Identifying the "Local" in a globalized world An analysis of Southern African hip hop music and its appropriation of American rap Chenjerai Rick Warambwa; Supervisor: Jonathan Stubbs

Yazar: Katkıda bulunan(lar):Dil: İngilizce Yayın ayrıntıları:Nicosia Cyprus International University 2014Tanım: VIII, 104 p. table 30.5 cm CDİçerik türü:
  • text
Ortam türü:
  • unmediated
Taşıyıcı türü:
  • volume
Konu(lar):
Eksik içerik
1 INTRODUCTION
5 Objectives of the Study
6 Thesis structure
7 Conclusion
9 CHAPTER 1: AMERICAN RAP AETHETICS
9 The Keeping it Real (Authenticity) Doctrine
11 An (UN) Likely Alliance : American Rap and the Capitalist Ideology
17 ''Pimps Up'' Hos Down '': An Assessment of the Portrayall of Women in American Rap
19 Eurocentric Standards of Beauty
19 Rap Musics as an Art Form: Unpacking the Genre's Aesthetics
19 Vocal and Writting skills
21 The Art of Sampling and Beat-making
23 Locating Hybridity in the Third Space
24 Manufacturing African Consent In The ''soft power'' Era
26 Conclusion
31 CHAPTER 2: THE SOUTH AFRICAN RAP HYBRID
31 Tracing the Footstep of South African Hip Hop
33 Rap's Participation in a ''New '' and ''Democratic'' South Africa
34 ''ZEF'' Culture and the Emergence of a White Basterdised Identity
36 Batting Nostalgia in the ''New'' South Africa: Do you remember when
38 Zef's attitude towards materialism
41 Introducing the New School
41 South Africa's version of 'Bling' rap
42 Money makes the World go Round
45 Honouring the Player/Ho dichotomy
48 Conclusion
52 CHAPTER 3: THE ZIMBABWEAN RAP HYBRID
52 Zimbabwe's Third chimurenga (Revolution): An Intersection of Politics and Rap
56 Between a Rock and a ''Familiar'' Place : Urban Grooves Identıty Crisis
61 The Representation of Women in Urban Grooves
65 Conclusion
70 CHAPTER 4: THE BOTSWANA RAP HYBRID
70 Unlockıng Botswana's Political Stability
71 Botswana Rap 'Spreads' its Wings
73 Gabs City to Mmabatho : The Motswako Music Empire
76 Global Sucess makes more Cents : An Analysis of Blig Rap in Botswana
79 Conclusion
83 FINAL REFLECTIONS
83 Introduction
83 Redefining history in the Contemporary Milieu
84 Striking a balance between the National and Global Youth Culture
84 Remixing the global or identififying the 'self' within Global Discourses
85 Hypermasculinity knows no boundaries
85 Troubling depictions of Women in the rap hybrid
85 Weakness of the Study
85 Recommendations
87 BIBLIOGRAPHY
97 VIDEOGRAPHY
99 DISCOGRAPHY
100 APPENDIX
Özet: 'ABSTRACT This thesis revisits the discourse about America's influence on African cultural industries and the texts they produce. However, it diverts argumentatively from previous inquests by demonstrating the agency and creative know how of indigenous musicians. As such, my thesis is a direct challenge to the claim that Africans are docile in their interaction with American popular music. More specifically, rap, a genre that is popular with African artists due to its 'radical' and 'counter-hegemonic' themes. My sample consists of three countries (Botswana, South Africa and Zimbabwe) that differ politically and economically, even though they are situated in the same region (Southern Africa). It is this study's hope that these inconsistencies will be reflected in the narratives of the respective rap hybrids. That said, my analysis proceeds from an understanding that hybrid music forms are used to reconfigure historical as well as contemporary cultural identities. Such a framework is crucial to my core argument as it suggests that the appropriation of rap music is predominantly under the influence of local conditions. Although the validity of my thesis relies on a positive portrayal of indigenous rappers, I will not overlook or ignore their creative shortcomings. With this in mind, borderline (hybrid) performances are susceptible to the unsavoury elements of the global or foreign culture. This possibility may only be cancelled through developing an understanding of local cultural values. By analysing the tone and themes exhausted in the rap hybrid, I will be able to establish whether local artists are privy to this reality. Key words: Hybridity, Americanization, Hip hop, Southern Africa '
Materyal türü: Thesis
Mevcut
Materyal türü Geçerli Kütüphane Koleksiyon Yer Numarası Durum Notlar İade tarihi Barkod Materyal Ayırtmaları
Thesis Thesis CIU LIBRARY Tez Koleksiyonu Tez Koleksiyonu YL 385 W27 2014 (Rafa gözat(Aşağıda açılır)) Kullanılabilir Communication and Media Studies Department T425
Toplam ayırtılanlar: 0

Includes CD

Includes bibliography (87-96 p.)

