Rap as indicator of protest potential of Z generation

Contexts of youth protest potential in rap as a musical direction popular among modern youth are analysed in the article. Attempts of imposing of political identity «from above» does not meet requirements of the youth which seeks for self-realisation in the cultural sphere. Therefore, the article examines the socio-psychological phenomenon of such a youth public practice as rap culture, which has now become a brand of mass pop culture. On the basis of sociological data the author analyses social mood and topical problems of the Kazakhstani youth, designing its protest potential. Quite high percent of the young respondents concerned by violations of the legitimate social, civil and political rights is revealed. It is noted that the Z generation prefers non-political forms in a counterbalance a protest to means of cultural self-expression. In mass consciousness installation about rap as to «protest music» was approved. The historical and cultural retrospective of emergence and development of rap allowed the author to disprove the settled stereotype and to prove a position about rap as to music of success and active living position. Topicality and scientific novelty of the problem statement made it possible to show the importance of studying the protest behaviour of young people in the modern scientific space, highlighting its indicators and drawing a conclusion about the need for a psychological study of youth protest tendencies and pedagogic support of the socialisation process.

SOKKIE DANCING IN PRETORIA: POPULAR AFRIKAANS MUSIC, DANCE, AND IDENTITY

Afrikaans protest music influenced by rock has received a substantial degree of academic attention in recent years. While significant, the emphasis on Afrikaans protest music has left Afrikaans pop music largely unexamined. As this genre enjoys wide popularity amongst Afrikaners, this article considers this lacuna in academic inquiry. Afrikaans pop music is widely consumed in South Africa and is a major part of its music industry. In this article, I bring into focus how a strand of music, that might seem to avoid meaningful dialogue through superficial lyrics, forms part of an Afrikaner subculture and a strategy to preserve identity, norms, and values. In particular, I argue for a wider contextual understanding of music and the limitations of lyrical analysis to produce meaningful insight into music’s role in enabling participants to negotiate identity and place. Drawing on fieldwork conducted at Presley’s, a night club in Pretoria, I elucidate this process through the dialogue between Afrikaans music and sokkie dance.

Political Music in Turkey

Since the founding of the Turkish republic, music has been viewed and used as a nation-building tool by the state. Respectively, music has also been considered an instrument of opposition from the very beginning. This opposing character has expanded and diversified its vocabulary with a socialist and leftist tone over time, especially in the 1960s. During the end of the decade, we also see the emergence of Kurdish political music. During the early 1970s, Turkey witnessed the burgeoning of the ultranationalist music called Ülkücü music. While the 1980 military coup silenced all the dissident voices and music, musicians who received asylum from European countries continued creating music in exile. Leftist music after the military coup witnessed a popularization in the band music influenced by the Latin American musical genre Nueva canción, and solo musician Ahmet Kaya pioneered the leftist protest song scene. Kurdish political music bands called koms emerged by the end of the 1980s and became more prevalent during the 1990s. The 2000s saw the deradicalization, individualization, and depoliticization of overtly political musics in general. However, with the overpoliticization of the country during the Adalet ve Kalkınma Partisi regime, the dissident elements of protest music have also become dispersed into a wide variety of genres with a more moderate tone.