Flowing Beyond Sectarian Ethno-politics: Ethnography of Jewish and Arab Rap in Israel

Dorchin, Uri

doi:10.1080/17449057.2015.1041752

Cited by 5 publications

(3 citation statements)

References 19 publications

(8 reference statements)

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“…Such a perception made it possible to overcome internal differences within the group and peers remained for the most part highly tolerant towards social positions or political messages conveyed by others. 8 This situation further supports the claim I have made elsewhere (Dorchin, 2015c), according to which the globalization of rap promotes not only politics of differentiation but also politics of recognition. 9…”

Section: Imagined Blackness and Predicaments Of Identificationsupporting

confidence: 74%

“… 8. A clash between the Jewish rapper Subliminal and his Palestinian-Israeli colleague Tamer Nafar became rather famous precisely because it is an exception in the relationships between local rappers. As I have previously shown (Dorchin, 2015c), even this unusual case demonstrates dimensions of similarity between the two rivals and serves as a basis for a constructive dialogue between them. …”

supporting

confidence: 56%

“…This case is especially interesting because these rappers and their affiliated audiences often compare themselves to black minorities (Arab Palestinians) or literally identify as part of the African Diaspora (Jewish Ethiopians) (see Djerrahian, 2015; McDonald, 2013). Nevertheless, and regardless of their explicit criticism of the Israeli establishment that discriminates against them, performers belonging to these groups consistently collaborate with peer rappers and utilize rap to claim participation instead of preaching seclusion from the larger society (Dorchin, 2015c).…”

Section: Imagined Blackness and Predicaments Of Identificationmentioning

confidence: 99%

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Authorship, subjectivity and resistance in the mainstream: A lesson from Israeli rap

Dorchin

2017

European Journal of Cultural Studies

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Notions of authenticity and resistance are often addressed concomitantly in the context of popular culture and in the discourse that surrounds blackness in particular. Avoiding such a perspective, this article draws on Israeli mainstream rappers for whom rap is a way to converge popular style with the ability to speak their mind in the most sincere way. Based on ethnographic description, I therefore call to acknowledge rappers’ position as ‘authors’: aware and critical subjects whose sense of personhood depends not on strict avoidance from mainstream routes but rather on a sober participation in it. Contemporary hip-hop in this case offers a possible escape from a rigid power-oriented analysis and from the irresolvable cycle of resistance and cooptation so often found in Cultural and Popular Music Studies.

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Section: Imagined Blackness and Predicaments Of Identificationsupporting

confidence: 74%

supporting

confidence: 56%

Section: Imagined Blackness and Predicaments Of Identificationmentioning

confidence: 99%

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Authorship, subjectivity and resistance in the mainstream: A lesson from Israeli rap

Dorchin

2017

European Journal of Cultural Studies

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Frontieriphery: An Anti-positivist Ontological Approach to Intersectional Investigation

Gigi

Tzfadia

2023

Ethnopolitics

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In Search of Creative Expression: The Dialectics of Race, Politics, and Literature in Caribbean Dub Poetry / Ieškant Kūrybinės Išraiškos: Rasės, Politikos Ir Literatūros Dialektika Karibų Dub Žanro Poezijoje

Dorchin

2017

Creativity Studies

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This article examines dub poetry as an artistic form located along several borderlines, both spatial and cultural. Formulated by poets of African descent, the creative language of dub poets was often conceptualized through the framework of identity politics and an anti-colonial approach. Yet from the 1980s, dub poetry became institutionalized simultaneously within the pop culture industry and in “respectable” venues such as academic research, a process that calls its initial political orientation into question. In light of its differentiated formations, audiences, mediating devices, and forms of reception, however, we might view and evaluate dub poetry not exclusively through the prism of political speech, but also as a cultural form. Based on texts, recordings and performance analysis this article is a call to acknowledge dub poetry, and artistic expression in general, as the result of aesthetic decisions rather than exclusively moral ones.

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Flowing Beyond Sectarian Ethno-politics: Ethnography of Jewish and Arab Rap in Israel

Cited by 5 publications

References 19 publications

Authorship, subjectivity and resistance in the mainstream: A lesson from Israeli rap

Authorship, subjectivity and resistance in the mainstream: A lesson from Israeli rap

Frontieriphery: An Anti-positivist Ontological Approach to Intersectional Investigation

In Search of Creative Expression: The Dialectics of Race, Politics, and Literature in Caribbean Dub Poetry / Ieškant Kūrybinės Išraiškos: Rasės, Politikos Ir Literatūros Dialektika Karibų Dub Žanro Poezijoje

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