AU  - Warambwa,Chenjerai Rick
AU  - Supervisor: Stubbs, Jonathan
TI  - Identifying the "Local" in a globalized world: An analysis of Southern African hip hop music and its appropriation of American rap
PY  - 2014///
CY  - Nicosia
PB  - Cyprus International University
KW  - Amerikalılaştırma
KW  - Americanization
KW  - Melezlik
KW  - Hybridity
N1  - Includes bibliography (87-96 p.); 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
N2  - '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 '
ER  -