Amateur live performances on the city streets of Wuhan give afterlives to songs of Chinese pop’s canon; they are sites for this repertory to be adapted and assimilated into musical worlds beyond those of the artists and industries responsible for its original production and dissemination. Singers here learn the songs by following commercial recordings, a process I understand with reference to oral transmission as it enables and constrains creativity in ways reflective of the social and technological circumstances of performers’ lives. Recordings feed into the spread of change among Wuhan’s amateur singers, with certain limitations and new possibilities also resulting from the technologies and skills available on the streets. Looking at popular song afterlives exposes mundane layers of creativity, and it comments more broadly on prosaic drivers of new meaning in current popular music practices.
{"title":"Popular Song Afterlives: Oral Transmission and Mundane Creativity in Street Performances of Chinese Pop Classics","authors":"Samuel Horlor","doi":"10.1558/JWPM.34195","DOIUrl":"https://doi.org/10.1558/JWPM.34195","url":null,"abstract":"Amateur live performances on the city streets of Wuhan give afterlives to songs of Chinese pop’s canon; they are sites for this repertory to be adapted and assimilated into musical worlds beyond those of the artists and industries responsible for its original production and dissemination. Singers here learn the songs by following commercial recordings, a process I understand with reference to oral transmission as it enables and constrains creativity in ways reflective of the social and technological circumstances of performers’ lives. Recordings feed into the spread of change among Wuhan’s amateur singers, with certain limitations and new possibilities also resulting from the technologies and skills available on the streets. Looking at popular song afterlives exposes mundane layers of creativity, and it comments more broadly on prosaic drivers of new meaning in current popular music practices.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43922029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sounding Dublin: Mapping Popular Music Experience in the City","authors":"J. O’Flynn, Áine Mangaoang","doi":"10.1558/JWPM.34372","DOIUrl":"https://doi.org/10.1558/JWPM.34372","url":null,"abstract":"","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42810797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Worldbeat to Localbeat: Towards a Theory of the Transformation of Music from the Borrowed to the Local","authors":"W. Bere","doi":"10.1558/JWPM.28024","DOIUrl":"https://doi.org/10.1558/JWPM.28024","url":null,"abstract":"","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41717157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article outlines an open, decentred and unfinished vision for community-engaged scholarship in hip hop studies. Employing examples from the Hip Hop as Postcolonial Studies initiative at the University of California, Berkeley, it elaborates in theory and method how (and why) hip hop's community knowledges might (and should) be better valued and leveraged in university contexts. The article argues that hip hop is itself a form of open (and vulnerable) scholarship; that hip hop's core praxis of "knowledge of self" (KoS) is an intellectually and artistically rigorous form of (counter)history; that hip hop is postcolonial studies. By examining artist-facilitator Rico Pabon's pivotal role in the initiative, the article elaborates how hip hop's performed KoS calls into question our reliance on the professorial structure of the university knowledge trade. Centring on a "questing" track that gives this article its title, it shows how the seamless and unfinished unity of Pabon's knowledge/performance, content/form and theory/method can model ways in which to decentre our scholarly praxis and bring our decolonial theory into a pedagogical form more befitting of postcolonial studies.
