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Black M, a French hip-hop artist of Guinean origin, delves into race and belonging in his 2016 song “Je suis chez moi” (“I Am at Home”). The track responds to a far-right campaign that opposed his participation in the centenary celebration of the Battle of Verdun, claiming he didn’t represent France. The song contrasts his sense of belonging in France with a longing for Guinea, reflecting the complexities of his immigrant identity. This article analyzes how Black M’s music navigates themes of race, belonging, and national identity, using hip-hop as a tool for these articulations. [ABSTRACT FROM AUTHOR]

The aim of the study is to investigate the construction of street dances in the city of Rio de Janeiro, describing urban dancers and their daily ‘art of doing’, listening to their voices and observing their physical and virtual interactions. In this paper, a specific methodological approach is applied towards a tactical plan in order to understand the urban dance phenomenon within the universe of hip-hop culture. This particular approach includes the analysis of eleven narratives of young dancers and their everyday experiences, their personal life stories, interlinked with categories such as masculinity and business. The results reveal the complexity of hip-hop and street-dance culture in general, and specifically among young Brazilians. The narratives of these young men have provided an effective means for representing hip-hop dancers’ concerns and bodily articulations in order to comprehend their dance practice and the construction of spaces, but also indicate aesthetic and commercial dimensions. [ABSTRACT FROM AUTHOR]

Across its history, K-pop has put traditional Korean elements to a diversity of uses, including in music, dance and visual style. This article investigates the use of traditional elements in the sub-genre of Korean hip hop and rap performance. In this strongly masculine sub-genre, the cultural meanings invoked in the incorporation and remediation of traditional Korean elements take on a more particular generic significance, one that highlights the hegemonic masculinity enjoyed by the referenced figure of the 'gentleman scholar' (seonbi). With this narrower scope of investigation, I argue that the use of traditional cultural elements in Korean popular music can simultaneously function as an element of attraction for global audiences, as has previously been argued, while still maintaining local, genre-specific meanings. In particular, I argue that the gentlemanliness of the 'gentleman scholar' comes from and expresses a position of power and privilege. [ABSTRACT FROM AUTHOR]

The violent nature of Hip-Hop culture in tandem with racial injustice and sexism leaves Black women victims of Black male perpetrators feeling unheard, unprotected and conflicted. It is known that Black women are experiencing more domestic violence than their white counterparts yet reporting it less out of fear of prejudices and stereotyping. In this study, I engage in an intersectional textual analysis of rapper Megan Thee Stallion's telling of violence enacted upon her by rapper Tory Lanez in 2020. Hip-hop concepts of violence and snitching, expectations about black womanhood, and issues of police brutality were all prominent themes of her storytelling. The analysis indicates that Black women who are domestic violence victims grapple with protecting the men of their community, protecting themselves from police, and endure doubt and criticism for speaking their truth. Plain Language Summary: Study using rapper Megan Thee Stallions' telling of her experience with intimate partner violence to understand unique struggles Black women have with speaking publicly about being victims of violence at the hands of Black menMany factors, such as racism and sexism, can impact the experiences of Black women victims of intimate partner violence. In addition to those larger systems of discrimination and oppression, sub-cultures such as hip-hop, glamorize and perpetuate violence. All these issues can impact how a victim speaks out about their violent encounter, or whether they speak out at all. In this study, I review how rapper Megan Thee Stallion recounts the violent experience she had at the hands of rapper Tory Lanez in 2020. As Megan shares her story on her Instagram Live, she accounts for how police brutality, stereotypes about Black women, and the culture of hip-hop all influenced her behavior during and after her traumatizing experience. This study highlights how Menga's story stresses a unique struggle Black women victims endure as they balance protecting themselves and protecting their community, a community that often times includes their perpetrator. [ABSTRACT FROM AUTHOR]

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In power systems where opportunities for overt expression are limited, the requirements for recognition and intentionality behind acts of resistance risk overlooking the struggles of individuals who must find unpatterned and creative ways to express desires and discontent. Based on 42 interviews with Chinese hip-hop fans and artists and drawing on Scott's and De Certeau's theories of everyday resistance, this article shows that resistant acts in China can take transient, unintentional, seemingly apolitical forms disguised by a superficial rejection of resistance. This strategy protects resisters from potential consequences of openly challenging power, enabling the quiet expression of individual visions and dissatisfaction with power and contemporary society through hip-hop. Moving beyond dichotomous conceptions of power and resistance, this article advocates for de-emphasising the requirement of expressed, or expressible, intentionality behind acts of resistance and recognises the significance of ordinary actions of everyday resistance in their potential to catalyse change, shape social spaces and transform cultural patterns. [ABSTRACT FROM AUTHOR]

