Volunteered Session--Mobilizing Media: Constructing Social Identities in Youth Diaspora. Paper Title--It's Bigger Than Hip Hop: Translocal African Youth and Social Identification in the United States

2010 ◽  
Author(s):  
Chike McLoyd ◽  
Krystal Smalls
Keyword(s):  
United States ◽  
Hip Hop ◽  
The United States ◽  
Social Identification ◽  
Social Identities ◽  
African Youth

Producing Diaspora

2018 ◽  
pp. 160-184
Author(s):  
Catherine M. Appert
Keyword(s):  
United States ◽  
Hip Hop ◽  
The United States ◽  
Indigenous Music ◽  
Material Gain ◽  
The Face ◽  
The Relationship ◽  
Musical Elements ◽  
Verbal Performance

This chapter shows how palimpsestic practices of hip hop genre produce diasporic connections. It describes how hip hop practices of layering and sampling delink indigenous musical elements from traditional communicative norms to rework them in hip hop, where they signify rootedness and locality in ways consistent with hip hop practice in the United States. It demonstrates that this process relies on applications of hip hop time (musical meter) as being fundamentally different from indigenous music, whose local appeal is contrasted with hip hop’s global intelligibility. It outlines how hip hop concepts of flow free verbal performance from lyrical referentiality to render it a musical element. It argues that these practices of hip hop genre, in their delinking of sound and speech, reshape understandings of the relationship between commercialism and referentiality, and suggests that voice therefore should be understood to encompass artists’ agency in pursuing material gain in the face of socioeconomic struggle.

Conclusion

Build ◽  
2019 ◽  
pp. 169-184
Author(s):  
Mark Katz
Keyword(s):  
United States ◽  
El Salvador ◽  
Case Studies ◽  
Hip Hop ◽  
The United States ◽  
The State ◽  
Self Awareness ◽  
Positive Outcomes ◽  
Funding Cuts ◽  
Trump Administration

The conclusion considers the value of the partnership between hip hop and diplomacy. Hip hop diplomacy has value in convening groups unlikely to collaborate otherwise; it can be a source of validation for hip hop artists and their communities; and it can generate a favorable view of the United States and good will towards its citizens. Such positive outcomes, however, are not automatic and require that programs be conducted with respect, humility, self-awareness and a willingness to collaborate with local partners. Although the State Department faced severe funding cuts in the first years of the Trump administration, hip hop diplomacy has remained well-funded, although its future is uncertain. Specific anecdotes and case studies come from Next Level programs in Bangladesh, El Salvador, and Morocco.

Operating in a Zone of Ambiguity: Tensions and Risks

Build ◽  
2019 ◽  
pp. 81-108
Author(s):  
Mark Katz
Keyword(s):  
United States ◽  
El Salvador ◽  
Hip Hop ◽  
Cultural Diplomacy ◽  
Cultural Exchange ◽  
The United States ◽  
Exchange Programs ◽  
Collaborative Interactions ◽  
The Asymmetry

This chapter explores the central tensions that animate hip hop diplomacy. One tension is between art and diplomacy, particularly in their distinctive approaches to process and views on outcomes. A second tensions arises because of the asymmetry of power between the United States and the countries that hip hop diplomacy programs visit. This chapter posits that hip hop diplomacy (and cultural diplomacy in general) operates in a zone of ambiguity, a state in which palpable, inescapable tensions and uncertainties hang over one’s every action. Specific examples come from hip hop diplomacy initiatives in El Salvador, India, Morocco, Senegal, and Zimbabwe. The chapter ends by offering guidelines for respectful, collaborative interactions in cultural diplomacy and cultural exchange programs.

Introduction

Build ◽  
2019 ◽  
pp. 1-24
Author(s):  
Mark Katz
Keyword(s):  
United States ◽  
Foreign Policy ◽  
African American ◽  
Hip Hop ◽  
Cultural Diplomacy ◽  
The United States ◽  
Us Foreign Policy ◽  
Policy Objectives ◽  
Artistic Styles ◽  
African American Communities

The introduction explains why the partnership between hip hop diplomacy is unlikely and risky but also potentially productive. Hip hop is a powerful platform for US cultural diplomacy because it is globally popular, widely accessible, readily combined with a variety of artistic styles and practices, and immediately and positively associated with the United States. Hip hop diplomacy can serve US foreign policy objectives by enhancing the image of the United States and promoting US interests abroad. The introduction concludes with a reflection on the author’s identity as a white man and considers its implications for working in hip hop, a genre and culture that arose out of African American communities.

scholarly journals Picturing an Impossible American: Njideka Akunyili Crosby and Photographic Transfers in Portals (2016)