这篇文章概述了一个开放的，去中心化的，未完成的愿景，社区参与奖学金在嘻哈研究。以加州大学伯克利分校(University of California, Berkeley)的嘻哈后殖民研究项目为例，从理论和方法上阐述了嘻哈社区知识如何(以及为什么)可能(也应该)在大学环境中得到更好的重视和利用。这篇文章认为，嘻哈本身就是一种开放(和脆弱)的学术形式;嘻哈的核心实践“自我知识”(KoS)是一种智力和艺术上严格的(反)历史形式;嘻哈是后殖民研究。通过考察艺术家兼推动者Rico Pabon在倡议中的关键作用，文章阐述了嘻哈表演的ko如何对我们对大学知识贸易的教授结构的依赖提出质疑。本文以“探索”为中心，展示了帕本的知识/表现、内容/形式和理论/方法的无缝和未完成的统一如何能够为分散我们的学术实践和将我们的非殖民理论带入更适合后殖民研究的教学形式的方法提供模型。
{"title":"“Yo Nací Caminando”: Community-Engaged Scholarship, Hip Hop as Postcolonial Studies, and Rico Pabón’s Knowledge of Self","authors":"J. Rollefson","doi":"10.1558/JWPM.37841","DOIUrl":"https://doi.org/10.1558/JWPM.37841","url":null,"abstract":"This article outlines an open, decentred and unfinished vision for community-engaged scholarship in hip hop studies. Employing examples from the Hip Hop as Postcolonial Studies initiative at the University of California, Berkeley, it elaborates in theory and method how (and why) hip hop's community knowledges might (and should) be better valued and leveraged in university contexts. The article argues that hip hop is itself a form of open (and vulnerable) scholarship; that hip hop's core praxis of \"knowledge of self\" (KoS) is an intellectually and artistically rigorous form of (counter)history; that hip hop is postcolonial studies. By examining artist-facilitator Rico Pabon's pivotal role in the initiative, the article elaborates how hip hop's performed KoS calls into question our reliance on the professorial structure of the university knowledge trade. Centring on a \"questing\" track that gives this article its title, it shows how the seamless and unfinished unity of Pabon's knowledge/performance, content/form and theory/method can model ways in which to decentre our scholarly praxis and bring our decolonial theory into a pedagogical form more befitting of postcolonial studies.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45408269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I explore how two Latinx young men made use of rapping within a creative and healing afterschool hip hop space at a California Bay Area High School. I argue that they performed a calculated, strategic ambivalence. That is, just as they composed raps that made use of wordplay with double or more meanings, they constructed personhoods that quite literally embodied double or more meanings. They became the embodiment of double entendre, strategically performing, rapping and narrativizing personas that allowed them to synchronously survive the classroom and the 'hood, subverting the "White gaze" and the gaze of the streets.
{"title":"Double Entendre Got Bodied: Strategic Ambivalence and Latinx Young Men Rappin’ under the White Gaze","authors":"C. Wong","doi":"10.1558/JWPM.37842","DOIUrl":"https://doi.org/10.1558/JWPM.37842","url":null,"abstract":"I explore how two Latinx young men made use of rapping within a creative and healing afterschool hip hop space at a California Bay Area High School. I argue that they performed a calculated, strategic ambivalence. That is, just as they composed raps that made use of wordplay with double or more meanings, they constructed personhoods that quite literally embodied double or more meanings. They became the embodiment of double entendre, strategically performing, rapping and narrativizing personas that allowed them to synchronously survive the classroom and the 'hood, subverting the \"White gaze\" and the gaze of the streets.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49128869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Archival Activism: Deciphering State-Sanctioned Histories and Reporting of Canadian Hip HoArchival Activism: Deciphering State-Sanctioned Histories and Reporting of Canadian Hip Hop","authors":"Mark V. Campbell, Maya Stitski","doi":"10.1558/JWPM.37844","DOIUrl":"https://doi.org/10.1558/JWPM.37844","url":null,"abstract":"","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43687188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article contends that the work of South African (Cape Flats) MC Eavesdrop, the late Mr Devious, Brasse vannie Kaap and Prophets of da City provide important insights into the extent to which South African hip hop activists challenge hegemonic representations of working-class black subjects over two decades after the fall of legislated apartheid. In a context that is influenced by racialized class inequalities, which are produced by neoliberal macroeconomic policies, the terms upon which race is represented are highly contested. Thanks to apartheid spatial planning and the internalization of racism, tensions between subjects classified as black, coloured and African immigrants/foreigners run high. Eavesdrop presents the Black Consciousnessinspired concept of knowledge of self, meditation and introspection as a means of engaging these tensions, thereby producing counter-hegemonic narratives about the forces that shape spaces that continue to be shaped by the violent legacy of apartheid.
