Hip-Hop & the Global Imprint of a Black Cultural Form

Datos Bibliográficos

ID9685572
AutoresMarcyliena Morgan (SOAS University of London, autor de correspondencia), Dionne Bennett (American Nurses Credentialing Center)
Año2011
Volumen140
Número2
Páginas176-196
Fecha de publicación2011-04-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaDaedalus (JOURNAL)
Identificadores de la revistaISSN: 0011-5266 • E-ISSN: 1548-6192
EditorialMIT Press - Journals (PUBLISHER)
DOI10.1162/daed_a_00086
OpenAlexW1983286151
IdiomaEN
Citas recibidas33
Referencias citadas4

Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to world culture; however, the “hip-hop nation” has created not just art and entertainment, but art with the vision and message of changing the world – locally, nationally, and globally. International representations of hip-hop capture and reinterpret hip-hop's history by incorporating local as well as African American aesthetic, cultural, social, and political models. This essay examines the global movement of the hip-hop nation and its artistic incorporation into global youth culture. It considers how that movement is both a social and political process that integrates symbols of African American culture and political struggle

Aesthetics · Art · Dance · Graffiti · Political science · Politics · Social movement · Sociology · Visual arts · Youth culture · Caribbean history, culture, and politics · Cultural Industries and Urban Development · Gender Studies · Law · Music History and Culture