吸气决心,我们将克服:Eavesdrop,Devious先生和Brasse vannie Kaap的代表性政治吸气决心,We Will Overcome:Eavesdrop,Devius先生和Brase vannie Kaap的代表政治

IF 0.2 0 MUSIC Journal of World Popular Music Pub Date : 2018-12-18 DOI:10.1558/JWPM.37840
Adam Haupt
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引用次数: 0

摘要

本文认为,南非(开普Flats) MC厄斯普罗、已故的迪维兹先生、布拉斯·瓦尼·卡普和达城的先知们的作品为我们提供了重要的见解,让我们了解在法定的种族隔离制度垮台后的20多年里,南非嘻哈积极分子在多大程度上挑战了工人阶级黑人主体的霸权表现。在受新自由主义宏观经济政策造成的种族化的阶级不平等影响的背景下,种族代表的条件受到高度争议。由于种族隔离的空间规划和种族主义的内化,黑人、有色人种和非洲移民/外国人之间的紧张关系高涨。窃听提出了黑人意识启发的自我知识,冥想和内省的概念,作为应对这些紧张关系的一种手段,从而产生了关于塑造空间的力量的反霸权叙事,这些力量继续被种族隔离的暴力遗产所塑造。
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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
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.
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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
12
期刊介绍: Journal of World Popular Music is a peer-reviewed academic journal that publishes research and scholarship on recent issues and debates surrounding international popular musics, also known as World Music, Global Pop, World Beat or, more recently, World Music 2.0. The journal provides a forum to explore the manifestations and impacts of post-globalizing trends, processes, and dynamics surrounding these musics today. It adopts an open-minded perspective, including in its scope any local popularized musics of the world, commercially available music of non-Western origin, musics of ethnic minorities, and contemporary fusions or collaborations with local ‘traditional’ or ‘roots’ musics with Western pop and rock musics. Placing specific emphasis on contemporary, interdisciplinary, and international perspectives, the journal’s special features include empirical research and scholarship into the global creative and music industries, the participants of World Music, the musics themselves and their representations in all media forms today, among other relevant themes and issues; alongside explorations of recent ideas and perspectives from popular music, ethnomusicology, anthropology, musicology, communication, media and cultural studies, sociology, geography, art and museum studies, and other fields with a scholarly focus on World Music. The journal also features special, guest-edited issues that bring together contributions under a unifying theme or geographical area.
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