| Srl | Item |
| 1 |
ID:
120790
|
|
|
|
|
| Publication |
2013.
|
| Summary/Abstract |
The article examines current rock culture in the Balkans as a potential vehicle for rebuilding the broken sociocultural bonds between the different post-Yugoslav societies and for creating a constructive cultural space for articulating new forms of civic and post-nationalist identities. The argument offered is that, after the sociocultural exile during the war years, rock culture in the post-conflict Balkans has considerable potential to establish itself as a popular-cultural force of 'utopian transcendence' of the current ethno-nationalist sociopolitical moment, and as a catalyst of the new post-Yugoslav spirit of openness, tolerance and peaceful coexistence.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 2 |
ID:
160648
|
|
|
|
|
| Summary/Abstract |
This paper examines the construction of prisoners’ identity through rap in England’s high security prisons. While hip hop studies has often addressed rap’s connection to the social practices of criminalized youths, prison rap cultures have received scant attention. This paper draws on a series of rap workshops and interviews with prisoners to investigate the experiences of black prisoners in high security prisons and how identities are produced and negotiated through rap. Rap is associated with the production of a range of identities and identifications, enabling prisoners to accommodate themselves to the conditions of their incarceration and to challenge aspects of the criminal justice system that they experience as unfair or illegitimate.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 3 |
ID:
180536
|
|
|
|
|
| Summary/Abstract |
Turkish rap music has dominated the scene since 2017. This transformation occurred very quickly. Turkish rap was pioneered by alienated Turkish immigrants in Germany. Initially, it served as a tool for self-expression and dissent from an underground position. Although political rap gained popularity for a short period during the Gezi protests, today’s rappers are turning into influencers rather than protestors and harming rap’s ability of social expression. This research focuses on Turkish rap music’s integration with the current capitalist industries by using the perspectives of both cultural studies and political economy through interviews with industry professionals and historical analysis.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 4 |
ID:
085235
|
|
|
|
|
| Publication |
2008.
|
| Summary/Abstract |
This essay examines how the "black" racial significance of hip hop culture is received, interpreted, and redeployed within the Afro-Atlantic world. Beyond questions of cultural consumption and reproduction, it is argued that hip hop's expanding global reach has facilitated the contemporary making and moving of black diasporic subjects themselves. Here, African descendant youth in an array of locales use the performative contours of hip hop to mobilize notions of black-self in ways that are at one time both contestive and transcendent of nationally bound racial framings. Hip hop in this way can be seen as enabling a current global (re)mapping of black political imaginaries via social dynamics of diaspora. In pursuing this argument, this essay looks toward hip hop movements in Brazil, Cuba, and South Africa as compelling, yet varying examples of how transnationally attuned identities of blackness are marshaled in the fashioning of diasporic subjects through hip hop.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 5 |
ID:
102880
|
|
|
| 6 |
ID:
102934
|
|
|
|
|
| Publication |
2011.
|
| Summary/Abstract |
This paper presents research findings from fieldwork in the rap scene of Tunis. Although the scene is relatively small, especially when compared to its Algerian counterpart, the number of young men involved in rap is expanding rapidly, particularly with the internet as a networking and promoting tool. Throughout the discussion I explore some of the ways that (Sunni) Islam intersects with rap in the artists' lives, lyrics and identities, and the ways that their particular locatedness informs their position within what has been termed the 'transglobal hip hop nation'. Whilst interpreting religion has long been a contested area in Tunisia, it seems that rap here functions as a route to articulating alternative interpretations of Islam, ones which not only unite the artists but offer potential for pan-umma and transglobal connectivities. These potentialities resonate with the idea of a 'transglobal hip hop ummah' and provide the artists with arenas for personal, political, collective and spiritual expression.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|