Introduction

Renegades ◽  
2021 ◽  
pp. 1-19
Author(s):  
Trevor Boffone

The Introduction begins with an overview of the Renegade dance’s popularity and the major players who made the dance challenge go viral—namely, TikTok sensation Charli D’Amelio who is the app’s most-followed account, and Georgia teen Jalaiah Harmon who created the dance but wasn’t given any credit for it until the Dubsmash community mobilized around her. The story of the Renegade dance challenge, D’Amelio, and Harmon serves as an entry point into a conversation about the teen artists of color in this book, whom the book labels “Renegades.” Riffing off the viral “Renegade” dance to K-Camp’s “Lottery,” the book reappropriates the term to embody the nuanced ways that Dubsmash users, or self-professed Dubsmashers, use digital hip hop culture and platforms to push again the pervasive Whiteness in mainstream US pop culture, as evidenced on apps such as TikTok. Renegades take up visual and sonic space on social media apps to self-fashion identity, form supportive digital communities, and exert agency to take up space that is often denied to them in other facets of their lives. The Introduction continues with a review of extant literature in social media and youth identity formation, with a particular focus on how Black teens engage with digital spaces. From there, it lays the groundwork for a theory of “Renegades.”

Author(s):  
Trevor Boffone

Renegades: Digital Dance Cultures from Dubsmash to TikTok interrogates the roles that Dubsmash, social media, and hip hop music and dance play in youth identity formation in the United States. It explores why Generation Z—so-called Zoomers—use social media dance apps to connect, how they use them to build relationships, how race and other factors of identity play out through these apps, how social media dance shapes a wider cultural context, and how community is formed in the same way that it might be in a club. These Zoomer artists—namely D1 Nayah, Jalaiah Harmon, TisaKorean, Brooklyn Queen, Kayla Nicole Jones, and Dr. Boffone’s high school students—have become key agents in culture creation and dissemination in the age of social media dance and music. These Black artists are some of today’s most influential content creators, even if they lack widespread name recognition. Their artistic contributions have come to define a generation. And yet, up until this point, the majority of influential Dubsmashers have not been recognized for their influence on US popular culture. This book tells their stories.


2021 ◽  
Author(s):  
Christopher Joseph Cachia

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.


AILA Review ◽  
2017 ◽  
Vol 30 ◽  
pp. 1-26 ◽  
Author(s):  
Sirpa Leppänen ◽  
Elina Westinen

Focusing on a YouTube performance by an emergent Finnish Somali rapper and the audience responses it has generated, this paper looks at ways in which rap music engages with the issue of belonging. Drawing on recent theorizations of belonging as a multi-dimensional, contingent and fluid process, along with sociolinguistic work on globalization and superdiversity, Finnish hip hop culture and popular cultural practices in social media, the paper investigates how belonging is performatively and multi-semiotically interrogated in its online context. It shows how rap can serve as a significant site and channel for new voices in turbulent social settings characterized by rapid social change and complex diversity, as well as provide affordances for critical responses to and interventions into xenophobic and nationalist debates and discourses of belonging.


2021 ◽  
Author(s):  
Christopher Joseph Cachia

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.


Renegades ◽  
2021 ◽  
pp. 20-36
Author(s):  
Trevor Boffone

This chapter explores Dubsmash and TikTok, two related but divergent social media apps. While providing a critical overview of the apps that facilitates the analysis that follows, this chapter examines their racial divide, arguing that Dubsmash is a Black space and that TikTok is a White space. An understanding of the racial politics of the social media dance world is essential to painting a full picture of how Zoomers of color navigate digital spaces to create content that then becomes the mainstream and to push against systems of White Supremacy, misogyny, homophobia, and the like.


