Hip Hop Discourse: Identity Formation and Tirolean Youth

2016 ◽  
Keyword(s):  
Identity Formation ◽  
Hip Hop

“You're Only Ever A Block From The ‘Hood”

2021 ◽  
Vol 33 (4) ◽  
pp. 152-170
Author(s):  
Alex Blue V
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Participant Observation ◽  
Automobile Plant ◽  
Original Intent ◽  
Spatial Reorientation ◽  
Field Notes ◽  
And Performance ◽  
Forms Of Violence ◽  
The City

This article explores the use of sound, lyrics, and performance as tools for spatial reorientation and reimagining, identity formation and affirmation, and counternarrative or counterarchive in a rapidly gentrifying contemporary Detroit, Michigan. Two discrete, yet discursively linked case studies are presented—performances by the same artist in two different spaces—that exhibit various modes of “flipping,” slang that can refer to multiple transformative practices in contemporary Detroit. These practices include the use of overdetermined spaces, or spaces that have been declared abandoned or vacant, for something other than their original intent—i.e. using a decommissioned automobile plant as a music video set; sampling, which can be understood as using sonic components from previously recorded songs in the creation of new hip-hop beats; buying homes in a state of disrepair, fixing and reselling them at large profits; and inverting meaning itself, via slang or coded language. Additionally Black techniques of sounding and performance are illuminated, with a focus on echo as a mode of co-creation. These various practices are all responses to the growing wave of gentrification that gains momentum in the city daily. The analysis draws primarily from ethnographic research conducted from 2016 to 2018, culling data from participant observation, recorded interviews, informal conversations, field notes, lyrical and video analysis, and the analysis of mediated accounts, both print and online. As the analysis shows, the strategies utilized by artists in Detroit ensure that no matter how much the spaces in Detroit continue to change, and no matter how much an attempt is made to provide racially curated space through various forms of violence, you’re only ever a block from the ‘hood.

Intersecting scapes and new millennium identities in language learning

2014 ◽  
Vol 48 (3) ◽  
pp. 373-389 ◽  
Author(s):  
Christina Higgins
Keyword(s):  
Secondary School ◽  
Language Learning ◽  
Identity Formation ◽  
Identity Construction ◽  
Language Learners ◽  
Hip Hop ◽  
Urban Residents ◽  
Language Classroom ◽  
Working Class Students ◽  
University Level

This paper examines how flows of people, media, money, technology, and ideologies move through the world, with attention to how these scapes (Appadurai 1990, 1996, 2013) shape identity construction among language learners, both in and out of classrooms. After illustrating intersecting scapes in sociolinguistic terms, I explore the relevance of these ideas to identity formation among language learners, using three case studies. First, I examine the mediascape of hip hop in the ideoscape of education in Hong Kong, where an ELT Rap curriculum was designed for working class students in a low-banded secondary school. Next, I discuss how the confluence of transnationals and cosmopolitan urban residents in Tanzania provides a range of identity options for learners of Swahili that challenge nation-state-based associations of language. Finally, I consider how learners’ engagement in anime and manga from the mediascape is taken up in an introductory university-level Japanese language classroom in Hawai’i. These examples demonstrate how individuals are increasingly learning and using additional languages in the contexts of cultural mélange and new identity zones.

scholarly journals Dee-jay drop that deadbeat : hip-hop's remix of fatherhood narratives

2018 ◽  
Author(s):  
◽  
Jessie L. Sr. Adolph
Keyword(s):  
African American ◽  
Identity Formation ◽  
Drug Addiction ◽  
Black Male ◽  
Hip Hop ◽  
Black Adolescents ◽  
Mass Incarceration ◽  
Male Engagement ◽  
Underground Economies ◽  
Rap Lyrics

This dissertation examines hip-hop fatherhood narratives from 2010-2015 influenced by drug addiction, mass incarceration, underground economies, trauma, and dysfunctional co-parenting. Explicitly, the paper explores how marginalized, urban African American dads are imagined as protectors, providers, and/or surrogates in hip-hop lyricism. Additionally, the research pays attention to hip-hop artists' depiction of identity orchestration and identity formation of black adolescents and patriarchs by utilizing David Wall's theories on identity stasis. Moreover, the dissertation critically analyzes hip-hop lyrics that reflect different concepts of maleness such as hyper-masculine, the complex cool, biblical, heroic, and hegemonic masculinities. In sum, the paper examines rap lyrics use of mimicry calling into question representative black male engagement with American patriarchy.

Renegades

2021 ◽  
Author(s):  
Trevor Boffone
Keyword(s):  
Social Media ◽  
High School Students ◽  
Identity Formation ◽  
Hip Hop ◽  
Cultural Context ◽  
The United States ◽  
School Students ◽  
Black Artists ◽  
Youth Identity ◽  
Generation Z

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.

Heroes and Filipino Migrations

2020 ◽  
pp. 53-77
Author(s):  
J. Lorenzo Perillo
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Labor Migration ◽  
The United States ◽  
The Philippines ◽  
Formation Factor ◽  
Economic Motivation ◽  
Global Mobility ◽  
Gendered Migration ◽  
The Impact

This chapter highlights the stories of 1990s and 2000s street dancers in order to explore the impact of Filipino familial and labor migration since the early 1970s. Although scholars have usually depicted global hip-hop as an outward flow from the United States, this chapter points to an alternative trajectory—when Filipino talent is part of the 10 percent of the Filipino population to have worked outside the Philippines. This chapter analyzes two figurations—overseas Filipino workers (OFWs) and Petisyonados—that simultaneously recode state-brokered gendered migration, economic motivation, and personal rationale. The processes of migrant identity formation reveal a crucial narrative by which racial and sexual formation factor into the rooting and uprooting of Filipino people and culture. Demythologizing talent and the migrant hero trope, these Filipinos exemplify how the global mobility of people and individual motility of bodies prove to be more closely related than previously thought.

scholarly journals "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

2021 ◽  
Author(s):  
Christopher Joseph Cachia
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Self Presentation ◽  
Self Identity ◽  
Hip Hop Culture ◽  
Cultural Artifact ◽  
Musical Production ◽  
Hip Hop Music ◽  
Artistic Self ◽  
Specific Concern

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.

