Musical antinomies of race and empire

Marshall, Wayne; Radano, Ronald

doi:10.1017/cho9781139029476.040

Cited by 3 publications

(1 citation statement)

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“…2.The label ‘reggae’, is used as an umbrella term to describe a range of styles and subgenres, including ska, rocksteady, roots reggae, dub, rub-a-dub, and raggamuffin/dancehall, which have developed and spread throughout the globe since the 1960s. Crucially, key aspects of the musical culture of Jamaica, such as the use of megawatt sound systems, the foregrounding of drum and bass, the practice of toasting/rapping over rhythm tracks, and the technique of the remix were also fundamental for the development of hip hop and rap, leading to ‘reggae-inflected global hip-hop confluences’ (Marshall and Radano 2013, 738). The term ‘raggamuffin’ is an intentional misspelling of ‘ragamuffin’, and this genre identified itself as the voice of Jamaica's ghetto youths and rude boys.…”

Section: Notesmentioning

confidence: 99%

Transcultural flows and marginality: reggae and hip hop in Sardinia

Scarparo

Stevenson²

2020

Mod. Italy

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Hip hop, reggae/raggamuffin, and fusions between these genres, emerged in the Italian island of Sardinia in the 1980s and 1990s. In this article, we examine the ways in which these transnational music forms have found fertile terrain in post-colonial Sardinia across generations and cultures through the music of the historic hip hop crew, Sa Razza, the next generation ‘rappamuffin’ artist, Randagiu Sardu, and the Senegalese-Sardinian Afro-reggae musician, Momar Gaye. Through the analysis of selected tracks and video clips we explore how overlapping cultural, social, and political discourses of decolonisation are framed and narrated through language, music, and images as a means of expressing cultural and political agency, critiquing the impacts of exploitation and colonisation, and consciously and self-reflexively reinterpreting and celebrating marginality.

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Section: Notesmentioning

confidence: 99%