scholarly journals Whiteness and the Blackening of Italy: La guerra cafona, Extracommunitari and Provisional Street Justice

2008 ◽  
Vol 5 (2) ◽  
Author(s):  
Joseph Pugliese
Keyword(s):  
Hip Hop ◽  
Cultural Practices ◽  
Global South ◽  
Hip Hop Culture ◽  
Nationalist Movement ◽  
History Of ◽  
Historical Tradition ◽  
Italian Context ◽  
Historical Moment ◽  
Italian Unification

In this essay, I briefly revisit the historical moment of Italian unification, drawing attention to its violent colonial dimensions and the twenty years of insurgent southern brigandage that erupted immediately after unification, in order to begin to trace the survival of this southern insurrectionary and anti-nationalist movement in the contemporary Italian context. In the process of focusing on the manner in which a statue of the Italian national poet, Dante, has been graffitied by southern youth in a square in Naples, I transpose the historical tradition of southern brigandage, returning the term back to its insurgent political roots, in order to begin to establish lines of connection between seemingly disparate politico-cultural practices and genealogies; in particular, I examine contemporary southern hip hop culture, including graffiti and rap, in relation to the history of southern anti-unification and counter-nationalist movements, marking the transmediterranean-atlantic politico-cultural flows that inscribe southern hip hop culture. I conclude by bringing into contemporary focus this northern history of anti-southern discrimination and exploitation by drawing attention to the plight of recent immigrants from the Global South that constitute the underbelly of contemporary Italy’s economic prosperity. My focus here is on mapping points of polico-cultural connection between immigrants of the Global South and meridionali through the instantiation of such tactical cultural practices as establishing suks and transitory markets in Italy’s civic squares.

Re-Mixing Making: examining the Intersections of Hip Hop Culture, Maker Spaces, and Social Justice Education

2020 ◽  
Vol 2 (1) ◽  
pp. 83-102
Author(s):  
Michael Dando
Keyword(s):  
Social Justice ◽  
Critical Literacy ◽  
Hip Hop ◽  
Cultural Practices ◽  
Public Library ◽  
Social Justice Education ◽  
After School ◽  
Hip Hop Culture ◽  
Marginalized Communities ◽  
Analysis And Design

Abstract Despite the potential to promote critical literacy formation, academic engagement and social justice education, maker activities and maker spaces do not always support or engage historically marginalized communities. This paper chronicles a response to this problem by examining a study created to support equitable engagement with youth in an after-school workshop series over 8-weeks that focused on Hip Hop cultural practices and the simultaneous development of critical literacy and social justice perspectives. The series, open to community youth was located in the makerspace of the local public library. Within this study, project designers drew from Gutierrez and Rogoff’s concept of “repertoires of practice” and focused particularly on questions of what counts as making, and who has agency to make these decisions and how engagement with hip hop culture mediates these understandings. I consider two instances where students engaged in Hip Hop- centered generative practices (particularly beat making and graffiti writing) and analyze moments of student resistance and agency as opportunities to expand understandings of development of critical media literacy and social justice orientation. This paper foregrounds the importance of iterative analysis and design as participants develop artistic, social, and political identities over the course of the workshop. Finally, this paper explores implications for classroom learning that emerged from the work, including expression, exploration, and collaboration.

scholarly journals Migrant rap in the periphery

AILA Review ◽  
2017 ◽  
Vol 30 ◽  
pp. 1-26 ◽  
Author(s):  
Sirpa Leppänen ◽  
Elina Westinen
Keyword(s):  
Social Media ◽  
Social Change ◽  
Hip Hop ◽  
Rap Music ◽  
Cultural Practices ◽  
Hip Hop Culture ◽  
Rapid Social Change ◽  
Social Settings ◽  
Audience Responses ◽  
Fluid Process

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.

scholarly journals Od znaku „Polski Walczącej” po hasło „FaceBóg” – rola polskiego graffiti w latach 1942–2011

2019 ◽  
pp. 127-140
Author(s):  
Konrad Nowak-Kluczyński
Keyword(s):  
Hip Hop ◽  
Second World War ◽  
Street Art ◽  
Social Psychological ◽  
Hip Hop Culture ◽  
Polish Literature ◽  
History Of ◽  
The 1960S ◽  
Second World

Against the general opinion the history of graffiti goes back to the beginnings of civilization. There are numerous examples of graffiti, for instance the inscriptions hollowed with a chisel found on the ancient household artifacts or on the walls. The inscriptions had an informative function but they were also magical. The phenomenon of spray art was widespread in the 1960s and the beginning of the Polish taggers subculture was in the 1980s, although one can find street art during the Second World War. But it is usually neglected or disregarded in the Polish literature. The Anchor – the sign of “Fighting Poland”, was placed on pavements, walls, notice boards or train stops of the occupied country. It was the sign of the fight for freedom and independence. As the years passed, the Polish reality was changing and the role of graffiti also changed. Now, it expresses itself in slogans, appeals, messages, drawings, portraits or murals. The aim of the work is to show the role of the Polish graffiti between 1942 and 2011. The author analyses graffiti in a number of aspects and throughout many years. The author identifies Polish spray art with teenage rebellion, sense of humor, political engagement, commentary or the negation of reality. Moreover, the article focuses on social, psychological or urban aspects of the examined phenomenon and identifies it with widespread modern hip-hop culture.

