Hiphop is not a thing. It has no real existence anywhere. The truth is that how we manifest the experience of Hiphop comes from how we directly or indirectly experience our bodies and minds. When we cultivate ego we will express through the 4 elements self-centeredness, aggression, impulsivity and ignorance. When we transcend ego we cultivate compassion, genuineness, fearlessness, gentleness, insight and wisdom.

As Mos Def said in the intro to 1999's Black on Both Sides, "Listen—people be askin' me all the time

"Yo Mos, what's gettin' ready to happen with hip-hop?"

(Where do you think hip-hop is goin'?)

I tell em, "You know what's gonna happen with hip-hop?

Whatever's happening with us"

If we smoked out, hip-hop is gonna be smoked out

If we doin' alright, hip-hop is gonna be doin' alright

People talk about hip-hop like it's some giant livin' in the hillside

Comin' down to visit the townspeople

We are hip-hop

Me, you, everybody, we are hip-hop

So hip-hop is going where we going

So the next time you ask yourself where hip-hop is going

Ask yourself: where am I going? How am I doing?

Till you get a clear idea".

When you rest deeply within your own being and contemplate your motivation for what you're doing in life you'll find your relationship with Hiphop and manifest it accordingly.

May we all treat this sacred way as such.