Original language | English |
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Title of host publication | Oxford Research Encyclopedia of Linguistics |
Publisher | Oxford University Press |
Pages | 1-17 |
Number of pages | 17 |
Publication status | E-pub ahead of print - Aug 2024 |
Abstract
A significant sociopolitical event in New York City led to the emergence of the hip-hop musical genre, which is now a critical part of global popular culture and the performance landscape. In general terms, hip-hop, and in particular rap, can be understood as a form of spoken word or rhymed storytelling, accompanied by music. In the 1970s, the construction of the Cross-Bronx Expressway (1948–1972) effectively displaced many residents from the South Bronx, an area where residents were already faced with high levels of unemployment and poverty. These social conditions led to the birth of hip-hop as a performative genre that provided a space for the marginalized to express their voice. These non-mainstream origins and the limited political and societal power that accompanied these conditions led to hip-hop being seen as a form of resistance. Since these times, hip-hop has broken into the mainstream and is now a multi-billion-dollar part of the music industry.
While hip-hop has grown as a genre of music and popular culture, so too has its reach on the global scale. Initially, this meant moving beyond New York, where different variations in African American English were incorporated along with more localized social and political concerns. Later, hip-hop began to spread around the world with a particularly unique ability to cross social, cultural, and geographic boundaries, as well as sociolinguistic boundaries. Emerging in various locations, it has proved its capacity to become translocal, taking on distinctly local features in a process of establishing authenticity inclusive of slang, dialect, accent, and phonological features as well as cultural markers and references to local political and social agendas. Hip-hop’s movement around the world has seen the emergence of important work on varieties of hip-hop. The underlying thesis here is that the localization of hip-hop is not merely global hip-hop adding in a few local features, but that it is always local, particularly in its linguistic features and general thematic and topical concerns.
While hip-hop has grown as a genre of music and popular culture, so too has its reach on the global scale. Initially, this meant moving beyond New York, where different variations in African American English were incorporated along with more localized social and political concerns. Later, hip-hop began to spread around the world with a particularly unique ability to cross social, cultural, and geographic boundaries, as well as sociolinguistic boundaries. Emerging in various locations, it has proved its capacity to become translocal, taking on distinctly local features in a process of establishing authenticity inclusive of slang, dialect, accent, and phonological features as well as cultural markers and references to local political and social agendas. Hip-hop’s movement around the world has seen the emergence of important work on varieties of hip-hop. The underlying thesis here is that the localization of hip-hop is not merely global hip-hop adding in a few local features, but that it is always local, particularly in its linguistic features and general thematic and topical concerns.
Publication series
Name | Oxford Research Encyclopedia |
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