Orientador: Ana Maria Fonseca de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-09T17:58:55Z (GMT). No. of bitstreams: 1 Moreno_RosangelaCarrilo_M.pdf: 6051635 bytes, checksum: d1dd83a776d1dad98429fb258b491eb4 (MD5) Previous issue date: 2007 / Resumo: Este trabalho discute a militância de jovens rapper negros que se engajaram na criação da Casa do Hip Hop de Campinas, uma instituição patrocinada pela prefeitura da cidade, nas mãos do Partido dos Trabalhadores (PT) entre 2001 a 2004. A pesquisa busca compreender a origem da militância política dos rappers expressa por sua adesão ao rap, visto como uma prática artística e política e pelas alianças que eles conseguiram estabelecer com os políticos eleitos da cidade a fim de criar a Casa. Partindo da definição bourdieusiana de socialização como internalização das condições objetivas de existência, a dissertação revela os processos pelos quais foram criadas as disposições para o envolvimento desses jovens com a música e com o protesto político. Mostra-se como a experiência de mobilidade social ascendente na geração dos pais, ainda que modesta, favoreceu a construção de fortes ambições por parte dos jovens. A impossibilidade de construção de um futuro através da escolarização, por falta de boas oportunidades escolares, assim como uma experiência precoce com o racismo no ambiente escolar e no contato direto com a polícia, conduziu-os em direção ao mercado cultural, onde tentaram construir uma carreira como rappers, visto por eles, no momento, como uma saída possível para a privação econômica, ao mesmo tempo em que mantinham suas origens negras e sua dignidade. Baseado na teoria de campo de Bourdieu a pesquisa considera a trajetória dos rappers a partir do momento em que, confrontando-se a uma forte oposição dos rappers estabelecidos na cidade, eles entram no campo da política organizada associando-se com um vereador negro da cidade, filiado ao PT, que os ensina os elementos básicos da ação política organizada. Como resultado, os jovens rappers criam uma associação que se tornou percebida pela mídia e pela prefeitura como o movimento hip hop de Campinas. Como tal, eles puderam ter sucesso nas negociações com a Secretaria Cultural da cidade para a criação da Casa do Hip Hop de Campinas, assegurando empregos públicos chaves na instituição. O processo de institucionalização foi seguido por uma crise culminando com a cisão do grupo e com o redirecionamento das ambições dos jovens em direção a empregos públicos mais estáveis, renunciando à carreira como rappers / Abstract: This work looks into the political activism of young black rappers engaged in the creation of the «House of Hip Hop », an institution sponsored by the city government of Campinas, São Paulo, held by the Partido dos Trabalhadores (PT) between 2001 and 2004. The research seeks to explain the origins of the rappers? political activism, expressed by (i) their adhesion to rap as an artistic and political endeavour and (ii) the alliances they were able to make with the city's elected politicians in order to create the House. Drawing on Bourdieu's discussion of socialisation as internalisation of the objective conditions of existence, the dissertation discusses the processes by which the dispositions towards both music and political protest were created. It shows that an experience of modest upward social mobility in the parents generation provided the youth with strong ambitions. The impossibility of building a future through schooling for lack of good school opportunities, coupled with an early experience of racism in the school environment and in contacts with the police in the streets, directed them towards the cultural market, leading them to try to build a career as rappers. This was seen by them, at the time, as a possible way out of economic privation while keeping their black roots and dignity. Developing Bourdieu's theory of fields, the research takes into account the rappers? trajectoires from the moment when, after meeting with strong opposition from the established rappers in the city, they enter the field of organised politics, associating themselves with a black city councilmember (« vereador ») affiliated with the PT, who taught them the basics of organised political action. As a result, the rappers created an association that became perceived by the media and by the government as the hip hop movement of Campinas. As such, they could successfully negotiate with the appointed City Secretary of Culture the creation of the House of Hip Hop and secure for themselves key public jobs in this institution. The process of institutionalisation was followed by a group crisis culminating with a cleavage among the members and with the redirection of the youth ambitions towards the more secure public jobs, thus renouncing to the rapper career / Mestrado / Ensino e Práticas Culturais / Mestre em Educação