Scholars of entrepreneurship, business, and economics have been reluctant to consider Hip Hop as a viable means for research and theory-building. Oddly enough, through the 1970s – a period that was generally characterized by stagnation and high unemployment – Hip Hop captivated audiences around the globe, creating innovative and diverse market opportunities for a host of different communities. The term 'Hip Hop Mogul' emerged to describe artists whose commercial viability appealed to varied sensibilities and disparate public spheres. Who are these Hip Hop Moguls? What are the interests of these Hip Hop Moguls? Drawing on lyrical content from a sample of Hip Hop Moguls (n = 15), we examine the discursive frameworks that make-up Moguldom, its politics, and its ways of being. Ultimately, our findings shed light on the different ways that marginalized communities negotiate antagonistic economic relations and disrupt traditional business paradigms. [ABSTRACT FROM AUTHOR]

AbstractWomen in Rap often occupy spaces in which they are marginalized or pitted against one another. Yet, recently, more popular women artists are working together, instead of attempting to commodify their rap beefs. With this historic shift in mind, it is critical to take a moment to investigate the collaborations that have occurred in the past, as they are rare. These collaborations allowed a space for women to work alongside other women, when it was not popular or often profitable to do so, and men, who dominated the hip hop music genre and often did not find value in collaborations. Therefore, this study intentionally seeks the elevation of women’s narratives and representations in hip hop culture and academic scholarship by focusing on collaborations and women’s voices within them. It works to add to women’s studies by investigating representations of women rappers in both their lyrics and music videos. The latter of which are ripe with visual message often ignored in scholarship that heavily focuses on lyrics. [ABSTRACT FROM AUTHOR]

AbstractTupac Shakur is remembered for many things. Rapper. Actor. Poet. Thug. Scholar. Moreover, while Shakur was “one of hip-hop’s most successful and influential artists, with more than 75 million records sold worldwide (Hess, 2007), he was also remembered as a contradiction. Known for his anthem to black womanhood, Dear Momma, Shakur was found guilty of sexual assault. As the son of Black Panther, the late Afeni Shakur, Tupac spoke out against gun violence, and yet songs such as Death Around the Corner promoted the use of violence. Beyond his enigmatic persona, his body of work, 25 years after his untimely death, still leaves questions for exploration. [ABSTRACT FROM AUTHOR]

To investigate how music educators engage their students with Hip-Hop, we adopted a "research remix" approach, combining elements of case study and constructivist grounded theory. This approach allowed us to privilege Hip-Hop culture and to construct new understandings about Hip-Hop teaching and learning. Six elementary and middle school music teachers implemented Hip-Hop-focused instruction in their classrooms while also attending professional development workshops. Data included videos of classroom instruction, participant interviews, and videos of the workshops with co-facilitation from Hip-Hop artists and the researchers. Educators encountered tensions and challenges related to a perceived Hip-Hop "realness" and a lack of musical and pedagogical skills. To address these challenges, participants remixed their approaches by blending elements of Hip-Hop music and culture with their established teaching strategies. Teachers' dispositions and feedback from students and colleagues engendered critical reflections about their positionalities in relation to Hip-Hop. We constructed a visual model of a DJ as a metaphor to describe participants' approaches to remixing their teaching with Hip-Hop within their contexts. Implications include a need for increased emphasis on Hip-Hop in U.S. music teacher education programs and institutional pathways for Hip-Hop musicians to become music educators. [ABSTRACT FROM AUTHOR]