{"title":"Inhale Determination, We Will Overcome: Eavesdrop, Mr Devious and Brasse vannie Kaap’s Representational PoliticInhale Determination, We Will Overcome: Eavesdrop, Mr Devious and Brasse vannie Kaap’s Representational Politics","authors":"Adam Haupt","doi":"10.1558/JWPM.37840","DOIUrl":"https://doi.org/10.1558/JWPM.37840","url":null,"abstract":"This article contends that the work of South African (Cape Flats) MC Eavesdrop, the late Mr Devious, Brasse vannie Kaap and Prophets of da City provide important insights into the extent to which South African hip hop activists challenge hegemonic representations of working-class black subjects over two decades after the fall of legislated apartheid. In a context that is influenced by racialized class inequalities, which are produced by neoliberal macroeconomic policies, the terms upon which race is represented are highly contested. Thanks to apartheid spatial planning and the internalization of racism, tensions between subjects classified as black, coloured and African immigrants/foreigners run high. Eavesdrop presents the Black Consciousnessinspired concept of knowledge of self, meditation and introspection as a means of engaging these tensions, thereby producing counter-hegemonic narratives about the forces that shape spaces that continue to be shaped by the violent legacy of apartheid.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45906709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Hip Hop, En-voicing and Agency","authors":"Adam Haupt, Q. Williams, H. Alim","doi":"10.1558/JWPM.37839","DOIUrl":"https://doi.org/10.1558/JWPM.37839","url":null,"abstract":"","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42214946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the past decades, rap music and hip hop culture have increasingly been utilized within the context of the Danish welfare state's integration project as a solution to societal problems with youths, who experience being marginalized and "Othered" within Danish society. This article addresses some of the contradictions that are related to this. By approaching the blend of hip hop pedagogy and policies against radicalization and criminalization of these youths through the theoretical lens of social technologies, it can be illustrated how mechanisms of power are conducted within social rap-based programmes. While such programmes are often considered as great successes by funding bodies and users alike, the article critically discusses how the use of rap as a resource for citizenship-building and inclusion of the target group in a broader societal context might entail the risk of actually excluding them.
{"title":"Solution or a “Fake Sense of Integration”?: Contradictions of Rap as a Resource within the Danish Welfare State’s Integration Project","authors":"Kristine Ringsager","doi":"10.1558/JWPM.37845","DOIUrl":"https://doi.org/10.1558/JWPM.37845","url":null,"abstract":"During the past decades, rap music and hip hop culture have increasingly been utilized within the context of the Danish welfare state's integration project as a solution to societal problems with youths, who experience being marginalized and \"Othered\" within Danish society. This article addresses some of the contradictions that are related to this. By approaching the blend of hip hop pedagogy and policies against radicalization and criminalization of these youths through the theoretical lens of social technologies, it can be illustrated how mechanisms of power are conducted within social rap-based programmes. While such programmes are often considered as great successes by funding bodies and users alike, the article critically discusses how the use of rap as a resource for citizenship-building and inclusion of the target group in a broader societal context might entail the risk of actually excluding them.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67599475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a transnational phenomenon, rap music has inspired both critiques of globalization and celebrations of locality within the Global Hip Hop Nation. This article contributes to this discussion by incorporating the work of Murray Forman and Doreen Massey on space, place and time as it relates to French rap in general and the work of French rapper MC Solaar in particular. The writing of Andre J. M. Prevos, Tricia Rose, and others, and analyses of MC Solaar's songs 'Leve-toi et rap' and 'Nouveau Western' illustrate how linguistic and musical vocabularies depict personal, cultural and economic issues within the confines of late capitalism.
作为一种跨国现象，说唱音乐既激发了对全球化的批评，也激发了全球嘻哈国家对地方性的庆祝。这篇文章通过结合Murray Forman和Doreen Massey关于空间、地点和时间的工作来促进这一讨论，因为它与法国说唱歌手MC Solaar的工作有关。Andre J. M. Prevos, Tricia Rose等人的作品，以及对MC Solaar的歌曲“Leve-toi et rap”和“Nouveau Western”的分析，说明了语言和音乐词汇如何描述晚期资本主义范围内的个人，文化和经济问题。
{"title":"MC Solaar and the Influence of Globalization on Local Hip-Hop Aesthetics","authors":"Saesha Senger","doi":"10.1558/JWPM.37843","DOIUrl":"https://doi.org/10.1558/JWPM.37843","url":null,"abstract":"As a transnational phenomenon, rap music has inspired both critiques of globalization and celebrations of locality within the Global Hip Hop Nation. This article contributes to this discussion by incorporating the work of Murray Forman and Doreen Massey on space, place and time as it relates to French rap in general and the work of French rapper MC Solaar in particular. The writing of Andre J. M. Prevos, Tricia Rose, and others, and analyses of MC Solaar's songs 'Leve-toi et rap' and 'Nouveau Western' illustrate how linguistic and musical vocabularies depict personal, cultural and economic issues within the confines of late capitalism.","PeriodicalId":40750,"journal":{"name":"Journal of World Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44713700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：