Digital media,subcultural activity and youth participation: the cases of protest rap and graffiti in Portugal

Over the last decade, we have witnessed the emergence of an academic debate surrounding the relationship between youth and the ‘new media’, with a particular emphasis on the social uses of different digital technologies within the sphere of youth activity. A specific area of research has been dedicated to studying the use of digital media in the context of the so-called youth subcultures. With this article we expect to contribute to this ongoing debate, by examining the problem through an analysis of two interconnected case studies: protest rap and illegal graffiti. Both cases may be defined as subcultures, insofar as they are characterized as alternative, subterranean, and to a certain extent, subversive movements. The empirical ground for this discussion is based on several investigations, with a qualitative basis, carried out by the authors in the course of over a decade in Portugal. This extended time frame allowed ample access to a diversified and matured analytical material and enabled a better perspective of the developments and the mutations involving the appropriation of the digital media. Our researches have shown that digital media and technologies have been gradually integrated in these urban youth subcultures, accomplishing several strategic roles.     

RIDICULING THE ‘WHITE BREAD ORIGINAL’

The 1994 US Supreme Court decision in Luther Campbell et al. v. Acuff-Rose Music, Inc., written by Justice David Souter, reversed a lower court decision and argued in favor of the rap group 2 Live Crew's playful critique of Roy Orbison's ‘Oh Pretty Woman’ by its function as parody. This essay seeks to contextualize that decision by showing the roots of 2 Live Crew's recording in the practice of ‘covering’ – the re-recording of an existent popular composition – and thus the possibilities for redefining authorship that arose with the advent of digital technology. The compositional techniques allowed by computer programs led to the proliferation of sampling in the hip-hop community, thereby liberating sounds from the original content and reconfiguring them in new songs. The technique allowed a critical, and in some cases adversarial, stance to be taken towards long-standing Western definitions of authorship and ownership. 2 Live Crew added to this rich stew of possibilities the familiar and time-tested genre of parody. Their piece took what one judge referred to as the ‘white bread original’ of the Roy Orbison record and twisted about the implicit point of view with regard to gender and sexuality. Discussion of the legal complications that followed upon the suing of the group by the holder of the copyright in the Orbison song, Acuff-Rose Music, Inc., includes the apparently sanctioned use of the song in the Disney-produced film Pretty Woman as well as the use of other Orbison material in director David Lynch's Blue Velvet. The essay concludes with suggestions as to how the language of Justice Souter's decision allows not only for future parodies but also a reinvigoration of speech, one which calls into question power relationships codified in US copyright statutes.     

Negotiating Risk and Promoting Empowerment through Rap Music: Development of a Measure to Capture Risk and Empowerment Pathways to Change

The purpose of this study was to report on the development and construction of the Individual and Community Empowerment (ICE) inventory, a measure seeking to capture the specific pathways by which either risk-enhancing impacts or empowering impacts of rap music manifest. Data were analyzed via structural equation modeling from a convenience sample of 128 high school and college students. Results found that respondents elicited (1) empowering themes that related to them individually and to the broader community and (2) high-risk themes that may promote risky health behaviors. Implications about research and practice relevance of the ICE inventory are discussed.     

Editing hip-hop within youth work activities: an actor-network theory analysis

Debates concerning hip-hop have tended to centre on controversy. For example, critics of hip-hop have focused on its association with bads such as violence, misogyny and drug use, gangsta culture, and the vandalism associated with graffiti art, while hip-hop’s defenders have celebrated the enactment of goods such as youth expression and empowerment. Increasingly, practitioners and educators have sought to mobilise particular forms or activities of hip-hop in order to draw on the potential of hip-hop in youth work. This article draws on an ethnographic study that explored how hip-hop activities were produced across a range of youth work sites in Christchurch, New Zealand. Using Actor-Network Theory (ANT) the study traced how hip-hop controversies were negotiated within youth work sites of practice, illustrating the collective editing work that was undertaken in order to handle these controversies (bads). The ANT approach to consider what is sometimes referred to as the ‘mess’ of social reality [Law 2004, 230 After Method: Mess in Social Science Research. New York: Routledge] was well suited to the study’s goal of understanding the complexities involved in using and assembling hip-hop in youth work contexts. This paper provides ‘snapshots’ of the study’s findings, to reveal the collective work in the editing of hip-hop music to avoid hip-hop bads.     