This article explores the topic of cultural appropriation and its moral implications. It presents different perspectives on cultural appropriation, including the view that it can be offensive and perpetuate cultural colonialism. The author introduces a new perspective called the recognition account, which argues that cultural appropriation is wrong if it perpetuates the lack of social recognition of certain groups as cultural contributors. The article also discusses theoretical issues related to cultural appropriation, such as authenticity and forms of cultural engagement. It examines two moral analyses of cultural appropriation, the group intimacy account and the oppression account, and proposes a new moral analysis called the recognition account. The text provides examples to illustrate how cultural appropriation can detach cultural objects from their original cultural groups and prevent recognition of their contributions. It emphasizes the importance of considering the social context and power dynamics when analyzing cultural appropriation and highlights the role of epistemic injustices in limiting the impact and reception of presentations by oppressed groups. The article suggests that cultural ambassadors can help address recognition deficits by engaging with cultural objects in ways that promote social recognition of oppressed groups. Collaboration between dominant and oppressed groups is seen as a stronger form of cultural ambassadorship, allowing for the foregrounding and support of the participatory role of oppressed groups in cultural development. The text concludes by emphasizing the importance of addressing the social conditions that perpetuate representational disadvantages for oppressed groups. [Extracted from the article]

This work begins with an exploration of various analytical techniques for discerning and describing details of vocal performance in the song "Episodes," from Philadelphia Hip Hop group The Roots' 1996 album, Illadelph Halflife. I pair this musical analysis with textual exegesis drawing on narratology and speech act theory. Reconciling the two analytical approaches, I conclude by suggesting a refreshed notion of affective realism in late twentieth-century Hip Hop, characterized by consistency between poetic, phonetic, illocutionary, and performative dynamics in rap verse. [ABSTRACT FROM AUTHOR]

Background: 2023 marks the 50th anniversary of hip-hop. Although hip-hop has existed for a half-century, little attention has been given to its infusion into social work education. This conceptual article explores the potential of hip-hop as a framework for social work education. Objective: We aim to demonstrate how core tenets of hip-hop can be aligned with the Council on Social Work Education's Educational Policy and Accreditation Standards (EPAS) to enhance student learning, client connection, advocacy skills, and empathy. Methods: This conceptual piece draws on existing literature on hip-hop culture and social work education. We explored how various elements of hip hop can be integrated into social work education to achieve the learning objectives outlined in the EPAS. Implications: Integrating hip-hop principles into social work education can have a transformative impact. By fostering critical thinking, self-reflection, and engagement with diverse narratives, students will be better equipped to navigate the complexities of social work practice. Furthermore, a hip-hop-informed approach can cultivate a more culturally responsive lens for advocacy and policy development. This in turn empowers students to build rapport with clients from marginalized communities, utilizing effective communication to promote social change. Conclusion: Hip-hop offers a powerful set of tools for social work education. Integrating its principles can cultivate a new generation of social workers with the knowledge, skills, and cultural competency to address the complex challenges facing individuals, families, and communities. [ABSTRACT FROM AUTHOR]

Studies on Azeez Fashola (aka Naira Marley) have only made passing comments on his personality. Most of the comments present negative perceptions about the personality of Naira Marley (NM). Such negative commentaries, this study contends, are insufficient in describing the construction of identities in NM's lyrics. This study investigates the construction of self in selected songs of NM with a view to describing what the construction of self reveals about his music. Twenty-five songs by NM constitute the study population. However, data were drawn from eight purposively selected singles of NM. Using a fusion of social constructionist theory and literary stylistics, the study situates NM's lyrics in global hip hop culture to show the meeting and departure points between NM's tropes and those of other artistes. The study reveals that contextual variables are deployed in the construction of identities in NM's songs. Against the submission of scholars that the contents of NM's lyrics are replete with negative realities, he articulates the prevalence of alcohol addiction and cyber fraud among Nigerian youths. He equally assumes the role of a social reformer. Apart from the danceable beats that garnish his lyrics, NM also articulates burning societal issues. [ABSTRACT FROM AUTHOR]

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cypher, a circle of MCs improvising rhymes in a collaborative jam session, is a relatively unexplored topic in hip hop. Through its focus on community and reciprocity, the cypher represents a crucial nexus of sociability that enables researchers to examine the shifting positionalities and communicative practices of audience members and practitioners. Using a participant observation study and 30 semi-structured interviews of MCs at Legendary Cyphers in New York City, this paper examines how members of the hip hop community navigate their membership, how the cypher acts as a pedagogical space for learning hip hop sociability, and how white practitioners communicate their cultural commitment. The findings indicate the importance of adaptive identities between audience members and performers. Ultimately, membership in hip hop is learned in spaces like the cypher and offers a lens through which we can understand the process of doing and becoming hip hop. [ABSTRACT FROM AUTHOR]

