Make Some Noise, Drari

Embodied Listening and Counterpublic Formations in Moroccan Hip Hop

Dados Bibliográficos

ID2430438
AutoresKendra Salois (autor correspondente)
Ano2014
Volume87
Fascículo4
Páginas1017-1048
Data de publicação2014-09-01
Peer ReviewedSim
Open AccessNão
TipoARTICLE
PeriódicoAnthropological Quarterly (JOURNAL)
Identificadores do periódicoISSN: 0003-5491 • E-ISSN: 1534-1518
EditoraProject MUSE (PUBLISHER • US)
DOI10.1353/anq.2014.0054
OpenAlexW2088420664
IdiomaEN
Citações recebidas12
Referências citadas14

This article focuses on one aspect of Moroccan hip hop performance, rappers' "stage talk" (), to argue that performers and audiences co-construct a counterpublic with both discursive and affective powers through their responses to music and sound. I show that hip hop musicians' stage talk simultaneously educates and disciplines the audience, providing models of "authentic" hip hop comportment while orienting the audience's listening in a manner consistent with the position on music most prevalent among Moroccan Muslims. This article argues that learning through listening together enables practitioners to create a hip hop counterpublic that is at once ethical and open to wide variations in expressions of piety. In the context of spiritual and cultural traditions in which embodied listening does significant ethical work, learning to participate in the discourse that performers' stage talk invokes allows musicians and audience members alike to undertake the affective work necessary to form a counterpublic, however ephemeral, with its own comportment, expressions, and values. However, an analysis of live hip hop performances shows that the emergent hip hop counterpublic joins its structural critiques to personal responsibility, shifting the response to these issues from the terrain of the political to that of the personal. By casting solutions to these problems in ethical terms, hip hop performances invoke the rights of individual citizens, rather than political or class-based solidarities, as the locus of action, thus encouraging the audience member to take him- or herself as the terrain of change and improvement

Active listening · Aesthetics · Art · Embodied cognition · Epistemology · Media studies · Political science · Politics · Sociology · Anthropological Studies and Insights · Caribbean history, culture, and politics · Communication · Law · Music History and Culture · Psychology · Social Psychology