Shortly after the fall of 1979 rigging of "The joy of the rapper, ”Versions of the first commercially successful rap recording began to appear all over the world.
Two Portuguese linguistic versions, "Good times"In"To chatter, "Was deported in Brazil.Recreation of Sugarhill Gang Original, Men "Warmer Reggae Music"The track lowered and transformed into Reggae. Andre local language versions came from the Netherlands with"Hi Hi Hi, "Venezuela Med"The Creole Cotorra"And Germany with"The German of the rapper."
Within a few years you heard the DNA of the song change in different parts of the world, as with Japanese artists Yellow Magic Orchestra's 1981 "Rap -phenomenon, "Nigeriansk Dizzy K. Falolas 1982"Saturday night rapeseed"And the French duo Chagrin d'Amours 1982"Everyone does it (it pleases them). "Even Soviet -Russia came into action by Chas Pix" Rap "in 1984.
... and so forth
The rapid distribution of the "rapper's joy" is an important milestone inHip-Hop's first 50 years.
More milestones in the worldwide spread of Hip-Hop followed quickly.I 1984 in France, "H.I.P.H.O.P.“Gehost door DJ SidneyThe first National TV broadcast was dedicated to RAP, prior to "YO! MTV Raps" in the US for about four years.Outside U.S.A.:MC Solaar.
The term "Global Hip-Hop" in 2000 was actually enteredAdvertisem*nt and scientificDiscurs.The new styles were partially informed by hip hop, such as dirt in London,who cultivated his own unique identity.
Catch
But the global expansion of hip -hop trips on a paradox.Hop and rap travel abroad, should one or the other give?
To oneEthnomusicologistJust like me, this paradox goes directly to the heart of identity and authenticity.How do people, form and transform cultural elements of other places to make it speak to their own experience?
Multitracking Global Hip-Hop
With hip hop I think it is useful to present a wide spectrum of possible markers of authenticity, which means what it means to stay "true" for the art form.
On the one hand is the integration of species and fashion in black American performance.To -mindofMimicry.
On the other hand, the potential of hip hop is to inspire global rappers to dig deep in the well of local performance traditions.Peculiarities and complications in their own languagesAnd dialects.
Pioneering hip-hop-learnedHalifa of a suspectInvestigated authenticity in her concept ”Binding marginalities, "Who has determined the plan for the theoretizing the global hip hop. This central concept relates to" social resonances between black expressive culture "on the one hand and similar dynamics in other countries and cultures on the other.
These connections or resonances can be linked to a shared culture between different parts of the African diaspora or by social class, historical oppression or marginalization of young people.
Expansion of this frame a bit, almost everyone who can marginalized to a hip-hop ethos.This can include the Alyonna Alyonna of Ukraine,It was bullied for the way she looked, evenNordic white supremacists.
Hiphop damn and political activistYvonne Bynoepresented an alternative picture of the worldwide spread of the genre.She noticed: "Although rap music has been globalized, the hip -hop culture has not been and cannot have been."For Bynoe it is irrational to expect a cultural expression that is focused on black American experiences and can speak linguistically for everyone.
"Although 'RAP' is bearable and adjustable as a creative tool, it reduces the hip -hop culture to maintain that it can be separated as a cultural unit of its roots," she wrote.
Manufacture of authenticity
A documentary from 2007 about hip hop in Kenya with the on-point title "Hip hop colonies, "Deals with the question from a different point of view:" Today, Kenya is tackling a new race of colonization, "the storyteller notes," the chamel -like quality has enabled it to integrate with cultures around the world.-Hop [and] in the venine of colonialism it dictates the choice of clothing, language and lifestyle in general. "
In a smart VRI,Filmmaker, Michael Wanguhu,Creates a first neo -colonial frame and then dismantles it by showing how Kenyans made hip hop for themselves.
Moreover, hip hop is seen as a catalyst for cultural self -reflection and resuscitation, regardless of where it lands.
"The first time we heard Grandmaster Flash Rappe on a hip -hop track," Senegalese rapper Faada Freddy from the Laana J groupsaid in 2006, "Everyone said," Ok we know this because this is Taasu, "refers to oneSenegalese verbal art form accompanied by drums.
"We have been rhyming for so long," he added.
The Australian Aboriginal rapper Wire MC sees in the same way a connection between traditional original meetings that are known as "corroboree" - where singing, dancing and telling stories -and hip hop, as he says"Is just a modern affecting."
"Hiphop is part of the original culture; I think it has always been," he added.
Indian rapper Frank Waln, also from Sicangu Lakota -StribeNotes a resonance between hip hop and original culture.
"I definitely think there is a connection between traditional stories and hip hop," he said."My people have been storytellers for thousands of years, and this is just a new way to tell our stories."
Digs in the well
Almost everywhere rap and hip hop traveled, people have pointed to the resonance with homework traditions.used the old poetic form tankaFor the choir in her song "Tateba Shakuyaku."In the song she raps the Japanese concept "Kotodama" or "The Spirit of the Language" embedded in spelled 5-7-7-7-7-7 in this choir.
Likewise, the Ghanaian rapper Obrafour hasdrawn from esoteric statements about the original TWI language, and the Somali Canadian rapper K'aan hasDrawn up and acclaimed Somali oral poetry.
Historical connections between modern French rappers and French songwas also fertile.This should not be a surprise in view of the dual identities of children of African immigrants in France, just like the rapperAbdelmalek.
The indelible connection between hip hop and black American culture is still a constant theme in understanding transformations around the world.The most famous rappers in China, Vava.
In an interview in 2018 in Esquire Singapore, she said that hip hop "helps us express our inner feelings and thoughts about how we understand the world in which we live."Vecht.Where does the Chinese hip hop come from? "She replied:" Chinese hip hop comes from Rebellie in the lives of young people.... The generation for us was rockers, but today we use rap to express ourselves. "
Rap as a university art form
The "global spread of authenticity" as a linguistAlastair PennyCook called it in 2007, has been a concern in the genre since the "rapper's joy" caused his journey around the world.
In 1982, groundbreaking deejayAfrica Bambaataa advised French representativesTo "rap and speak in your own language from your own social awareness."
Jay-Z discussed the question at the end of his2010 Memoir, “Decodeerd. "Implicit comments The distinction between cultural hip hop and art form, he wrote:
“Rap ... is an art form in the heart that gave voice to a certain experience, but as every art ultimately deals with the most common human experiences .... the story of the larger culture is a story of a million MCS worldwide...We can better understand their world.And ours too.This is the same world. "