The status of hip-hop in China is being reshaped by the sudden popularity experienced by the genre in the last few years. An aspect that has been overlooked by scholarly research on Chinese hip-hop authenticity is that underground rappers may have to simultaneously assume multiple personal, professional, and social roles while attempting to maintain authenticity. This article provides an empirical account of how authenticity and the 'keep it real' motto are understood and negotiated by underground Chinese rappers. Drawing from in-depth interviews with 12 rappers, this article proposes the notion of everyday authenticity as a means for rappers to draw inspiration from unembellished daily realities while also using music to alleviate everyday hardships. The article also examines the challenges faced by underground rappers in the attempt to retain this type of authenticity in the mainstream, commercially driven environment. The tension is resolved by creating an autonomous realm for rappers that come 'out of the street', which allows rappers to claim legitimacy inside and outside the underground. This article provides an extension of the conceptualisation of authenticity in the Chinese hip-hop context, thus critically contributing to the global debate around hip-hop authenticity. [ABSTRACT FROM AUTHOR]

Fresh Fly Fabulous: 50 Years of Hip Hop Style is an exhibition catalog that explores the intersection of hip hop and fashion. The catalog features essays and images that cover a wide range of topics, including the evolution of hip hop style, the role of women in hip hop fashion, genderqueer hip hop, and the influence of specific brands and designers. The catalog is a well-curated collection that provides scholarly commentary and showcases almost 200 stunning images, making it an essential reference for anyone interested in the history and impact of hip hop style. [Extracted from the article]

"Freedom Moves: Hip Hop Knowledges, Pedagogies, and Futures" is a collection of essays edited by H. Samy Alim, Jeff Chang, and Casey Philip Wong. The book explores the subversive and liberating aspects of hip hop culture and its global impact. It features contributions from scholars, activists, educators, and hip-hop artists from diverse backgrounds. The book highlights hip hop as a vehicle for liberation and justice, showcasing its use in various locales and its ability to challenge oppressive systems. It also addresses issues of inclusivity and identity within the hip hop community. Overall, "Freedom Moves" serves as a valuable resource for educators, students, and practitioners of hip hop arts and culture. [Extracted from the article]

This article explores the integration of hip-hop with Islamic themes in the religious education (RE) classroom, with a focus on transcending the constraints of traditional narratives and creating a dynamic and wide-ranging understanding of Islamic traditions of interpretations. Drawing inspiration from Richard Bulliet's book Islam: A View from the Edge and the creative potential of hip-hop, the article argues that educators can open new avenues for teaching and learning about Islamic traditions. By incorporating hip-hop based education (HHBE), educators can engage students through contemporary mediums and provide a relatable and engaging stage for the exploration of Islam. The article also highlights the importance of African American Islam and its intersection with hip-hop in understanding the worldview of many Muslims (and non-Muslims) worldwide. The article suggests strategies such as exploring Islam through hip-hop music videos, examining the legacy of Malcolm X in hip-hop, and considering the local context and languages of students to enrich the exploration of Islam. [ABSTRACT FROM AUTHOR]

Hip hop as a "cultural complex" -- as Richard Shusterman conceptualises it -- can generally be seen as one of the most somatic and gestural cultural phenomena. The paper focuses on the verbal gesture as one of the forms of hip hop gestures. Its scope is the analysis and interpretation of a representative sample of Slovak rap lyrics and is methodologically anchored in Nitra School reception aesthetics and Richard Shusterman's pragmatist aesthetics and somaesthetics (and in part by the phenomenologically oriented works of Maurice Merleau-Ponty) which are productive in the study of the body as a topic or iconic element in the text. The leitmotif of the article is, somatically speaking, "feeling up" -- of the genre, conventional verbal gestures tied to the body and corporeality (e.g. masculinity, expressivity and explicitness, objectification of the female body) and, conversely, those that defy or rather challenge core-like genre conventions of hip hop (and, within it, rap) by such mechanisms as "embodying" self-irony or by making the tracks take on the character of motivational or socio-politically engaged statements. [ABSTRACT FROM AUTHOR]