‘NOTHING POWERFUL LIKE WORDS SPOKEN’

This article examines the rhetorical techniques black British female rap artists appropriate and manipulate when they compose and perform their songs. To this end, this work probes how they explore female agency and respond to political, race, class and gender inequity in their compositions. In all, this discussion corrects the virtual absence of black British female rap emcees from transatlantic discourses by offering a close reading of the hip-hop narratives written and/or performed by Shystie, Tor Cesay, Speech Debelle and Ms. Dynamite.     

A social identity framework of American hip-hop cultural performance

The sociocognitive processes of marginalized-group social identity negotiation within a wider hegemonic sociocultural context can appear counterintuitive. Employing social identity theory to extend our understanding of the tension between racial and economic group-based identities, the mutations of three notable hip-hop referents serve as case studies that illuminate a framework of the intra- and intergroup relations facilitated by hip-hop's cultural performance within a racialized society.     

Song to Self: Promoting a Therapeutic Dialogue with High-Risk Youths Through Poetry and Popular Music

This article presents the implementation of a specialized poetry therapy intervention that incorporated hip-hop and rap music with high-risk youths. The use of this popular musician group work supported these young people's use of self-disclosure. The intervention also involved creative writing as a means of encouraging connection and self-expression among an often difficult-to-engage population.     

聊斋俚曲文体辨

关于聊斋俚曲究竟是戏曲还是说唱的文体问题,历来学者意见都不统一.在充分考察聊斋俚曲本身的演出方式、话语运用、回目设置、音乐曲调以及时人对之的称呼的基础上,认定聊斋俚曲的文体为说唱体.只有明确了聊斋俚曲的文体,才能更进一步把握其审美艺术特征.     

Can't hold us back! Hip-hop and the racial motility of aboriginal bodies in urban spaces

Urban centers across Canada are partitioned by racial geographies that circumvent and circumscribe the movements of aboriginal bodies. This article examines how aboriginal youth experience and engage these racisms that organize Canadian social spaces. Drawing on ethnographic fieldwork undertaken at a drop-in recreational centre in the inner city of Edmonton, Alberta, it documents the different ways in which indigenous youth employ hip-hop as a means to contest their subjection to these immobilizing racisms. First, it shows how these youth employ hip-hop as a technology of self-transformation through which they recreate their selves as meaningful, efficacious political actors capable of disrupting their relegation to criminogenic places. Second, it documents how the practice of a distinctly indigenous hip-hop allows these youth to innovate an aesthetic space disruptive of the historicist racisms that otherwise subject aboriginality to anachronistic spaces. Finally, this article shows that, by performing a hybridized, distinctly indigenous breakdance, these practitioners of hip-hop dramatize the physical and cultural motility of aboriginal bodies.     

Hashtags and hip-hop: exploring the online performances of hip-hop identified youth using Instagram

Despite hip-hop’s popularity, little attention has been paid to its effects on youth gender performances on social media. This study has analyzed how youth who identify with three popular hip-hop songs interpreted the songs’ messages and performed their gender on the social media application Instagram (IG). Posts (N=450) from IG users were examined using modified consensual qualitative research procedures. Ten categories emerged that illustrate the range of gender performances which youth engaged in, each of which occurred within one of four domains: (a) mixed messages (self-love and visibility; relationships); (b) reified messages (party life; provocations; conspicuous consumption); (c) challenged messages (growth; making new meaning; teamwork); and (d) neutral messages (humor; other). The findings from this study illustrate the influential role of hip-hop music on youth gender performance in a natural context (IG). IG posts often mirrored, and in turn contributed to, the narrow range of acceptable gender performances in hip-hop, suggesting the need for youth media literacy skill development.