Street-Conscious Copula Variation in the Hip Hop Nation

Alim, H. Samy

doi:10.1215/00031283-77-3-288

Cited by 67 publications

(51 citation statements)

References 23 publications

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“…The technology of the radio during the Depression helped spread the genre, the most important centre probably being the 'Grand Old Opry' in Nashville, which was broadcast weekly. Alim (2002Alim ( , 2004 differentiates the definition of the broader Hip-Hop Nation (HHN) culture from the linguistic musical activity of rap, which Alim defines as "the aesthetic placement of verbal rhymes over musical beats" (2004, p. 272 In the sociolinguistic exploration of Hip-Hop and Country communities, there are five major themes that will be explored:…”

Section: Hip-hop and Country Backgroundmentioning

confidence: 99%

“…For Hip-Hop, the lyrics are targeted to and intentionally written as if speaking to inner city African-American street culture (Bell, 1984;Alim, 2002) and for Country, the rural white working class. In tension with this is the recognition from both musical communities that the majority of their music sales are to white upper middle class suburbanites.…”

Section: Commodificationmentioning

confidence: 99%

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Musical Cultures: To What Extent is the Language Used in the Song Lyrics of Hip-Hop and Country Music Reflective of and Shaped by Cultural Beliefs and Experiences?

Engh¹

2013

IJEL

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Hip-Hop and Country musicians concurrently create culture while being affected by the specific subculture of their sociolects and communities. Within these specific speech communities, language is a vital part of constructing reality; of showing class values; and of defining who is 'in' and who is not -often in terms of being in opposition to and standing apart from mainstream society. Inclusion in the Hip-Hop and Country subcultures indicates a delineating boundary of authenticity, which clearly suggests that there are others who are therefore not 'authentic' and must be excluded. Members view their group as separate and work to maintain the boundary from the other, from the majority. In the sociolinguistic exploration of Hip-Hop and Country communities, there are five major themes that will be considered: Legitimacy, Commodification & Globalization, Boundary Margins, Sexuality, and Rebellion -giving prominence to the social context of language use rather than to purely lexical considerations within the two communities.

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Section: Hip-hop and Country Backgroundmentioning

confidence: 99%

Section: Commodificationmentioning

confidence: 99%

Musical Cultures: To What Extent is the Language Used in the Song Lyrics of Hip-Hop and Country Music Reflective of and Shaped by Cultural Beliefs and Experiences?

Engh¹

2013

IJEL

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“…Jocson (in press) examines students' use of digital literacies and the ways in which their sense of self unfolds. A core of emerging scholars, such as Stovall (2006) and Alim (2002), focuses directly on hip-hop and its strength as a medium and mediator for youth at risk. The concept of popular culture, Duncan-Andrade and Morrell (2005) would suggest, is the everyday social experience of marginalized students as they confront, make sense of, and contend with social institutions such as schools, the mass media, corporations, and governments.…”

Section: Gadsden: the Arts And Education 47mentioning

confidence: 99%

The Arts and Education: Knowledge Generation, Pedagogy, and the Discourse of Learning

Gadsden

2008

Review of Research in Education

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W ithin the past 20 years, the arts have gained increasing prominence in educational discourses as well as public arenas. At the same time that traditional genres of art (e.g., music, visual art, and performance) are being taught as part of school curricula, the study of the arts in education has taken on new venues in supporting learning and teaching through technology and multimedia (Carey, 2005;Eisner, 2002; Flood, Heath, & Lapp, 2005). These new foci are especially critical in bridging the local and the global, and in linking cultures and worlds across age, time, and space that in earlier periods in history would have been virtually impossible to connect. Moreover, they portend opportunities for enhancing learning and improving pedagogy and practice (Bresler, 2001; Bresler & Ardichivili, 2002). They call attention to the ways in which these opportunities are constructed across place and culturally diverse groups, how knowledge (and what counts as knowledge) is defined and shaped within and outside of formal classrooms, and the ways in which reciprocal relationships across different settings are (re)formed and sustained. In short, they prompt us to examine critically how patterns of practice in areas outside of the arts are supported through the arts. They urge us to take up questions about the role the arts play in linking students' knowledge outside the classroom with the knowledge gained through the official curriculum and, in turn, about how such knowledge contributes to the formation of student and teacher identities.This chapter focuses on the arts within a social-cultural-contextual framework, examining their role as a (re)source in educational theory, research, and practice. Rather than highlighting individual disciplines within the field, typically referred to as "the arts," the chapter is concerned with the changing nature of the arts and what counts as the arts. 1 The chapter has a six-part structure that begins with an overview of issues that are central to redefining the relationship of the arts and education. This is followed

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“…La structure du rap ainsi que son contenu facilitent cette ouverture. Depuis bon nombre d'années, des chercheurs aux États-Unis enquêtent sur le phénomène du hip-hop dans le contexte américain, tant au niveau culturel (Kitwana, 2005) que sociolinguistique (Morgan, 2001;Smitherman, 1997) et pédagogique (Alim, 2002(Alim, , 2003Low, 2007).…”

Section: La Culture Hip-hop Ses Détours Et Son Arrivée Au Québecunclassified

“…Comme J. Kyll de Muzion nous le dit, « En général, on chante, on rap comme on parle » (extrait d'entretien, le 4 juin 2004). Le langage mixte tel qu'utilisé par des rappeurs comme Sans Pression ou les membres de Muzion est très difficile, voire impossible à comprendre par un public ne parlant pas très bien le français québécois et n'ayant pas une bonne connaissance de l'anglais (surtout l'anglais africain-américain employé par les rappeurs états-uniens; voir Alim, 2002, pour des précisions linguistiques). De plus, il est nécessaire de comprendre les nombreux emprunts aux créoles haïtien et jamaïcain qui sont couramment utilisés par les jeunes de cette génération québécoise francophone.…”

Section: Portrait En Couleurs : Le Langage Du Hip-hop Québécoisunclassified

« Ousqu’on chill à soir? » Pratiques multilingues comme stratégies identitaires dans la communauté hip-hop montréalaise

Sarkar

2008

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Résumé Dans ce bref portrait sociolinguistique de la culture hip-hop de Montréal, Mela Sarkar et son équipe de recherche de l’Université McGill confrontent les défenseurs de la « Québéquicité », c’est-à-dire être blanc et parler français avec l’accent approprié, aux pratiques multilingues qui caractérisent la communauté hip-hop montréalaise. En effet, les jeunes de la génération hip-hop au Québec inventent un nouveau langage hybride et mixte, né de l’amalgame des langues et cultures d’origines diverses que l’immigration et les politiques linguistiques ont introduites dans les écoles québécoises de langue française en milieu urbain. Les pratiques multilingues qu’ont créées les jeunes rappeurs québécois scolarisés en français en milieu multiethnique montréalais agissent comme des stratégies d’affirmation identitaire pour toute une génération.

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Street-Conscious Copula Variation in the Hip Hop Nation

Cited by 67 publications

References 23 publications

Musical Cultures: To What Extent is the Language Used in the Song Lyrics of Hip-Hop and Country Music Reflective of and Shaped by Cultural Beliefs and Experiences?

Musical Cultures: To What Extent is the Language Used in the Song Lyrics of Hip-Hop and Country Music Reflective of and Shaped by Cultural Beliefs and Experiences?

The Arts and Education: Knowledge Generation, Pedagogy, and the Discourse of Learning

« Ousqu’on chill à soir? » Pratiques multilingues comme stratégies identitaires dans la communauté hip-hop montréalaise

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