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Author: Marina Terkourafi
Publisher: A&C Black
Published: 2010-09-23
Total Pages: 365
ISBN-13: 0826431607
DOWNLOAD EBOOK →Looks at linguistic, cultural and economic aspects of hip-hop in parallel using various frameworks of analysis.
Author: H. Samy Alim
Publisher: Routledge
Published: 2008-10
Total Pages: 273
ISBN-13: 1135592993
DOWNLOAD EBOOK →This cutting-edge book, located at the intersection of sociolinguistics and Hip Hop Studies, brings together for the first time an international group of researchers who study Hip Hop textually, ethnographically, socially, aesthetically, and linguistically. It is the harvest of dialogue between these two separate yet interconnected areas of study. A missing gap in the Hip Hop literature is the centrality and an in-depth analysis of the very medium that is used to express and perform Hip Hop -- language. Global Linguistic Flows fills this gap.
Author: Harris M. Berger
Publisher: Univ. Press of Mississippi
Published: 2003
Total Pages: 382
ISBN-13: 1604738030
DOWNLOAD EBOOK →Cultural Studies -- Ethnomusicology Why would a punk band popular only in Indonesia cut songs in no other language than English? If you're rapping in Tanzania and Malawi, where hip hop has a growing audience, what do you rhyme in? Swahili? Chichewa? English? Some combination of these? Global Pop, Local Language examines how performers and audiences from a wide range of cultures deal with the issue of language choice and dialect in popular music. Related issues confront performers of Latin music in the U.S., drum and bass MCs in Toronto, and rappers, rockers, and traditional folk singers from England and Ireland to France, Germany, Belarus, Nepal, China, New Zealand, Hawaii, and beyond. For pop musicians, this issue brings up a number of complex questions. Which languages or dialects will best express my ideas? Which will get me a record contract or a bigger audience? What does it mean to sing or listen to music in a colonial language? A foreign language? A regional dialect? A native language? Examining popular music from a range of world cultures, the authors explore these questions and use them to address a number of broader issues, including the globalization of the music industry, the problem of authenticity in popular culture, the politics of identity, multiculturalism, and the emergence of English as a dominant world language. The chapters are written in a highly accessible style by scholars from a variety of fields, including ethnomusicology, popular music studies, anthropology, culture studies, literary studies, folklore, and linguistics. Harris M. Berger is associate professor of music at Texas A&M University. He is the author of Metal, Rock and Jazz: Perception and the Phenomenology of Musical Experience (1999). Michael Thomas Carroll is professor of English at New Mexico Highlands University. He is the author of Popular Modernity in America: Experience, Technology, Mythohistory (2000) and co-editor, with Eddie Tafoya, of Phenomenological Approaches to Popular Culture (2000).
Author: Sina A. Nitzsche
Publisher: LIT Verlag Münster
Published: 2013
Total Pages: 481
ISBN-13: 3643904134
DOWNLOAD EBOOK →This is the first collection of essays to take a pan-European perspective in the study of hip-hop. How has it traveled to Europe? How has it developed in the various cultural contexts? How does it reference the American cultures of origin? The book's 21 authors and artists provide a comprehensive overview of hip-hop cultures in Europe, from the fringes to the centers. They address hip-hop in a variety of contexts, such as class, ethnicity, gender, history, pedagogy, performance, and (post-) communism. (Series: Transnational and Transatlantic American Studies - Vol. 13)
Author: Catherine M. Appert
Publisher: Oxford University Press, USA
Published: 2018
Total Pages: 249
ISBN-13: 0190913487
DOWNLOAD EBOOK →In Hip Hop Time goes beyond popular narratives of hip hop resistance, exploring Senegalese hip hop as a musical movement deeply tied to indigenous performance practices and changing social norms in urban Africa.
Author: H. Samy Alim
Publisher: Routledge
Published: 2006-09-27
Total Pages: 208
ISBN-13: 1134243642
DOWNLOAD EBOOK →Complementing a burgeoning area of interest and academic study, Roc the Mic Right explores the central role of language within the Hip Hop Nation (HHN). With its status convincingly argued as the best means by which to read Hip Hop culture, H. Samy Alim then focuses on discursive practices, such as narrative sequencing and ciphers, or lyrical circles of rhymers. Often a marginalized phenomenon, the complexity and creativity of Hip Hop lyrical production is emphasised, whilst Alim works towards the creation of a schema by which to understand its aesthetic. Using his own ethnographic research, Alim shows how Hip Hop language could be used in an educational context and presents a new approach to the study of the language and culture of the Hip Hop Nation: 'Hiphopography'. The final section of the book, which includes real conversational narratives from Hip Hop artists such as The Wu-Tang Clan and Chuck D, focuses on direct engagement with the language. A highly accessible and lively work on the most studied and read about language variety in the United States, this book will appeal not only to language and linguistics researchers and students, but holds a genuine appeal to anyone interested in Hip Hop or Black African Language.