André LeRoy Davis is best known as the creator of 'The Last Word,' a series of one-page comic illustrations that were featured on the last page of The Source magazine. They were published non-stop in countless issues of this Hip Hop periodical from September 1990 to January 2007. This article is a compilation of edited excerpts from an interview session conducted during the winter of 2020. It was held shortly after the Schomburg Center's Annual Black Comic Book Festival in Harlem, New York. The conversation focuses on how André's experiences during his formative and adult years inspire his comic art content. We discuss his family's origins in Barbados; his experiences growing up in Brooklyn, New York; the Hip Hop culture within the High School of Art & Design when he was a student; his earliest experiences as a professional freelance artist; and the evolution of his creative process. [ABSTRACT FROM AUTHOR]

This article explores the life and legacy of Alexander Hamilton, from his difficult childhood to his role as one of America's founding fathers. It emphasizes Hamilton's talent for writing and how it played a significant role in his life and eventual downfall. Despite his troubled past, Hamilton's writing abilities propelled him to success and influence, as he wrote influential essays on government and played a crucial role in the ratification of the Constitution. However, his reputation was tarnished by a scandal and a pamphlet attacking John Adams. The article also highlights the impact of Lin-Manuel Miranda's musical "Hamilton" in raising awareness of Hamilton's contributions to the founding of the United States. [Extracted from the article]

Although recent sociolinguistic research on high performance has shown that persona construction is multidimensional and context‐specific, little work has explored how interactions between personae affect their shared semiotic landscape. This study focuses on stylistic practices in 2017′s The Rap of China, China's first hip hop‐themed competition show. A quantitative analysis was conducted to describe the rhyming styles of contemporary Chinese rappers. Based on language uses, visual representations, and lyrical themes, we then identify three rapper personae and discuss the semantic dimensions of hip hop authenticity invoked by each persona. Finally, through an analysis of a combative rap performance and reactions to it, we argue that contestation among different personae shapes the ideological landscape of "authentic Chinese hip hop." This work demonstrates the potential of the semiotic landscape as a theoretical tool for the analysis of digital communities and cultural forms. [ABSTRACT FROM AUTHOR]

Through an exploration of hip-hop as a viable method for science instruction, and battle rap as a tool of hip-hop pedagogy, this study explored the use of battle rap in undergraduate cell biology, anatomy, and physiology courses. This research attempted to demonstrate the benefits of hip-hop in undergraduate instruction in science--as a mechanism for increasing science content knowledge, sharing students' emotional state/well-being, and improving students' overall engagement in the discipline. [ABSTRACT FROM AUTHOR]

This narrative inquiry explores the experiences of youth in a school within a juvenile detention facility, who participated in a hip hop and podcasting small-group counseling intervention. Specifically, youth wrote and recorded a podcast consisting of a hip hop song, interviews with their peers, and staff reflections on the youth's experience. Salient results from this study offered that the hip hop podcasting group supported youth in emotionally processing their experience of being incarcerated. [ABSTRACT FROM AUTHOR]

This article examines the pitch content of the delivery of anaphoric lyrics in hip-hop. Anaphoric lyrics consist of lines with a reiterated beginning and a novel ending. Because new information is presented at the ends of lines, the "linguistic focus" of the line is at the end. Therefore, from the standpoint of intonational phonetics, pitch height would tend to rise to highlight the new information. However, from the standpoint of hip-hop delivery, lines tend to descend toward the end. Using a corpus approach, I document a general tendency toward "focally consistent" delivery in which pitch height supports new information. Then, I explore the afforded meanings of "antifocal" delivery—delivery in which the repeated text is pitched higher—in examples from B-Real, the poet Najee Omar, and Kendrick Lamar. I hope that these examples will attract other scholars to view vocal performances simultaneously through lenses of intonational phonology and music analysis and, further, that correspondences between pitch contours and principles of phonology might prove useful as singing, reciting, and rapping increasingly coexist under the banner of "hip-hop." [ABSTRACT FROM AUTHOR]

Hip Hop has been shown to influence the identities of Black youth (Love. 2012. Hip Hop's Li'l Sistas Speak: Negotiating Hip Hop Identities and Politics in the New South. Peter Lang). However, for Black girls, Hip Hop has a complicated relationship as some representations of Black girls and women are objectified and hypersexualized while others reflect strength and empowerment (Richardson, 2016). The present study examines Hip Hop, Black girlhood, and identity by exploring how Hip Hop influences the gendered racial identity developmental processes of Black early adolescent girls. Further, this study explores how Black girls navigate environmental stressors such as racism, sexism, bullying, and stressful home environments using Hip Hop. Using a Black and Hip Hop feminist lens, this paper utilizes two semi-structured interviews from 6, twelve year old Black girls from the southern region of the United States and participants in a Hip Hop based after school program. Utilizing thematic analysis, the following themes were found: (1) acknowledging identities of strength, independence, and resilience in Hip Hop helps create meaning for gendered racial identities and (2) Hip Hop as a mechanism for healing and therapy against social and environmental stressors. This work follows notable Hip Hop feminist theories and praxis and provides an alternative framework for exploring intersectional identity development for Black adolescent girls. [ABSTRACT FROM AUTHOR]