African American Vernacular English, AAVE, is a variant of English spoken mostly by lower-class black citizens in the US. Since the most popular music genre among African Americans today is rap, this paper will describe what characterizes AAVE and rap music, and explore the use of AAVE in rap lyrics of both black and white rappers. AAVE is different from Standard English in several respects; grammatically, phonologically and lexically. Examples of grammatical features in AAVE are invariant be, double negations and the differing use of possessive pronouns. The hip hop industry has been, and still is, largely dominated by black performers, and white artists make up only a minority of rappers in the line of business today. Rappers being part of a larger culture, the hip hop nation, they have a language in common, and that language is AAVE. In this paper, a number of lyrics performed both by black and white rap artists have been compared and analyzed, in search of linguistic features of AAVE. This study provides evidence that AAVE is indeed used in rap lyrics, although the use of its features is often inconsistent. It is also shown that AAVE-presence in white rappers’ lyrics exists, but is sparser than in the works of their black equivalents.

Au travers de ce travail, la culture Hip-Hop est approchée au travers de son rapport à l'espace de la ville de Bruxelles. Après avoir montré le décalage entre les lieux de pratique et les lieux de revendications symboliques de la culture Hip-Hop, les différents transformations contemporaines de celle-ci sont étudiées, notamment son institutionnalisation./ Trough this research, Hip-Hop culture is approached by its relation to the Brussels city space. After analysing the differences between the practical and the symbolic space of Hip-Hop culture, its contemporary transformations are studied, especially the relation between Hip-Hop and cultural policies / Doctorat en Sciences / info:eu-repo/semantics/nonPublished

Identity construction is an integral task during late adolescence. In this study, I argue that hip hop music contributes to the process of identity construction among female late adolescents. The contexts that the female late adolescent is exposed to affect her process of identity construction. These contexts include family, friends, peers, religion, and popular culture, among other things. Hip hop music forms part of present-day popular culture. Adolescents have access to this genre of music via the mass media and social networks. The aim of this study is to explore the nature of hip hop‘s contribution to the identity construction of female late adolescents in South Africa. To this end, I engaged seven female late adolescents in several research activities, which enabled them to make sense of their perceived identities in the context of hip hop music. I then interpreted the participants‘ stories, in order to understand the process by which hip hop had contributed to their sense of personal identity. The participants in this study were first-year students in the Faculty of Education, Nelson Mandela Metropolitan University, who were all in the developmental phase of late adolescence. Narrative inquiry and participatory research (PR) approaches were the preferred strategies of data generation. The data-generation techniques included the use of drawings and lyric inquiry. These techniques served to stimulate the generation of narrative data. They also provided frameworks within which the participants could engage with their sense of identity in the context of hip hop music. The research revealed that hip hop music does indeed contribute to the process of personal identity construction of the female late adolescents who participated in the study. It does so by compelling the adolescent to think about herself in relation to her continual self, which draws from her past, present, and future, her interactional self, both at the personal and social levels, and her situational self. The appeal of hip hop to her cognitive capabilities is enhanced through the strong link that hip hop has with her emotions. The significance of this study can be summarised in three points. Firstly, this study provides empirical evidence of hip hop as a meaningful resource for the female adolescent as she constructs her identity. As such, the findings of this study negate the public notion of hip hop as being a bad influence on young people, and provides proof of its significant role in the lives of South African female adolescents. Secondly, this study is important for education in South Africa. The significance of hip hop music in education settings lies in its fundamental communicative capabilities, which can be effectively utilised in the classroom situation. Thirdly, this study strengthens educational research in South Africa, especially research aimed at the liberation and emancipation of female adolescents in South Africa. In this regard, this study provides alternative methodologies of inquiry to conventional research strategies, such as questionnaires and surveys.

With new technology come new possibilities for the creation of artistic works. The invention of sound recording at end of the nineteenth century enabled musical performances to be “written” in the same manner as traditional, printed literature. The status of records as a form of writing and, moreover, as the material for further writing is demonstrated in the work of two hip hop artists, DJ Shadow and Cut Chemist, who assemble new, heteroglossic texts out of a wide array of sampled records. Two concerts, Product Placement (2004) and The Hard Sell (2008) – both of which have been memorialized on DVD – serve as fruitful examples of the potential for artistic production enabled by technology. Indeed, the genre of turntablism, which involves the live manipulation of vinyl records, requires the usage of technology in ways not intended by its original developers – a recurrent theme throughout the history of sound recording. By transforming the turntable from a passive playback device into an active compositional tool, turntablism collapses the distance between consumption and production and so turns the listener into a performer. Furthermore, the exclusive usage of 45 rpm records as the source texts for the two sets dramatizes theories of intertextuality while simultaneously tracing the constraints placed on such artistic piracy by the copyright regime. These texts entail more than just their cited musical content; they also involve visual components. These include not only the video imagery that accompanies and comments on the records being played, but also the physical performance of the DJs themselves and the spectacle of the attending crowds whose response to the music constitutes part of the text itself. Following a theoretical and historical background that will situate these works within the history of hip hop and literature in general, this study will explicate these two multimedia texts and reveal how they demonstrate a concern not only with the history of sound recording, but also such issues as the influence of technology on cultural production, the complication of authorship through intertextuality, and the relationship between culture and commerce. Above all, however, both the form and content of these two performances also serve to highlight the value of physical media as historical artifacts in the face of increasing challenges from incorporeal digital media.

