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'Every emcee's a fan, every fan's an emcee': Authenticity, identity, and power within Bay area underground hip -hop

机译:“每个主持人都是粉丝,每个粉丝都是主持人”:湾区地下嘻哈舞的真实性,身份和力量

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摘要

Do oppositional subcultures pose a threat or offer a legitimate alternative to the institutions of power that they develop in response to? This dissertation looks specifically at a subcultural arena known as West Coast underground hip hop, and its particular manifestations within the San Francisco Bay Area. Following a Do-it-Yourself ethos, which undermines the distinction between hip hop producers and consumers, Bay Area underground hip hop has emerged in response to power imbalances within the music industry and the capitalist agendas that inform them. Accordingly, its enthusiasts espouse multiple discourses of egalitarianism in their musical and non-musical endeavors. Yet, an ethnographic examination of both the politics of identity (including race/ethnicity, gender, socio-economic background, and social geography) and issues surrounding the tension between art-form and commodity reveal that Bay Area underground hip hop falls short of reaching its progressive ideals in telling and potentially disturbing ways. This research is the product of a one-year field-stay within, as well as several subsequent visits to, the social spaces that comprise the underground hip hop scene in "the Bay". It is a product of participant-observation in the truest sense, including not only conventional qualitative research methods but also the ethnographer's experiences becoming a recognized artist within this subcultural scene. This full-scale immersion into the world of Bay Area underground hip hop fostered analyses of how dynamics of power play out in the construction of underground hip hop authenticity, the creation and distribution of underground hip hop musical products, and the establishment and maintenance of the conditions that influence who does and does not participate (and on what terms). Despite its egalitarian discourses, issues of power pervade Bay Area underground hip hop and its relation to the broader social structures that it aspires to exist outside of.
机译:反对派亚文化是否构成了威胁,或者提供了替代手段来应对它们所发展的权力制度?本文专门研究了一种称为西海岸地下嘻哈的亚文化领域,以及它在旧金山湾地区的特殊表现。遵循自己动手做的精神,这破坏了嘻哈音乐制作人和消费者之间的区别,湾区地下嘻哈音乐应运而生,以应对音乐行业内部的权力失衡和告知他们的资本主义议程。因此,它的发烧友在他们的音乐和非音乐事业中主张平等主义的多种论述。然而,对身份政治(包括种族/民族,性​​别,社会经济背景和社会地理)以及有关艺术形式和商品之间紧张关系的人种学研究表明,湾区地下嘻哈无法实现在讲述和潜在干扰方式方面的进步理想。这项研究是在构成“海湾”地下嘻哈场景的社交空间中进行为期一年的实地考察以及随后多次访问的结果。它是从最真实的角度观察参与者的产物,不仅包括常规的定性研究方法,而且还包括民族志学家在该亚文化环境中成为公认的艺术家的经历。全面沉浸在湾区地下嘻哈世界中,这有助于分析动力如何在地下嘻哈真实性的构建,地下嘻哈音乐产品的创作和发行以及音乐的建立和维护中发挥作用。影响谁参加和不参加(以及参加什么条件)的条件。尽管有平等主义的话语,权力问题仍然笼罩着海湾地区的地下嘻哈及其与它所渴望存在的更广泛的社会结构的关系。

著录项

  • 作者

    Harrison, Anthony Kwame.;

  • 作者单位

    Syracuse University.;

  • 授予单位 Syracuse University.;
  • 学科 Cultural anthropology.;American studies.;Music.
  • 学位 Ph.D.
  • 年度 2003
  • 页码 508 p.
  • 总页数 508
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:45:24

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