Reggae and Hip Hop in Southern Italy

Scarparo, Susanna; Stevenson, Mathias Sutherland

doi:10.1007/978-3-319-96505-5

Cited by 2 publications

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“…5.Our discussion of Sa Razza and Randagiu Sardu's music draws on a larger study of reggae and hip hop in southern Italy published in our monograph (Scarparo and Stevenson 2018), while our discussion of Momar Gaye develops aspects of Stevenson's 2018 article.…”

Section: Notesmentioning

confidence: 99%

“…The prefix trans can be understood to denote movement, or a process of moving across or beyond, but also a process of cultural transferal and transformation . Reflecting this process of transculturation, hip hop, 1 reggae/raggamuffin, 2 and fusions between these genres, emerged during the Italy-wide ‘posse era’ 3 of the late 1980s and early 1990s as a means of critiquing power structures and the legacy of colonisation while foregrounding marginal voices and languages (Scarparo and Stevenson 2018). Many of the groups and artists that emerged during this period composed their lyrics using local dialects and languages, which were often mixed with standard Italian and English to create new cultural and linguistic syntheses.…”

Section: Introductionmentioning

confidence: 99%

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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%

Section: Introductionmentioning

confidence: 99%

Transcultural flows and marginality: reggae and hip hop in Sardinia

Scarparo

Stevenson²

2020

Mod. Italy

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Amplifying Street Knowledge through Practice-as-Research

D’Aquino

Pârvan

2021

JWPM

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Based on a first-hand account of the SSO#5 event, the authors discuss the challenges of grounding the organization of an international academic event in the local environment of Naples, a Southern Italy city with a strong sound system tradition. An ethnographic account of the Italian and Naples scene, including interviews with local sound system pioneers, will provide the context. The overarching intention animating the planning of the event was to acknowledge the way academic research can interact with local and global grassroots music movements in a transformative way, establishing connections, nurturing skills and promoting mutual recognition. More specifically, the event was aimed at amplifying the value of the already-existing scene, turning up the self-confidence of its practitioners and boosting the acknowledgement of sound system practice as an academic research field. This was achieved through the active involvement of local practitioners and activists in the conception of the event, to achieve the mutual trust and respect between participants from different backgrounds, which made the event itself a form of practice-as-research in terms of adding to an ongoing learning process.

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Reggae and Hip Hop in Southern Italy

Cited by 2 publications

References 0 publications

Transcultural flows and marginality: reggae and hip hop in Sardinia

Transcultural flows and marginality: reggae and hip hop in Sardinia

Amplifying Street Knowledge through Practice-as-Research

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