Outside Looking In (OLI) is a youth development through recreation program for Aboriginal peoples in Canada. Through the analysis of semi-structured interviews, fieldnotes, and archival documents, in this thesis I examine OLI staff and Board members’ description of OLI’s creation and implementation processes. This thesis is written in the stand alone format and is comprised of two papers. The first paper shows that OLI staff and Board members describe OLI’s creation and implementation as relatively predetermined. At the same time, however, OLI incorporates collaborative approaches to various aspects of program design. While OLI facilitates collaborative processes that can contribute to Aboriginal self-determination, Eurocentric influences and broader colonial forces make efforts to achieve Aboriginal self-determination challenging. The second paper illustrates that OLI’s approach to Aboriginal youth development through recreation creates a hybrid third space that challenges colonial discourses. Together, this thesis not only describes the creation and implementation processes of a youth development through recreation program for Aboriginal peoples, but also how the tensions associated with Aboriginal self-determination and colonial relations of power can permeate such programs.

Estudio sobre la producción de las mujeres existente el fenómeno del graffiti hip hop en los principales centros urbanos de España a finales del siglo XX. La investigación analiza, a la luz de las disciplinas del arte y de los estudios de género, los posibles aspectos que distinguen los graffiti hip hop producidos por hombres y por mujeres. Palabras clave: Graffiti, hip hop, mujer, significante y singularidad / Gonçalves De Paula, PD. (2006). Graffiti hip hop femenino en España a finales del siglo XX: la singularidad como significancia [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/1953 / Palancia

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This Master's thesis focuses on the history of the hip hop subculture and the character of rappers and female rappers. The aim of this thesis is to analyze chosen hip hop media in the Czech Republic and to determine what is visual, content and also linguistic characteristic of the chosen Czech hip hop media and further to determine the role of rappers and female rappers therein. The thesis is divided into two sections, this being theoretical and methodical section. The theoretical section firstly examines the history of the hip hop subculture from the global perspective and its evolution in the Czech Republic. The first part of the history section focuses on the main milestones of the hip hop subculture history with the prevailing orientation on music, hip hop media, and other channels of its distribution. In the chapter describing the evolution of hip hop in the Czech Republic the thesis focuses on the development of the music genre, the introduction of the significant interprets and connection of the context with the other aspects of distribution of the hip hop subculture into the mainstream. The following chapter in the theoretical section which explores the evolution of academic subculture studies, cultural studies, and post-subcultural approaches. The next chapter describes different types and...

