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Global and Local Selves in Hip Hop
Transcript of Global and Local Selves in Hip Hop
Local Hip Hop
Aboriginal youth relate well to the concepts of Hip Hop
Hip Hop Origins
“Prior to the mid 1980s shows featuring non-Whites were extremely rare”
•Globalisation - technological and economic changes that are taking place in the world today by removing national boundaries and geographical barriers in which once inhibited global communications
The Origins of Hip Hop
“…not simply an image of brown bodies on their television screen; it was an image of brown bodies engaged in something so mind-blowingly beautiful, so powerful, so catalytic, that is suggested to many…alternative possibilities for the organisation of their own daily lives”
Henderson, A (2006) pp 180-200
Significance of Hip Hop
“From its beginning, breaking formed a link between the street and the nightclub, and it was a crucial factor in hip-hop’s transition from the underground environment, including subway platforms and neighbourhood parks, to the mass mediated realm of mainstream culture.”
Forman, M and Neal M. N 2004
70's Break Dancing
Hip Hop is traditionally
thought of as being “Anti-authoritarian”
and as representing “Otherness”.
Strongly connected with a
sense of place.
•Globalisation allows people to communicate and form relationships with others from all over the world
•Globalisation has had such a large impact on hip hop as it has allowed dance trends, styles, music and personalities to emerge and be transported
•As technology evolved, so too did the ways hip hop was able to journey around the globe with new age devices like the television allowing the trend to spread
•As advances in technology continue to develop like the internet and its popular sites like YouTube, fads are spreading more easily than ever
•Gives individuals the opportunity to find their identity on a local and global scale.
•Michael Eric Dyson – ‘hip-hop culture is the most explosive, engaging, and controversial form of American pop culture to circulate the globe over the last 40 years’
•Through these traditions and styles hip hop is able to become a part of an individual’s self, and also will continue to globally and locally develop.
“...the specific bodily relationships of siva could be preserved in an apparently contradictory form” (Henderson 2006, p190)
“Street dance… means confidently and creatively living out of the present in a way necessarily different from both Islander and Maori elders and New Zealand Whites” (Henderson 2006, p191)
Mentors utilise Hip Hop as a way to “bridge between alienated young people and the wider Indigenous social order”. (Morgan & Warren 2011, p.22)
"Resistive Performativity" (Morgan & Warren 2011, p.22)
Soul Train Line Dance
Henderson, A (2006) ‘Dancing Between Islands: Hip Hop and the Samoan Diaspora’ The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture Basu, Dipannita and Sidney J. Lemelle, eds. London: Pluto Press, pp. 180 –200
Morgan, M & Bennett, D 2011, 'Hip-Hop & the Global Imprint of a Black Cultural Form', The American Academy of Arts & Sciences, pp. 1-17
Morgan, G, Warren, A 2011, 'Aboriginal youth, hip hop and the politics of identification', Ethnic and Racial Studies, vol. 34, no. 6, pp. 925-947.
Sigler, T, Balaji, M, 2013, 'Regional Identity in Contemporary Hip-Hop Music: (Re) Presenting the Notion of Place', Communication, Culture and Critique, vol. 6, no. 2, pp. 336-352.
With new styles of hip hop emerging like k-pop and j-pop, will it render the original forms of hip hop obsolete or will they just continue to add to the culture of hip hop itself?