In response to the ongoing war between Ukraine and Russia, beginning as early as 2014 but reaching a critical apex in the early parts of 2022, hip hop in Russia has only further cemented its role as a "popular" vehicle for the promotion of cultural activism and sociopolitical critique. Born out of post-Soviet antagonism, imperial hegemony, neoliberal commercialism, and jingoist logic, "Russian" rap is a mouthpiece of contemporary conditions. A tangible vehicle for the rediscovery of post-Soviet optimism and the promise of financial prosperity, rap in Russia both upholds and challenges cultural norms and values. In February 2022, the Russo-Ukrainian conflict turned savage, and what it meant to be Russian and be a Russian rapper changed forever. While some rappers rejected Putin's actions, others either endorsed Putin or stayed silent. Despite the foreignness of rap to the Russian nation, by studying Russian rap and its response to geopolitical unrest the Russian "popular" thought can be more accurately understood. To ascertain how the invasion was conceptualized and synthesized into rap by the Russian rap community, two Russian rap tracks (Oksimiron, Miron Yanovich Fyodorov, Oida and Husky, Dmitry Kuznetsov, God of War) were aesthetically and linguistically analyzed. Lying on divergent sides, they represent polar opposites of Russian rap, each encoding their worldview and position of Russian life in disparate ways, reflecting their respective political voice. While limited in scope, the study provides researchers one possible way to observe how Russian rappers internalize and then aestheticize their political beliefs into their musical style. [ABSTRACT FROM AUTHOR]

The article focuses on the origins and evolution of hip hop, highlighting DJ Kool Herc's pivotal role in its emergence at 1520 Sedgwick Avenue in the Bronx, New York in 1973. Topics discussed include the debate over hip hop's starting point, the influence of artists like The Sugarhill Gang and The Last Poets, and the cultural significance of hip hop as a form of intellectual and ideological production.

Since emerging in the early 1990s, Estonian hip-hop has developed in line with other cultural and artistic projects in the country, reflecting attempts to foster a homogeneous society, yet ultimately cultivating one where diversity and multiculturalism prevail. As a genre where minority groups are frequently presented as "authentic," hip-hop and its visual and performative manifestations provide a valuable platform to examine expressions of identity. To this end, several Estonian hip-hop musicians have explored aspects of being "post-Soviet" in contradistinction to official hegemonic discourses, which outright reject the Soviet past and emphasize titular ethnicity as a cornerstone of national identity. This article uses Critical Discourse Analysis (CDA) and Multi-Modal Discourse Analysis (MMDA) to examine the lyrics and accompanying video of popular hip-hop song "für Oksana" by "Nublu featuring Gameboy Tetris." Doing so highlights how the song's basic narrative acts as a metaphor for experiences of integration processes between ethnic Estonians and Russophones since Estonian independence. I argue that through a combination of linguistic and cultural codeswitching, "für Oksana" constitutes an expression, performance, and negotiation of Russophone Estonian identity from both insider and outsider perspectives, emphasizing the need to understand Russophone Estonians as more than simply "Russians who live in Estonia." [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The wide acceptability of Nigerian hip hop music, home and abroad, indicates increasing value of the inclusion of local popular languages in the composition and performance of the music. In the text of many of the award winning singles and albums are mixtures of different languages ranging from English, Pidgin English, Yoruba, Igbo and other local dialects. Drawing on Ferdinand de Saussure's theory of structuralism, this study examines meaning construction in hip hop music in Nigeria. By focusing on the Nigerian hip hop artists, who adopt different slangs embedded with codes considered absurd within the mainstream cultural milieu, the study closely investigates constructed meanings in the lyrics of four Nigerian award winning hip hop artists. All the artists adopted multilingual codes-switching from one language to another in presentation of their messages. The codes in the songs generally symbolise and present messages or meaning that appears out of the mainstream cultural meanings. Listeners and artistes meet at the level of interpretations. The article argues that Nigerian artists creatively present a sub-culture where they and their fans can relate through codes and words embedded with symbolic meanings shared by both artists and fans. [ABSTRACT FROM AUTHOR]

