“When I’m on the Mic Everything is Ḥarām:” Narrative Identity and Modern Subjectivities Among American Rap Artists

Author(s):  
Thomas DeGloma ◽  
Erin F. Johnston

This chapter explores the ways individuals account for cognitive migrations—significant changes of mind and consciousness that are often expressed as powerful discoveries, transformative experiences, and newly embraced worldviews. It outlines three ideal typical forms of cognitive migration: awakenings, self-actualizations, and ongoing quests. Building on prior approaches to such personal transformations, it develops the notion of cognitive migration to argue the following set of interrelated points. First, cognitive migrations take autobiographical form, which is to say they manifest as the narrative identity work of individuals who undergo them. Second, such narrative identity work provides a reflexive foundation for an individual’s understanding of self and identity in relation to other possible selves and identities—for seeing oneself as a relationally situated character. Third, individuals who articulate cognitive migrations use the plot structure and cultural coding at the root of their narratives to express their allegiance to a new sociomental community. They thereby take on new cognitive norms and identity-defining conventions while rejecting potential alternatives, locating themselves within a broader sociomental field. The spatial metaphor of cognitive migrations draws explicit attention to the broader sociomental field in which such radical changes of mind take place. Finally, such narrative identity work links self-understandings to the often-contested meanings of broadly relevant issues, events, and experiences; when individuals account for their cognitive migrations, they also advance claims that reach well-beyond their personal lives.


Author(s):  
Kateřina Glumbíková

Abstract Discourse on the normative use of reflexivity predominates in the professional literature. Expert articles on the topic of non-normative use of reflexivity, which is based on the presumption that social workers do not use reflexivity to improve their work quality, but rather its functions for themselves to fulfil specific purposes, is missing, with some exceptions in the literature. The presented article therefore aims to understand the use of reflexivity in the practice of social work with families in its non-normative concept and to determine the implications for social work. Using the abduction method (in which Schechtman’s narrative identity theory was applied to data analysis), the following four categories of the use of reflexivity in a non-normative way were saturated with data obtained from initial interviews, field observations and subsequent reflection of field observations with social workers: personal interest, survival, moral responsibility and compensation. The non-normative concept of reflexivity is further discussed in the context of specific implications for education and practice of social work.


2021 ◽  
pp. 174165902110243
Author(s):  
Orlando Woods

This paper explores how digital media can cause the representational value of rap artists to be transformed. Ubiquitous access to digital recording, production and distribution technologies grants rappers an unprecedented degree of representational autonomy, meaning they are able to integrate the street aesthetic into their lyrics and music videos, and thus create content that offers a more authentic representation of their (past) lives. Sidestepping the mainstream music industry, the digital enables these integrations and bolsters the hypercapitalist impulses of content creators. I illustrate these ideas through a case study of grime artist, Bugzy Malone, who uses his music to narrate his evolution from a life of criminality (selling drugs on the street; a ‘roadman’), to one in which his representational value is recognised by commercial brands who want to partner with him because of his street credibility (collecting ‘royalties’). Bugzy Malone’s commercial success is not predicated on a departure from his criminal past, but the deliberate foregrounding of it as a marker of authenticity. The representational autonomy provided by digital media can therefore enable artists to maximise the affective cachet of the once-criminal self.


Author(s):  
Elisabeth L. de Moor ◽  
Jolien Van der Graaff ◽  
Lotte van Doeselaar ◽  
Theo A. Klimstra ◽  
Susan Branje

Sign in / Sign up

Export Citation Format

Share Document