This paper discusses the problems caused by the linguistic features used by speakers as the basis of determining their social identity. The concept of identity is broad and closely related with socio-cultural and eco-spheres environment of the speakers. The speaker’s identity is determined by employing both social and linguistic features in the overall analysis. The linguistic features include the whole range of language use, from phonetic features to lexical units, syntactic structures and family names. This paper therefore argues that the speaker’s linguistic features pose some problems in determining the speaker’s identity. The first problem concerns the concepts of language and dialect which are defined differently by different scholars. The second problem refers to multilingual speakers with diversified linguistic competence, and lastly, it has been noted with concern that some speakers use artificial family names which are not from their ethnic origin, hence complicating the process of determining the identity of the speakers.

This paper discusses the problems caused by the linguistic features used by speakers as the basis of determining their social identity. The concept of identity is broad and closely related with socio-cultural and eco-spheres environment of the speakers. The speaker’s identity is determined by employing both social and linguistic features in the overall analysis. The linguistic features include the whole range of language use, from phonetic features to lexical units, syntactic structures and family names. This paper therefore argues that the speaker’s linguistic features pose some problems in determining the speaker’s identity. The first problem concerns the concepts of language and dialect which are defined differently by different scholars. The second problem refers to multilingual speakers with diversified linguistic competence, and lastly, it has been noted with concern that some speakers use artificial family names which are not from their ethnic origin, hence complicating the process of determining the identity of the speakers.

Social identity between interlocutors s is an indispensable factor in the formation of a community (i e. a social unit whose members are held together by an international network and who share certain interests, beliefs, views and attitudes) In this regard, language is known to be an influential symbol of identity, an important clue to social group membership. As Einer Haugen states, language is at once `a social institution, like the laws, the religion, or the economy of a community, and a social instrument which accompanies and makes possible all other institutions. As an institution it may become a symbol of the community` (1956:8 7).

Against the background of an increasing number of cyclists sharing the infrastructure with an also rising number of e-scooter riders in Germany, the question of considerate coexistence among both modes of transportation, especially on shared infrastructure (on- or off-road) arises. In various contexts (e.g. work, education), studies have shown that social identity has an impact on how members of an ingroup ('us') and outgroup (''them') are perceived. These studies are based on social identity theory, which postulates members of the ingroup are more likely to be favored and members of the outgroup are more likely discriminated and stereotyped. This ingroup favorism or outgroup discrimination can refer to attitudes, cognition, and behavior. Initial research in the traffic context by, on which the present study builds, suggests that social identity also plays a role in traffic. Apart from that, research on social identity in traffic is scarce. The aim of the study is to determine whether the role as cyclist or e-scooter rider in traffic can serve as social identity, and subsequently whether ingroup-outgroup phenomena, such as ingroup favorism and effects of outgroup discrimination can be observed. [from Introduction]

For over a decade now, Bongo Fleva has been the dominant category of popular music in Tanzania, surpassing Muziki wa Dansi (dance music) and Taarab in terms of its presence in the media. Bongo Fleva has become deversified in the last years and at present includes elements of traditional music as well as popular dance music, both of African and Western origin (Raab 2006: 43 ff.). As a result, contemporary Bongo Fleva is stylistically complex. Ther lyrics of Bongo Fleva are specifically determined by 1) the use of Swahili youth language and slang expressions. 2) the representation of modern and young lifestyles, and 3) socio-critical contens with pedagocial and moralistic tendencies. The lyrics of Bongo Fleva are marked by youth discourse which is most important for the construction of youth identities. While Bongo Fleva text with dialogic structure seem to continue the older tradition of Muziki wa Dansi, the dramatic texts remind of the way folk narratives are told in Tanzania. As the dramatic Bongo Fleva texts make use of direct speech, often of several characters, and without introduction, it seems that traditional techniques of story-telling have an effect on Bongo Fleva rap lyrics. In this article a rap text of this kind, Mikasi (\"Sex\"), released in 2004 by Bongo Fleva artist Ngwair, will be analysed with regard to its form, content and function. As it conteain different roles and dialogues, it is suitable for the investigation of youths`talk. A special focus will be put on the self-portrayal of the youths in the dialogues of the song, and on the question how boasting and dissing is performed in a dialogic text.

Social identity between interlocutors s is an indispensable factor in the formation of a community (i e. a social unit whose members are held together by an international network and who share certain interests, beliefs, views and attitudes) In this regard, language is known to be an influential symbol of identity, an important clue to social group membership. As Einer Haugen states, language is at once `a social institution, like the laws, the religion, or the economy of a community, and a social instrument which accompanies and makes possible all other institutions. As an institution it may become a symbol of the community` (1956:8 7).

For over a decade now, Bongo Fleva has been the dominant category of popular music in Tanzania, surpassing Muziki wa Dansi (dance music) and Taarab in terms of its presence in the media. Bongo Fleva has become deversified in the last years and at present includes elements of traditional music as well as popular dance music, both of African and Western origin (Raab 2006: 43 ff.). As a result, contemporary Bongo Fleva is stylistically complex. Ther lyrics of Bongo Fleva are specifically determined by 1) the use of Swahili youth language and slang expressions. 2) the representation of modern and young lifestyles, and 3) socio-critical contens with pedagocial and moralistic tendencies. The lyrics of Bongo Fleva are marked by youth discourse which is most important for the construction of youth identities. While Bongo Fleva text with dialogic structure seem to continue the older tradition of Muziki wa Dansi, the dramatic texts remind of the way folk narratives are told in Tanzania. As the dramatic Bongo Fleva texts make use of direct speech, often of several characters, and without introduction, it seems that traditional techniques of story-telling have an effect on Bongo Fleva rap lyrics. In this article a rap text of this kind, Mikasi (\"Sex\"), released in 2004 by Bongo Fleva artist Ngwair, will be analysed with regard to its form, content and function. As it conteain different roles and dialogues, it is suitable for the investigation of youths`talk. A special focus will be put on the self-portrayal of the youths in the dialogues of the song, and on the question how boasting and dissing is performed in a dialogic text.