Rooklyn, Miles2024-04-032024-04-032009-06https://hdl.handle.net/1794/2930877 pagesFrom its humble beginnings in the housing projects of the South Bronx in the 1970s, hip-hop has grown into a globalized musical genre and culture. Alleyways in Spain explode with the cryptic lettering of graffiti, South Koreans breakdance on public plazas in Seoul, and in Paris French rappers rhyme over break beats scratched on tum tables. Hip-hop, although originally imported from the U.S.A. , can no longer be considered only American music. Hip-hop aficionados often identify themselves as members of the "hip-hop nation," a transnational global culture united by style and music. Some theories of globalization suggest that transnational cultural flows such as hip hop, which have the capability of redefining individuals' cultural identity, "lead to increasing obsolescence of the territorially-bounded nation-state." As culture is globalized, modem citizens looks less and less to the nation to which they belong to form their cultural identity, drawing from imported or transnational culture in order to define who they are. For the nation state, this can become a problem: democratic ideas in China become "threats to its own control over ideas of nationhood and peoplehood ... " western lifestyles represented on television in the Middle East and Asia "completely overwhelm and undermine the rhetoric of national politics." According to theory then, globalization and nationalism seem to be mutually exclusive phenomena.en-USCreative Commons BY-NC-ND 4.0-USTemas SocialesNationalizationSocial responsibilityThesis / Dissertation