2018 ◽  
Vol 2 (1) ◽  
pp. 212-224 ◽  
Author(s):  
Natalie Zelt
Keyword(s):  
United States ◽  
Popular Culture ◽  
The United States ◽  
Social Identification ◽  
American Identity ◽  
Close Reading ◽  
National Politics ◽  
Multiple Points ◽  
Contact Zones ◽  
The Us

Abstract This article considers artist Njideka Akunyili Crosby’s use of photographic transfers and popular culture in her 2016 painting “Portals” to craft an artwork specific to her experience across multiple points of social identification in the United States and Nigeria. Through close reading and the study of Crosby’s formal and conceptual strategies, Zelt investigates how varying degrees of recognition work through photographic references. “Portals” contests assimilationist definitions of American identity in favor of a representation which is multiplicitous, operating across geographies. By juxtaposing images from different times, in different directions, Crosby constructs “contact zones” and provokes a mode of looking that reflects a feeling dislocation from the country in which she stands, the United States, and the country with which she also identifies, Nigeria. After a brief introduction to the artist and her relationship to Nigerian national politics, the article explores how distance and recognition work through image references to express a particular form of transnational identity, followed by an examination of uses of popular culture references to engage with blackness and an interdependent “Nigerian-ness” and “American-ness.” It concludes by contextualizing the painting’s display amid waves of amplified nativist purity in the US.

Queer as Trad

2018 ◽  
Author(s):  
Tes Slominski
Keyword(s):  
United States ◽  
Traditional Music ◽  
The United States ◽  
Social Identities ◽  
Musical Performance ◽  
Ethnographic Interviews ◽  
Music Scene ◽  
Ethnicity And Race ◽  
Irish Traditional Music

This chapter demonstrates that studying the experiences of queer musicians and dancers is vital to understanding the relationships among music, selfhood, and social identities in Irish traditional music. By breaking the silence around LGBTQ performers of Irish traditional music through ethnographic interviews with queer musicians in the United States, this chapter addresses the paradox that non-normative participants experience musical performance as simultaneously liberatory and confining. This chapter explores musicians’ feelingful experiences of “the music itself” as an escape and examines the issues queer musicians face in gaining recognition in the Irish traditional music scene. More broadly, this chapter begins a conversation about nationalist assumptions around sexuality, gender, ethnicity, and race still implicit in the (re)production of sounds and bodily practices considered “Irish.”

scholarly journals Jay-Z and O.J.: Sport and the Performance of Race in Hip-Hop Music

2020 ◽  
Vol 37 (3) ◽  
pp. 192-206
Author(s):  
Kellen Jamil Northcutt ◽  
Kayla Henderson ◽  
Kaylee Chicoski
Keyword(s):  
United States ◽  
Critical Race Theory ◽  
Hip Hop ◽  
Lived Experiences ◽  
Black Americans ◽  
The United States ◽  
Video Data ◽  
Hip Hop Music ◽  
Jay Z ◽  
The Impact

The purpose of this study was to understand the symbolic messaging in hip-hop music as it relates to the lived experiences and realities of Black Americans in the United States. The study examined the song and music video titled “The Story of O.J.,” by hip-hop artist Jay-Z to gain a better understanding of how Jay-Z interpreted the impact of Black Americans’ lived experiences in the United States on their identity and ability to progress economically and socially, regardless of social standing, within subcultures such as sport. Employing a content analysis method, data were collected and analyzed using critical race theory. The results of the analysis of lyrical and video data identified three major themes: (a) battle with Blackness, (b) economic enslavement and financial freedom, and (c) systematic subjugation.

scholarly journals THE INFLUENCE AND THE ADVANTAGE OF AMERICAN HIP HOP TO THE RISING ASIAN RAPPERS

2020 ◽  
Vol 7 (1) ◽  
pp. 1
Author(s):  
Mayza Nisrin Abielah
Keyword(s):  
United States ◽  
Qualitative Research ◽  
Hip Hop ◽  
Gain Control ◽  
The United States ◽  
Asian Immigrants ◽  
Cultural Imperialism ◽  
Dominant Culture ◽  
Hip Hop Culture ◽  
The World

Cultural imperialism aims at how dominant culture affects other cultures to gain control of certain cultures and create the view that their dominant culture is the center for all countries in the world, which will create uniformity around the world. Therefore, this study will discuss how Asian rappers are influenced by American hip hop culture and how they benefitted from their careers’ success. The theory used in this study is cultural imperialism by John Tomlinson to see the influence of cultural imperialism in American hip hop culture to Asian rappers. The method used in this study is qualitative research by Creswell. The result shows that America’s cultural imperialism influences Asian Rappers by adopting its culture, language, and style of American hip hop. However, its influence is not harmful since the Asian rappers use this to gain more recognition from people, especially in Western, and to be accepted in representing Asian immigrants in the United States.

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