Renegades ◽  
2021 ◽  
pp. 37-50
Author(s):  
Trevor Boffone

This chapter analyzes the varied ways that Renegades build digital communities using Dubsmash and Instagram. It argues that online communities hold the potential to democratize access and reject coastal biases typically seen in popular US culture. The traditional entertainment centers of Los Angeles and New York City, while still important, are relegated to second-tier status behind cities such as Dallas, Houston, and Atlanta, in addition to less populated areas across the American South. By taking up digital space on an inclusive platform, Renegades re-center traditional scripts of community building, effectively demonstrating the necessity for culturally responsive communities. These Dubsmashers search for what is familiar and lay the groundwork for equity and inclusion from there, promoting a shared sense of values that enables a plurality of voices to rise to the top. The chapter uses the official Dubsmash Instagram account as a case study, unpacking the nuanced ways that Dubsmash promotes the work of its most well-known influencers alongside a growing set of Renegades who show brand loyalty by regularly engaging with the app and who promote this subset of hip hop culture through their micro-performances on Dubsmash. Specifically, this chapter explores the different ways that Dubsmash has used dance challenge and games to bring people together and further a sense of connection during the COVID-19 pandemic of 2020.


2017 ◽  
Vol 1 ◽  
pp. 371
Author(s):  
Niken Fatma Putri ◽  
Fauzia Fauzia

This article entitled “The Use of Slang among American Youths as Related to The rise of Hip Hop Culture: A Sociolinguistics Analysis”. This research focuses on the types of slang commonly used by American youths and the influence of hip hop on slang use among American youths.This research belongs to descriptive qualitative research as a method.  The subject of this research is rap song lyrics, utterances in slang in America YouTube video and Ellen Show: On Fleek Episode as well as the Urban Dictionary slangs. Then, the objects of this research are the use of slang. The researcher collected the data through the utterances in the rap song lyrics,  movie and video, and also slangs in Urban Dictionary.The results of this analysis show that the type of slang used among American youths are divided into two types. They are based on use and word formation. Meanwhile the use of slang among American youths is related to the rise of hip hop culture influence which brought by some of rap song. The slang contained in rap song lyrics are spread easily by the massive consumption of social media and enlighten highly by the report of conventional media. 


2020 ◽  
Vol 2 (3) ◽  
pp. 420-434
Author(s):  
FU Jun

Abstract This study identifies the digital literacies generated from Chinese young people’s engagement with Weibo (one of the major Chinese social media platforms). These literacies, manifest as widely accepted community practices on Weibo, extend the prevalent understanding of digital literacy as a set of functional skills or competencies. This extended understanding of digital literacies underlines the importance of their social and cultural dimensions, showing how young people experience them as meaningful and relevant to their digital life. By drawing attention to the constitutive nature of young people’s everyday online practices, and their role in defining digital literacies, this study also highlights the significance of digital literacies for the formation of their identity as a member of digital communities, and for their practice of citizenship in digital spaces.


Author(s):  
Eric Thurman

This essay explores how Aaron McGruder’s television show Black Jesus uses satire to critique constructions of race and religion in twenty-first-century America. It begins with an overview of representations of Jesus in popular media, highlighting both the dominant convention of depicting Jesus as white and the increasing racial diversity of representations in pop culture artifacts. The essay suggests that McGruder’s show is best understood as an example of postsoul satire, that is, forms of comedy produced by African American humorists that target stereotypes within black culture as well as the persistence of white racism. To support this claim, the essay discusses how the show’s humor satirizes white-dominated society, including representations of a white Jesus, as well as the ideals of black masculinity expressed in hip-hop culture and gangsta rap. The essay concludes by situating McGruder’s satire in the context of antiracist work by Black Lives Matter activists.


2020 ◽  
Vol 21 (6) ◽  
pp. 621-627
Author(s):  
Eve Ng

Although there are numerous prominent examples of social media misuse, these cases should not disproportionately characterize the scope or potential of digital media participation as a whole. Using cancel culture as an entry point, this essay discusses how digital practices often follow a trajectory of being initially embraced as empowering to being denounced as emblematic of digital ills. However, while platforms such as Twitter do have characteristics that militate against nuanced debate, scholars can productively direct attention to interactions in other digital spaces, particularly using methods that yield more qualitatively informative data. These spaces include message boards and comment threads, which foster more long-form engagement. It is also important to look beyond the major English-language platforms, both to account for platform-specific features and so that conditions of online discourse routine in many global contexts, such as negotiating censorship, are centrally theorized in digital media studies.


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