Philosophiae Doctor - PhD / In highly mobile societies, the voice and agency of speakers will differ across contexts depending on the linking of forms and functions. This thesis is thus about the complexities introduced to the notion of (form-function linkages) multilingualism in late-modern globalizing and mobile Cape Town in transition. Essentially, it takes its point of departure in the idea that multilingualism is a 'spatial concept', i.e. the form that interacting languages take, how they are practiced by speakers and how multilingualism is perceived, is determined to a large extent by the affordanees of particular 'places'. In order to research this, I postulate that a major parameter in the organization and differentiation of places is that of scale. The thesis studies two research sites that can be considered as diametrical opposites on a scale from local (descaled) to translocal (upscaled), namely Hip-Hop performances at Stones, Kuilsriver, and Mzoli's Meat at Gugulethu. Although both sites are found in local townships, they differ in terms of their basic semiotics. That is to say, to what extent the interactions, physical spaces, and activities, are infused with local meaning and local values (downscaled in the case of Hip-Hop) - granted this may be a problematic concept - and to what extent the semiotics of place areoriented towards upscaling or transnational values and practices (upscaled in the case of Mzoli's Meat). Each of these sites is characterized in terms of the assemblage of trans modal semiotics that contribute to defining it as a place of descaling and upscaling (buildings, linguistic landscapes, patterns of interaction and movement and posture, stylizations of selves, artifactual identities (car makes, et cetera). We find that the Hip-Hop site is 'predominantly' local in branding, in who participates, and in the linguistic landscape and the aesthetics of photographic embroidery. Mzoli's Meat, on the other hand, with its ATMs, sit-down-for-tourist-spaces, and international website, is very much more upscaled. A discussion of 'normative orders of multilingualism' pertinent or dominant in each site is also provided. Thus in the local or descaled site of Hip-Hop, a core ordering of multiple languages is in terms of economic value (consumption) with respect to what each language, or variety of language, contributes to 'keeping it real', that is, creating 'extreme locality'. Repertoires are 'ordered' - discussed - and seen to evolve and gain value in terms of a particular social trajectory of speakers, namely their trajectory and history - as temporally narrated - towards becoming a Hip-Hop head and a key actor in 'keeping it rear. In the context of Mzoli's Meat, the semiotics of the upscaled market generate talk about and perceptions of multilingualism in terms of the translocal encounter -linguistic/multilingual repertoires are seen as relevant to, or organized along the lines, of the temporary encounter, and in respect to the value of the languages in facilitating translocal engagements (Dutch, English). Thus, we note how the notion of repertoire is a fluid concept that can be organized and talked about in relation to different standards, trajectories, determined by normative orders of different scaled spaces. Returning to the key question addressed of how these spaces are semiotically constituted and how they constrain or 'prototypically' facilitate particular kinds of voice and agency in more detail, the thesis introduces key concepts of performance, stylization, entextualization and enregisterment. A key feature of doing or constituting places from spaces is the kind of interactions, participants and linguistic eonstruals/productions that take place there. In a highly multilingual society, places/spaces are often normatively contested or contestable. The theoretical concepts provide the framework for charting how different personae are voiced through, that is, entextualized and stylized in the interaction of different languages (in relation to the normative order or in how the combination of languages in voices and their competition more or less successfully enacted or perform the personae/voice), and how these voices/personae are enreqistered, thatis, the competitive processes in the linguistic conventionalization of the voices, and in the simultaneous construction of the downscaled and upscaled spaces. Thus, in the Hip-Hop context, the multilingual voices are designed to produce local personae, whereas in Mzoli's Meat, the performed personae on linguistic display are various and normatively transgressing, emphasizing polycentric normativities as against the mono centric normativity of the downscaled and extreme local context. Enregisterment is shown in the Hip-Hop context to be driven by the construction of extreme locality, whereas in Mzoli's Meat, the performance by the comedian of translocal and mobile voices serve to enregister a translanguaged variety of multilingualism. Thus, we see here how different normative orders of multilingualism (that is different values, forms and combinations oflanguages) that are afforded by the scaled nature of particular places, are layered into and through different social personae or voices. In fact, it is the (semiotic) work in stylizing and entextualizing these voices, and in enregistering them that help produce these differently scaled places (in conjunction with other semiotic means as noted above). How then do these findings inform the issue of linguistically mediated agency in mobile societies? Much politics takes place outside of the formal spheres and institutions of society. Popular spaces are central political sites where a variety of everyday micro and macro-sociopolitical issues are dealt with. In this thesis, we find among other issues dealt with is that 'authenticity' within the Hip-Hop context is a predominant issue, and in Mzoli's Meat, the social political issues of the day are racialized encounters and their implications. In each of these sites, language and multilingualism is paramount in (a) positioning political interests (through personae and voices) and (b) in contesting and working through the normativities of the place in question. Thus, agency emanates from the ability of the speaker to appropriately position the (linguistically mediated) voice/personae in a contested and scaled space in a way that this voice becomes enregistered, and thus legitimated and 'heard'. This is a process of possible transgression - or at least competition - on the one hand, as well as creative 'conformity' or repetition of registers and repertoires according to fluid, constructed normativities. What this then reveals is the value of a concept of linguistic or multilingual citizenship, which is here taken to refer to the agency constituted through non-institutional means where language negotiations are transgressive and central to the creation of a normative order of (local) voices. Therefore, this thesis provides an insight into the complexities of agency (en registered, scaled voice) in mobile, multilingual and scaled Cape Town.