| 000 | 05754na a2200925 4500 | ||
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| 001 | 233440 | ||
| 003 | koha_MIRAKIL | ||
| 005 | 20221226090140.0 | ||
| 008 | 190118b tu 000 0 | ||
| 040 |
_aCY-NiCIU _btur _cCY-NiCIU _erda |
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| 041 | 0 | _aeng | |
| 090 |
_aYL 385 _bW27 2014 |
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| 100 | 1 | _aWarambwa, Chenjerai Rick | |
| 245 | 0 |
_aIdentifying the "Local" in a globalized world _bAn analysis of Southern African hip hop music and its appropriation of American rap _cChenjerai Rick Warambwa; Supervisor: Jonathan Stubbs |
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| 260 |
_aNicosia _bCyprus International University _c2014 |
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| 300 |
_aVIII, 104 p. _btable _c30.5 cm _eCD |
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| 336 |
_2rdacontent _atext _btxt |
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| 337 |
_2rdamedia _aunmediated _bn |
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| 338 |
_2rdacarrier _avolume _bnc |
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| 500 | _3Includes CD | ||
| 504 | _aIncludes bibliography (87-96 p.) | ||
| 520 | _a'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 ' | ||
| 650 | 0 | 0 | _aAmerikalılaştırma |
| 650 | 0 | 0 | _aAmericanization |
| 650 | 0 | 0 | _aMelezlik |
| 650 | 0 | 0 | _aHybridity |
| 700 | 0 |
_aSupervisor: Stubbs, Jonathan _91656 |
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| 942 |
_2ddc _cTS |
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| 505 | 1 |
_g1 _tINTRODUCTION |
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| 505 | 1 |
_g5 _tObjectives of the Study |
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| 505 | 1 |
_g6 _tThesis structure |
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| 505 | 1 |
_g7 _tConclusion |
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| 505 | 1 |
_g9 _tCHAPTER 1: AMERICAN RAP AETHETICS |
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| 505 | 1 |
_g9 _tThe Keeping it Real (Authenticity) Doctrine |
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| 505 | 1 |
_g11 _tAn (UN) Likely Alliance : American Rap and the Capitalist Ideology |
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| 505 | 1 |
_g17 _t''Pimps Up'' Hos Down '': An Assessment of the Portrayall of Women in American Rap |
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| 505 | 1 |
_g19 _tEurocentric Standards of Beauty |
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| 505 | 1 |
_g19 _tRap Musics as an Art Form: Unpacking the Genre's Aesthetics |
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| 505 | 1 |
_g19 _tVocal and Writting skills |
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| 505 | 1 |
_g21 _tThe Art of Sampling and Beat-making |
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| 505 | 1 |
_g23 _tLocating Hybridity in the Third Space |
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| 505 | 1 |
_g24 _tManufacturing African Consent In The ''soft power'' Era |
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| 505 | 1 |
_g26 _tConclusion |
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| 505 | 1 |
_g31 _tCHAPTER 2: THE SOUTH AFRICAN RAP HYBRID |
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| 505 | 1 |
_g31 _tTracing the Footstep of South African Hip Hop |
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| 505 | 1 |
_g33 _tRap's Participation in a ''New '' and ''Democratic'' South Africa |
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| 505 | 1 |
_g34 _t''ZEF'' Culture and the Emergence of a White Basterdised Identity |
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| 505 | 1 |
_g36 _tBatting Nostalgia in the ''New'' South Africa: Do you remember when |
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| 505 | 1 |
_g38 _tZef's attitude towards materialism |
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| 505 | 1 |
_g41 _tIntroducing the New School |
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| 505 | 1 |
_g41 _tSouth Africa's version of 'Bling' rap |
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| 505 | 1 |
_g42 _tMoney makes the World go Round |
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| 505 | 1 |
_g45 _tHonouring the Player/Ho dichotomy |
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| 505 | 1 |
_g48 _tConclusion |
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| 505 | 1 |
_g52 _tCHAPTER 3: THE ZIMBABWEAN RAP HYBRID |
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| 505 | 1 |
_g52 _tZimbabwe's Third chimurenga (Revolution): An Intersection of Politics and Rap |
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| 505 | 1 |
_g56 _tBetween a Rock and a ''Familiar'' Place : Urban Grooves Identıty Crisis |
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| 505 | 1 |
_g61 _tThe Representation of Women in Urban Grooves |
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| 505 | 1 |
_g65 _tConclusion |
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| 505 | 1 |
_g70 _tCHAPTER 4: THE BOTSWANA RAP HYBRID |
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| 505 | 1 |
_g70 _tUnlockıng Botswana's Political Stability |
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| 505 | 1 |
_g71 _tBotswana Rap 'Spreads' its Wings |
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| 505 | 1 |
_g73 _tGabs City to Mmabatho : The Motswako Music Empire |
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| 505 | 1 |
_g76 _tGlobal Sucess makes more Cents : An Analysis of Blig Rap in Botswana |
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| 505 | 1 |
_g79 _tConclusion |
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| 505 | 1 |
_g83 _tFINAL REFLECTIONS |
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| 505 | 1 |
_g83 _tIntroduction |
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| 505 | 1 |
_g83 _tRedefining history in the Contemporary Milieu |
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| 505 | 1 |
_g84 _tStriking a balance between the National and Global Youth Culture |
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| 505 | 1 |
_g84 _tRemixing the global or identififying the 'self' within Global Discourses |
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| 505 | 1 |
_g85 _tHypermasculinity knows no boundaries |
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| 505 | 1 |
_g85 _tTroubling depictions of Women in the rap hybrid |
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| 505 | 1 |
_g85 _tWeakness of the Study |
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| 505 | 1 |
_g85 _tRecommendations |
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| 505 | 1 |
_g87 _tBIBLIOGRAPHY |
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| 505 | 1 |
_g97 _tVIDEOGRAPHY |
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| 505 | 1 |
_g99 _tDISCOGRAPHY |
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| 505 | 1 |
_g100 _tAPPENDIX |
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| 999 |
_c454 _d454 |
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