Rap and hip-hop's diverse dance styles have been practiced in Vietnam since the 1990s, shortly after the country's integration into the world economy. What started out as a sphere of popular culture dominated by men was soon appropriated by female artists. The female rapper Suboi, Vietnam's "Queen of Rap," is internationally renowned, and more and more young women are engaging in dancing on the streets. This article investigates the aspirations of female hip-hop practitioners in Vietnam's major cities, Hanoi and Ho Chi Minh City. What does leading the good life mean to them, and how do they navigate the ambiguous moral landscape coproduced by authoritarianism and liberalism? Drawing on Aihwa Ong's (2008) concept of self-fashioning and AbdouMaliq Simone's (2019) practices of crafting, harvesting, and detachment, this article examines how young women use hip-hop as a creative device to achieve personal freedom and make a career for themselves. Carving out spaces for themselves in the male-dominated rap industry and dance community, they negotiate existing gender norms in both the music genre and Vietnam's urban society. [ABSTRACT FROM AUTHOR]

This article examines the videoclip Quilo, made by the Colombian hip-hop duo DxD and circulated online. Using bodily technologies such as hairstyles, clothing, and posing, Quilo depicts how the futurity of Black life can be shaped. Drawing from recent conceptualizations of Black life and from Latin American hip-hop studies, this article analyses Quilo by contrasting it with media coverage of police violence and the killing of Black youths in Colombia, and with the discursive construction of the multicultural mestizo nation. In this context, I interpret the treatment of temporality and space in Quilo as aesthetically evoking the non-specific time of Black grief. [ABSTRACT FROM AUTHOR]

Historically, across U.S. education systems, traditional teaching strategies and school curricular practices have been anchored in Western views and Eurocentric frameworks that position whiteness as the center of legitimate knowledge and, as a result, other knowledge as peripheral and insignificant. In this article, we offer practical considerations for educators and researchers who seek to disrupt systems of oppression through the implementation of hip-hop based education. As an extension of culturally relevant pedagogy, we contend that the critical implementation of hip-hop based education must include an interrogation of educator and researcher positionality as it relates to hip-hop culture. [ABSTRACT FROM AUTHOR]

Educational spaces, both formal and informal, are not always welcoming to queer Métis youth, especially to those youth who connect more to hip-hop cultures than those activities like jigging and beading which are often held up as pillars of Métis culture. This article draws on conversations with youth, conducted as part of doctoral research using a visiting approach to data collection and analyzed using the voice-centered relational method. Through these frameworks, I created guideposts for developing educational spaces which are not just inclusive of but designed for queer Métis youth. These guideposts will be used in future development of research with and for queer Métis youth. [ABSTRACT FROM AUTHOR]

In recent years, many studies have attempted to explore the experiences of historically marginalized populations within higher education; especially Black men. While most studies expand the discourse about the Black male experience in higher education, few incorporate arts-based methodologies that uniquely speak to the cultural sensibilities of Black men. This study remixes traditional qualitative methodologies through an arts-informed, hip-hop pedagogical perspective by inviting participants to write and record original music in response to a prompt related to an original research question: What does the creation of a Hip-Hop mixtape by Black, male, college-educated emcees, reveal about Black men's experiences in higher education? Together, this curated collection of songs formed a mixtape, which was made available across multiple streaming platforms, and introducing the counternarratives of Black male hip-hop collegians to audiences beyond the academy. The resulting mixtape offers practical implications for revolutionizing the way educators' may center cultural knowledge as means of collecting data that captures the nuance of marginalized students' experiences within (and beyond) the context of school. [ABSTRACT FROM AUTHOR]

bell hooks described homeplace as a space for love, belonging and connection that actively resists the dominant narratives within white supremacy. This article highlights how hip hop culture and Youth Participatory Action Research (YPAR) led by school counselors can be used as a homeplace in schools, a space where students can speak on their experiences with issues in schools in a way they value most. This article details 2 ways hip hop and YPAR were combined to develop homeplaces. The authors describe the experiences of the students in the hip hop and YPAR process. [ABSTRACT FROM AUTHOR]