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Looks at linguistic, cultural and economic aspects of hip-hop in parallel using various frameworks of analysis.
This cutting-edge book, located at the intersection of sociolinguistics and Hip Hop Studies, brings together for the first time an international group of researchers who study Hip Hop textually, ethnographically, socially, aesthetically, and linguistically. It is the harvest of dialogue between these two separate yet interconnected areas of study. A missing gap in the Hip Hop literature is the centrality and an in-depth analysis of the very medium that is used to express and perform Hip Hop -- language. Global Linguistic Flows fills this gap.
Offers a set of diverse analyses of traditional and contemporary work on language structure and use in African American communities.
Hip Hop Desis explores the aesthetics and politics of South Asian American (desi) hip hop artists. Nitasha Tamar Sharma argues that through their lives and lyrics, young “hip hop desis” express a global race consciousness that reflects both their sense of connection with Blacks as racialized minorities in the United States and their diasporic sensibility as part of a global community of South Asians. She emphasizes the role of appropriation and sampling in the ways that hip hop desis craft their identities, create art, and pursue social activism. Some desi artists produce what she calls “ethnic hip hop,” incorporating South Asian languages, instruments, and immigrant themes. Through ethnic hip hop, artists, including KB, Sammy, and Deejay Bella, express “alternative desiness,” challenging assumptions about their identities as South Asians, children of immigrants, minorities, and Americans. Hip hop desis also contest and seek to bridge perceived divisions between Blacks and South Asian Americans. By taking up themes considered irrelevant to many Asian Americans, desi performers, such as D’Lo, Chee Malabar of Himalayan Project, and Rawj of Feenom Circle, create a multiracial form of Black popular culture to fight racism and enact social change.
This book adopts a sociolinguistic perspective to trace the origins and enduring significance of hip-hop as a global tool of resistance to oppression. The contributors, who represent a range of international perspectives, analyse how hip-hop is employed to express dissatisfaction and dissent relating to such issues as immigration, racism, stereotypes and post-colonialism. Utilising a range of methodological approaches, they shed light on diverse hip-hop cultures and practices around the world, highlighting issues of relevance in the different countries from which their research originates. Together, the authors expand on current global understandings of hip-hop, language and culture, and underline its immense power as a form of popular culture through which the disenfranchised and oppressed can gain and maintain a voice. This thought-provoking edited collection is a must-read for scholars and students of linguistics, race studies and political activism, and for anyone with an interest in hip-hop.
An ethnographic study of Japanese hip-hop.
This volume explores and compares linguistic practices among young people in linguistically and culturally diverse urban spaces.
Complementing a burgeoning area of interest and academic study, Roc the Mic Right explores the central role of language within the Hip Hop Nation (HHN). With its status convincingly argued as the best means by which to read Hip Hop culture, H. Samy Alim then focuses on discursive practices, such as narrative sequencing and ciphers, or lyrical circles of rhymers. Often a marginalized phenomenon, the complexity and creativity of Hip Hop lyrical production is emphasised, whilst Alim works towards the creation of a schema by which to understand its aesthetic. Using his own ethnographic research, Alim shows how Hip Hop language could be used in an educational context and presents a new approach to the study of the language and culture of the Hip Hop Nation: 'Hiphopography'. The final section of the book, which includes real conversational narratives from Hip Hop artists such as The Wu-Tang Clan and Chuck D, focuses on direct engagement with the language. A highly accessible and lively work on the most studied and read about language variety in the United States, this book will appeal not only to language and linguistics researchers and students, but holds a genuine appeal to anyone interested in Hip Hop or Black African Language.
The English language is spreading across the world, and so too is hip-hop culture: both are being altered, developed, reinterpreted, reclaimed. This timely book explores the relationship between global Englishes (the spread and use of diverse forms of English within processes of globalization) and transcultural flows (the movements, changes and reuses of cultural forms in disparate contexts). This wide-ranging study focuses on the ways English is embedded in other linguistic contexts, including those of East Asia, Australia, West Africa and the Pacific Islands. Drawing on transgressive and performative theory, Pennycook looks at how global Englishes, transcultural flows and pedagogy are interconnected in ways that oblige us to rethink language and culture within the contemporary world. Global Englishes and Transcultural Flows is a valuable resource to applied linguists, sociolinguists, and students on cultural studies, English language studies, TEFL and TESOL courses.
This is the first collection of essays to take a pan-European perspective in the study of hip-hop. How has it traveled to Europe? How has it developed in the various cultural contexts? How does it reference the American cultures of origin? The book's 21 authors and artists provide a comprehensive overview of hip-hop cultures in Europe, from the fringes to the centers. They address hip-hop in a variety of contexts, such as class, ethnicity, gender, history, pedagogy, performance, and (post-) communism. (Series: Transnational and Transatlantic American Studies - Vol. 13)