Sino Caribbean Performance and Music

2020 ◽  
Author(s):  
Tzarina T. Prater
Keyword(s):  
Identity Formation ◽  
Cultural Production ◽  
Hip Hop ◽  
Historical Narratives ◽  
African Caribbean ◽  
Integral Role ◽  
Anglo American ◽  
Nationalism And Identity ◽  
Colonial Capitalism

Studying Sino Caribbean participation in the two cultural juggernauts of Caribbean cultural production, music and Carnival, reveals the vexed position of these modes of performance in relation to conventional historical narratives of colonialism, as well as struggles related to multiple and resilient essentialist discourses of nationalism and identity formation. The complex diasporic histories of music and Carnival are tied to violent exploitive labor formations at the core of colonial capitalism. Sino Caribbean experiences are marked by marginalization, conflict, and rebellion as well as acclimation, inclusion, and challenge to diasporic theories and critical praxis. This labor history is frequently ignored by cultural chauvinists whose critical lenses do not engage beyond the Anglo-American academic bastions. Outside of music aficionados and Caribbean communities, very few are familiar with the integral role of Sino Caribbean peoples in the production and dissemination of reggae, jazz, and by extension, hip-hop music. This historical and critical lacuna can be addressed by shifting away from Atlantic- and Pacific Rim–bound ideological articulations of diaspora that ignore the contiguities of African, Caribbean, and Asian experiences in the Caribbean, and by focusing on this history as integral to a greater understanding of colonial and neocolonial political and economic formations.

scholarly journals Keepin’ It Real (Respectable) in 2008: Barack Obama's Music Strategy and the Formation of Presidential Identity

2016 ◽  
Vol 10 (2) ◽  
pp. 113-148 ◽  
Author(s):  
DANA GORZELANY-MOSTAK
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Private Life ◽  
Social Dimensions ◽  
Public And Private ◽  
Popular Participation ◽  
Presidential Candidates ◽  
Presidential Primary ◽  
Cultural Currency ◽  
The Aesthetic

AbstractFrom the earliest elections with popular participation to the present day, American presidential candidates have harnessed music's connotative potential and affective properties in a variety of campaign contexts. But in a corporatized electoral landscape where the fields of politics and popular culture are inextricably intertwined, and every aspect of the candidate's public and private life is subjected to intense scrutiny enabled by the emergence of Web 2.0 technologies, nontraditional texts (such as music) play an increasingly significant role in candidate identity formation. Adding to recent work that explores the aesthetic and social dimensions of newly composed campaign music and its cultural currency, this essay turns a critical lens toward preexisting music and its impact on campaign discourses during Barack Obama's 2008 presidential primary campaign. I investigate three components of Obama's soundscape: 1) his engagement with hip hop—its artists, audiences, and values; 2) the intersections between his professed musical tastes and his complex biography; and 3) the playlists he used at campaign rallies, and the factors that allowed this soundtrack to solidify his own identity as candidate as well as forge alliances with women voters and black voters. Ultimately, cultural and musical analyses reveal how Obama's music strategy allowed him to project a black identity that was both “real” and “respectable.”

scholarly journals "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

2021 ◽  
Author(s):  
Christopher Joseph Cachia
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Self Presentation ◽  
Self Identity ◽  
Hip Hop Culture ◽  
Cultural Artifact ◽  
Musical Production ◽  
Hip Hop Music ◽  
Artistic Self ◽  
Specific Concern

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.

scholarly journals FROM STREET DANCES AND 'BREAKING' TO NIGHT CLUBBING: POPULAR ENTERTAINMENT AS CULTURAL AND SYMBOLIC CAPITAL IN CONTEMPORARY ATHENS

2012 ◽  
Vol 2 (2) ◽  
Author(s):  
Natalia Koutsougera
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Symbolic Capital ◽  
Popular Entertainment ◽  
Anthropological Study ◽  
Cultural Forms ◽  
Main Components ◽  
Local Discourses ◽  
Key Aspects ◽  
Global And Local

This paper is an anthropological portrayal of two cultural forms of popular entertainment, with a central emphasis on their dance practices: hip hop dance styles and night clubbing. Their main components are discussed in relation to emotions, materials and regulatory language and how these surround the sense of authenticity of the self, grounding the notion of the popular. Breakdance, street dances of the Athens hip hop scene and night clubbing practices in the western suburbs of Athens unravel in a descriptive manner in order to illuminate their interwoven elements in terms of authenticity and the permutations of the popular. The cultural and symbolic agendas of the subjectivities and collectivities engaged in these popular cultural forms unveil, along with the ways global and local discourses intersect, to produce a territory for identity formation. By highlighting the key aspects of popular entertainment in contemporary Greece, the aim of this article is to contribute to the anthropological study of popular culture by pointing out its role in the processes of shaping and performing subjectivity and in the production of authenticity. 

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