Author: Sonja L. Lanehart
Publisher: Oxford Handbooks
Published: 2015
Total Pages: 945
ISBN-13: 0199795398
DOWNLOAD EBOOK →Offers a set of diverse analyses of traditional and contemporary work on language structure and use in African American communities.
Author: Myoung-Sun Song
Publisher: Springer
Published: 2019-04-25
Total Pages: 198
ISBN-13: 3030156974
DOWNLOAD EBOOK →How has Hanguk (South Korean) hip hop developed over the last two decades as a musical, cultural, and artistic entity? How is hip hop understood within historical, sociocultural, and economic matrices of Korean society? How is hip hop represented in Korean media and popular culture? This book utilizes ethnographic methods, including fieldwork research and life timeline interviews with fifty-three influential hip hop artists, in order to answer these questions. It explores the nuanced meaning of hip hop in South Korea, outlining the local, global, and (trans)national flows of musical and cultural exchanges. Throughout the chapters, Korean hip hop is examined through the notion of buran—personal and societal anxiety or uncertainty—and how it manifests in the dimensions of space and place, economy, cultural production, and gender. Ultimately, buran serves as a metaphoric state for Hanguk hip hop in that it continuously evolves within the conditions of Korean society.
Author: Ian Condry
Publisher: Duke University Press
Published: 2006-11-01
Total Pages: 263
ISBN-13: 0822388162
DOWNLOAD EBOOK →In this lively ethnography Ian Condry interprets Japan’s vibrant hip-hop scene, explaining how a music and culture that originated halfway around the world is appropriated and remade in Tokyo clubs and recording studios. Illuminating different aspects of Japanese hip-hop, Condry chronicles how self-described “yellow B-Boys” express their devotion to “black culture,” how they combine the figure of the samurai with American rapping techniques and gangsta imagery, and how underground artists compete with pop icons to define “real” Japanese hip-hop. He discusses how rappers manipulate the Japanese language to achieve rhyme and rhythmic flow and how Japan’s female rappers struggle to find a place in a male-dominated genre. Condry pays particular attention to the messages of emcees, considering how their raps take on subjects including Japan’s education system, its sex industry, teenage bullying victims turned schoolyard murderers, and even America’s handling of the war on terror. Condry attended more than 120 hip-hop performances in clubs in and around Tokyo, sat in on dozens of studio recording sessions, and interviewed rappers, music company executives, music store owners, and journalists. Situating the voices of Japanese artists in the specific nightclubs where hip-hop is performed—what musicians and fans call the genba (actual site) of the scene—he draws attention to the collaborative, improvisatory character of cultural globalization. He contends that it was the pull of grassroots connections and individual performers rather than the push of big media corporations that initially energized and popularized hip-hop in Japan. Zeebra, DJ Krush, Crazy-A, Rhymester, and a host of other artists created Japanese rap, one performance at a time.
Author: Nitasha Tamar Sharma
Publisher: Duke University Press
Published: 2010-08-17
Total Pages: 368
ISBN-13: 0822392895
DOWNLOAD EBOOK →Hip Hop Desis explores the aesthetics and politics of South Asian American (desi) hip hop artists. Nitasha Tamar Sharma argues that through their lives and lyrics, young “hip hop desis” express a global race consciousness that reflects both their sense of connection with Blacks as racialized minorities in the United States and their diasporic sensibility as part of a global community of South Asians. She emphasizes the role of appropriation and sampling in the ways that hip hop desis craft their identities, create art, and pursue social activism. Some desi artists produce what she calls “ethnic hip hop,” incorporating South Asian languages, instruments, and immigrant themes. Through ethnic hip hop, artists, including KB, Sammy, and Deejay Bella, express “alternative desiness,” challenging assumptions about their identities as South Asians, children of immigrants, minorities, and Americans. Hip hop desis also contest and seek to bridge perceived divisions between Blacks and South Asian Americans. By taking up themes considered irrelevant to many Asian Americans, desi performers, such as D’Lo, Chee Malabar of Himalayan Project, and Rawj of Feenom Circle, create a multiracial form of Black popular culture to fight racism and enact social change.
