Hip‐hop cultures and political agency in Brazil and South Africa

Pieterse, Edgar

doi:10.1080/02533952.2010.487998

Cited by 12 publications

(10 citation statements)

References 18 publications

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“…Although contested, a fifth element has been increasingly advocated: knowledge of self. It is argued that to do the other activities well, hip‐hop artists must have a keen sense of self and self‐worth (Pieterse, 2010: 433). Although these are all seen as important facets of hip‐hop culture, much of the critical discussion around hip‐hop, especially in South Africa, focuses on rhymes and representation (Haupt, 2001; Caldeira, 2004; Beer, 2014; Williams, 2014).…”

Section: Hip‐hop and Graffiti As Critical Practicesmentioning

confidence: 99%

“…In many ways, hip‐hop may merely reflect broader gender inequalities in society (Beer, 2014), and because young people in many urban contexts are surrounded by different forms of physical and structural violence, it is no surprise that a sense of rage permeates hip‐hop's cultural expression. In fact, Pieterse (2010) believes that rage is an important part of the impulse to critique society, and a driver for hip‐hop as a hopeful process. Through hip‐hop, rage is channelled into multi‐layered critical dimensions, providing agency in a recognizable register for the youth.…”

Section: Hip‐hop and Graffiti As Critical Practicesmentioning

confidence: 99%

“…Unlike mainstream political forums that are often premised on consensus, hip‐hop is unashamedly conflicted. Pieterse (2010: 437) draws on Perry to argue: ‘open discourse is constitutive in hip‐hop’ and is ‘critical, because it allows the contradictory and complicated politics of identity, community, belonging and aspiration to be surfaced in all its unresolved rawness, without a desire to foreclose confrontation and engagement’. Perry's dialogic moment can be seen in the supposed disjuncture between hip‐hop lyrics and the aesthetic manifestation of graffiti.…”

Section: Hip‐hop and Graffiti As Critical Practicesmentioning

confidence: 99%

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Creative Cities, Graffiti and Culture‐Led Development in South Africa: Dlala Indima (‘Play Your Part’)

Sitas¹

2020

Int J Urban Regional Res

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Creative cities and culture‐led development discourses have come under increasing scrutiny as elite‐centric economic development agendas tend to trump ‘civic creativity’ ideals as imagined by Charles Landry. In South Africa, culture‐led development and cultural policy tends to primarily mimic that of the global North, largely focusing on culture as a catalyst for economic and property development. Public art commissioning processes tend to focus on decorative projects as part of urban upgrading, which are often associated with ensuing gentrification and displacement of the urban poor. In contrast to focusing on these kinds of regeneration strategies, this article investigates Dlala Indima, a hip‐hop‐led graffiti project in a rural township in the Eastern Cape of South Africa. This article situates graffiti as a critical social and spatial practice to argue that this case challenges normative cultural planning paradigms. Dlala Indima's work is an alternative approach to cultural development by and for young people who are usually marginalized by the mainstream practice of culture‐led economic development. The project challenges dominant creative cities and culture‐led development discourses in three ways: first, it challenges the normative processes of regeneration; secondly, it grounds participatory practice; and finally, it shifts participation from ‘tyranny to transformation’ through the ubuntu of hip‐hop, the notion of ubuntu being based on the communitarian notion of ‘ubuntu, ngubuntu ngabantu’—‘I am because you are’.

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Section: Hip‐hop and Graffiti As Critical Practicesmentioning

confidence: 99%

Section: Hip‐hop and Graffiti As Critical Practicesmentioning

confidence: 99%

Section: Hip‐hop and Graffiti As Critical Practicesmentioning

confidence: 99%

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Creative Cities, Graffiti and Culture‐Led Development in South Africa: Dlala Indima (‘Play Your Part’)

Sitas¹

2020

Int J Urban Regional Res

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“…The first is Holston's (; ) concept of insurgent citizenship, where the term ‘insurgent' is employed to emphasize ‘the opposition of spaces of citizenship to the modernist spaces that physically dominate so many cities today' and ‘an opposition to the modernist political project that absorbs citizenship into a plan of state building' (Holston, : 157). Holston's work—since carried forth by many researchers in different contexts (see, for example, Pieterse, ; Pine, ; Earle, ; Samaddar, ; Butcher and Frediani, )—inspired the second formulation of insurgency, namely, insurgent planning (Sandercock, ; ), which articulates the emergence of insurgent planning histories towards developing a postmodern utopian planning stream. Sandercock's work, which has been expanded by Friedmann (), Miraftab and Wills (), Miraftab () and Sweet and Chakars (), among others, articulates the emergence of insurgent planning histories to reconceptualize planning history using gender, race, class and other forms of difference as categories of analysis, towards imagining the future differently.…”

Section: Elaborating Insurgent Practicementioning

confidence: 99%

From Occupying Plazas to Recuperating Housing: Insurgent Practices in Spain

García-Lamarca

2017

Int J Urban Regional Res

200

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Urban insurgencies have spread across the globe like wildfire in recent years. The indignado plaza occupations in Spain are often cited as beacons of popular and widespread dissent. This article argues that urban insurgencies with the highest emancipatory potential in Spain today are found in the practices of the housing rights movement—the Plataforma de Afectados por la Hipoteca (PAH, or Platform for Mortgage‐affected People)—that mainly entail blocking evictions and occupying empty bank‐owned housing. I elaborate on the notion of insurgent practice by examining how insurgency has been considered in relationship to citizenship, planning and public space. I propose insurgent practice as a way of articulating how people attempt to enact equality in everyday life and engage explicitly with socio‐spatial and political questions related to an emancipatory democratic politics. Based on a detailed analysis of two of the PAH's insurgent housing practices, I posit that recuperating empty bank‐owned housing with and for evicted families has the highest and most significant emancipatory potential, as it disrupts the core dynamics of urban capital accumulation and enacts equality for evicted households by directly contesting financial rent‐extraction mechanisms at multiple levels. In closing, I outline some conclusions that emerge from the Spanish housing case and from the concept of insurgent practice and urban politicizing practice in general.

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“…Hip‐hop is simultaneously an identity built in a social and spatially hidden position, and a practice loudly enunciating its existence in the face of the city. The diversity and the heterogeneity, as well as the central questions of age, gender and class, all add to the density and multi‐layered discourses of hip‐hop (Pieterse, : 437), a complexity that I have here briefly tried to extract at the risk of proposing perhaps too simple a view.…”

Section: ‘The Revolution Is Here’mentioning

confidence: 99%