'ABSTRACT This thesis revisits the discourse about America's influence on African cultural industries and the texts they produce. However, it diverts argumentatively from previous inquests by demonstrating the agency and creative know how of indigenous musicians. As such, my thesis is a direct challenge to the claim that Africans are docile in their interaction with American popular music. More specifically, rap, a genre that is popular with African artists due to its 'radical' and 'counter-hegemonic' themes. My sample consists of three countries (Botswana, South Africa and Zimbabwe) that differ politically and economically, even though they are situated in the same region (Southern Africa). It is this study's hope that these inconsistencies will be reflected in the narratives of the respective rap hybrids. That said, my analysis proceeds from an understanding that hybrid music forms are used to reconfigure historical as well as contemporary cultural identities. Such a framework is crucial to my core argument as it suggests that the appropriation of rap music is predominantly under the influence of local conditions. Although the validity of my thesis relies on a positive portrayal of indigenous rappers, I will not overlook or ignore their creative shortcomings. With this in mind, borderline (hybrid) performances are susceptible to the unsavoury elements of the global or foreign culture. This possibility may only be cancelled through developing an understanding of local cultural values. By analysing the tone and themes exhausted in the rap hybrid, I will be able to establish whether local artists are privy to this reality. Key words: Hybridity, Americanization, Hip hop, Southern Africa '

1 INTRODUCTION

5 Objectives of the Study

6 Thesis structure

7 Conclusion

9 CHAPTER 1: AMERICAN RAP AETHETICS

9 The Keeping it Real (Authenticity) Doctrine

11 An (UN) Likely Alliance : American Rap and the Capitalist Ideology

17 ''Pimps Up'' Hos Down '': An Assessment of the Portrayall of Women in American Rap

19 Eurocentric Standards of Beauty

19 Rap Musics as an Art Form: Unpacking the Genre's Aesthetics

19 Vocal and Writting skills

21 The Art of Sampling and Beat-making

23 Locating Hybridity in the Third Space

24 Manufacturing African Consent In The ''soft power'' Era

26 Conclusion

31 CHAPTER 2: THE SOUTH AFRICAN RAP HYBRID

31 Tracing the Footstep of South African Hip Hop

33 Rap's Participation in a ''New '' and ''Democratic'' South Africa

34 ''ZEF'' Culture and the Emergence of a White Basterdised Identity

36 Batting Nostalgia in the ''New'' South Africa: Do you remember when

38 Zef's attitude towards materialism

41 Introducing the New School

41 South Africa's version of 'Bling' rap

42 Money makes the World go Round

45 Honouring the Player/Ho dichotomy

48 Conclusion

52 CHAPTER 3: THE ZIMBABWEAN RAP HYBRID

52 Zimbabwe's Third chimurenga (Revolution): An Intersection of Politics and Rap

56 Between a Rock and a ''Familiar'' Place : Urban Grooves Identıty Crisis

61 The Representation of Women in Urban Grooves

65 Conclusion

70 CHAPTER 4: THE BOTSWANA RAP HYBRID

70 Unlockıng Botswana's Political Stability

71 Botswana Rap 'Spreads' its Wings

73 Gabs City to Mmabatho : The Motswako Music Empire

76 Global Sucess makes more Cents : An Analysis of Blig Rap in Botswana

79 Conclusion

83 FINAL REFLECTIONS

83 Introduction

83 Redefining history in the Contemporary Milieu

84 Striking a balance between the National and Global Youth Culture

84 Remixing the global or identififying the 'self' within Global Discourses

85 Hypermasculinity knows no boundaries

85 Troubling depictions of Women in the rap hybrid

85 Weakness of the Study

85 Recommendations

87 BIBLIOGRAPHY

97 VIDEOGRAPHY

99 DISCOGRAPHY

100 APPENDIX

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