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ID:
160648
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| 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.
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| 2 |
ID:
119166
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| Publication |
2012.
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| Summary/Abstract |
The common history of Islam and the hip-hop culture can be traced back to the early expression of the culture. Since the early days of hip-hop, Muslims have used hip-hop to convey Islamic messages. Artists driven, in equal parts, by a strong personal belief in Islam and a love for hip-hop music have taken Islamic-themed hip-hop outside its country of birth, the U.S., and have made it into a matter of global concern. In an attempt to contribute to and, hopefully, complicate the picture of what has been called the transglobal hip-hop umma, this article explores how Swedish Muslims articulate their beliefs through hip-hop in Sweden. With examples from both the Swedish mainstream and the underground, it highlights hip-hop music with an Islamic engagement whose aim is to promote and perform what is understood as "Islamic values," such as ethics, peace, social responsibility, and a strong personal belief.
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| 3 |
ID:
100031
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2010.
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| Summary/Abstract |
This study examines the development of popular music in Mongolia over roughly four decades, focusing in particular on the emergence of globally inspired hip-hop and rap music. This is the period in which Mongolian popular musicians found their own voice within a rapidly expanding cultural mainstream. Hip-hop emerged within this mainstream as both a product of these developments and the result of the rise of a new generation of young people who defined themselves as distinct from the older, 'socialist-era' generations and used this music to declare this. The story of hip-hop's development provides us with a window onto the changing social, political and economic landscape of post-socialist Mongolia.
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| 4 |
ID:
102934
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2011.
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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.
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| 5 |
ID:
181891
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