"La Revolución dentro de la Revolución:" The Cuban Hip-Hop Movement and the State: Race, Marginality and Institutionalization
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Date
2009-06
Authors
Rooklyn, Miles
Journal Title
Journal ISSN
Volume Title
Publisher
University of Oregon
Abstract
From 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.
Description
77 pages
Keywords
Temas Sociales, Nationalization, Social responsibility