Asian Americans in Hip-Hop

2020 ◽  
Author(s):  
Ninochka McTaggart ◽  
Oliver Wang
Keyword(s):  
Asian Americans ◽  
Hip Hop ◽  
Pacific Islander ◽  
Hip Hop Culture ◽  
Asian Pacific Islander ◽  
History Of ◽  
Pacific Islander Americans ◽  
Asian Pacific ◽  
Key Participants

This entry surveys the history of Asian Pacific Islander Americans participation and involvement in expressive forms of hip-hop culture. While acknowledging that hip-hop has its roots in Afro-diasporic traditions, the entry highlights the various ways in which Asian Pacific Islander Americans have been both key participants and innovators within that culture. Particular attention is paid to specific forms of hip-hop: graffiti writing, dancing, rapping/MCing and DJing/turntablis. Each of these include succinct historical summaries of their development. The participation of Asian Pacific Islander Americans are then discussed, ending with annotated lists of select, key figures within each form.

True School: Situational Authenticity in Chicago’s Hip-Hop Underground

2011 ◽  
Vol 6 (3) ◽  
pp. 283-298 ◽  
Author(s):  
Geoff Harkness
Keyword(s):  
Conceptual Framework ◽  
Hip Hop ◽  
Cultural Practices ◽  
Boundary Work ◽  
White Female ◽  
Hip Hop Culture ◽  
Urban Core ◽  
Cultural Boundaries ◽  
Latino Male ◽  
Black And Latino

How do outsiders negotiate participation within a subculture when they are deemed inauthentic by that subculture’s insiders? To explore this question, I examine the underground hip-hop scene in Chicago. The insiders are black and Latino, male rappers from the city’s urban core. The outsiders are white, female, and/or suburban rappers, who want to participate in hip-hop culture, but are deemed inauthentic by insiders. I demonstrate how, through cultural practices and a rhetoric of authenticity, the conditions that govern ‘realness’ and ‘fakeness’ are continually reshaped, on the basis of context. Exploring how this boundary work is utilized to create, maintain, and occasionally traverse race, gender, and class-based cultural boundaries, I underscore the flexible and varied uses of the authentic, a conceptual framework I label situational authenticity.

Between Live Performance and Mediated Narrative

2018 ◽  
Author(s):  
Eli T. Bacon
Keyword(s):  
Hip Hop ◽  
A Cappella ◽  
Live Performance ◽  
Communicative Practices ◽  
Hip Hop Culture ◽  
Visual Discourse ◽  
Communicative Strategies ◽  
History Of ◽  
The Relationship

This chapter considers how the history and development of battle rapping has influenced the wider trajectory of hip hop music and culture. Starting with a history of battle rap, told with an eye toward changes in the purpose(s), communicative practices, and modes of circulation of battles, the chapter labels three distinct eras: the Party Era (1970–1981), Lyricist Era (1981–1999), and Theatrical Era (1999 to present). These three eras trace the shift to written and rote preparations within rap battle culture, the more prominent role of visual discourse within battles, and a musical shift to an a cappella format. Moving from the very center of hip hop culture, to the peripheries, and back to somewhere in between, rap battling has come to be framed as a subculture within hip hop. Within this frame, the communicative strategies of battle rappers require “decoding,” as does the relationship between battle rap subcultures and hip hop culture. To explicate this argument, the second section decodes some of the communicative practices of a contemporary written battle.

Queer Hip Hop

2018 ◽  
Author(s):  
Shanté Paradigm Smalls
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
Music Industry ◽  
Hip Hop Culture ◽  
Hip Hop Music ◽  
Bisexual And Transgender ◽  
History Of

This chapter explores the relatively long history of the queer presence inside of hip hop cultural production. Starting in the late 1970s and ending in the current moment, this historiography argues that queer and/or lesbian, gay, bisexual, and transgender (LGBT) artists in hip hop music have chartered and navigated perilous landscapes—in the music industry, in hip hop culture, and in the broader US pop terrain. The discussion details the notable queer artists, some known and some forgotten, who have made possible the seeming ease with which queer and queer-friendly artists emerging in the 2000s and afterward have captured audiences in multiple mainstream areas.

Jefferson’s Paradox, or a Very Brief History of Black Women’s Sexuality, Hip-Hop, and American Culture

2017 ◽  
Author(s):  
T. Denean Sharpley-Whiting
Keyword(s):  
Black Women ◽  
Political Culture ◽  
Hip Hop ◽  
Rap Music ◽  
Women's Sexuality ◽  
Hip Hop Culture ◽  
The Public ◽  
Gangsta Rap ◽  
Women’S Sexuality ◽  
History Of

American representations of black women’s sexuality extend from the political culture of the eighteenth century to the public and popular culture of the twenty-first. Hip-hop culture may now be at the center of the phenomenon, and antiblack misogyny seems to emanate from gangsta rap music. However, Thomas Jefferson’s racial theses on blacks, and black women in particular, from his Notes on the State of Virginia helped form this perspective. Jefferson’s tradition of flattened-out, uncomplicated, and sexually and racially violent representations and understandings of black women and their sexuality continue in our contemporary moment, as does his biased aesthetic evaluations of them based on ideas of white superiority.

scholarly journals Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South

Religions ◽  
2021 ◽  
Vol 12 (11) ◽  
pp. 1030
Author(s):  
Adeerya Johnson
Keyword(s):  
Black Women ◽  
Hip Hop ◽  
Southern Region ◽  
The South ◽  
Hip Hop Culture ◽  
Black Womanhood ◽  
History Of ◽  
Women And Girls ◽  
And Performance ◽  
Rap Lyrics

Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens?

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