DOCSLIB.ORG

Comunicacion Y Medios Año 30 / Primer Semestre 2021 / Chile 43

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Comunicacion Y Medios Año 30 / Primer Semestre 2021 / Chile 43 REVISTA COMUNICACION Y MEDIOS AÑO 30 / PRIMER SEMESTRE 2021 / CHILE 43 Comunicacion y cultura popular en America Latina y el Caribe Imágenes: museodelestallidosocial.org / Lucas Urenda - Cristián Cuevas SECCIONES _MISCELÁNEA_MONOGRÁFICO_DOCUMENTOS_RESEÑAS REVISTA Año 30 / 2021 Comunicación Primer Semestre y Medios 43 Santiago, Chile. Revista Comunicación y Medios No 43 Universidad de Chile Consejo Editorial: Rector: Doctor Ennio Vivaldi Véjar Doctora Ingrid Bachmann, Instituto de la Comunicación e Imagen Pontificia Universidad Católica de Chile, Chile Directora: Doctora Loreto Rebolledo González Doctor Alejandro Baer, Editor General: Doctor Tomás Peters Universidad de Minnesota, Estados Unidos Editora: Doctora Claudia Lagos Lira Doctora Nancy Berthier, Asistente: Doctorando Cristian Cabello Université Paris-Sorbonne, Francia Editoras invitadas monográfico N°43: Doctor Miguel Alfonso Bouhaben, Chiara Sáez, Universidad de Chile Escuela Superior Politécnica del Litoral, Ecuador Christián Spencer, Universidad Mayor, Chile Doctora Mar Chicharro, Antonieta Vera, Universidad Academia de Humanismo Universidad de Burgos, España Cristiano, Chile Doctor Felip Gascon i Martín, Diseño: Puracomunicación Universidad de Playa Ancha, Chile ISSN 0716-3991 / e-ISSN 0719-1529 Doctora Gabriela Gómez, Universidad de Guadalajara, México Doctora Charo Lacalle Zalduendo, Todos los artículos son revisados por un mínimo de dos acadé- Universitat Autónoma de Barcelona, España micos o investigadores de su Comité Editorial o del Referato y Doctora Anna Maria Lorusso, la mayoría posee grado de doctor/a en el campo. Para asegurar Università di Bologna, Italia evaluaciones neutras y sin sesgos de ningún tipo hacia los au- Doctor Armand Mattelart, tores, la revista Comunicación y Medios garantiza un arbitraje Université Paris VIII-Vincennes-Saint Denis, Francia de “doble ciego”. Doctora Nancy Morris, Temple University, Estados Unidos Durante el proceso de revisión la identidad, tanto de autores y Doctora María Antonia Paz, evaluadores, se mantiene oculta. Los factores que se tienen en Universidad Complutense de Madrid, España cuenta en la revisión son la pertinencia, la solidez, la importan- Doctor Carlos Scolari, cia, la originalidad, la legibilidad y el lenguaje del artículo. Universitat Pompeu Fabra, España Los revisores evalúan el contenido intelectual de los manus- Doctor Fernando Ramos, critos, sin importar la raza, el género, la orientación sexual, Universidad Complutense de Madrid, España creencias religiosas, origen étnico, la nacionalidad o la filosofía Doctora Simone Maria Rocha, política de los autores. Universidad Federal de Minas Gerais, Brasil Agradecemos la colaboración de evaluadoras y evaluadores del Nº43 • Doctora Lizette Alegre, Universidad Nacional Autónoma de México, México • Doctora Amaranta Alfaro, Universidad Alberto Hurtado, Chile • Doctora Margarita Alvarado, Pontificia Universidad Católica de Chile, Chile • Doctor © Jorge Araneda, Universidad Ankara Yildirim Beyazit, Turquía • Doctora © Tamara Araya, Universidad de Chile, Chile • Doctor Ignacio Ayala, Colegio de México, México • Doctor Matías Ayala, Universidad Finis Terrae, Chile • Doctor Ángel Barbas, Universidad Nacional de Educación a Distancia, España • Doctora Natalia Bieletto, Universidad Mayor, Chile • Doctora Ana Bellón Rodríguez, Universidad de Santiago de Compostela, España • Doctor Wolfgang Bongers, Pontificia Universidad Católica de Chile, Chile • Magíster Gonzalo Camacho, Universidad Nacional Autónoma de México, México • Doctor Luis Campos, Universidad de Chile, Chile • Doctora Javiera Carmona, Universidad de Playa Ancha, Chile • Doctora Amalia Castro San Carlos, Universidad Mayor, Chile • Doctora Denise Cogo, Universidade do Vale do Rio dos Sinos, Brasil • Doctor Tomás Cornejo, Universidad Metropolitana de Ciencias de la Educación, Chile • Doctora Elia Margarita Cornelio-Marí, Universidad Juárez Autónoma de Tabasco, México • Doctora María Catalina Cruz González, Universidad de La Sabana, Colombia • Doctor © Laureano Checa, Universidad de Chile, Chile • Doctor Jean Franco Daponte, Universidad de Tarapacá, Chile • Doctor Carlos del Valle, Universidad de La Frontera, Chile • Doctora Lorna Dillon, University of Cambridge, Inglaterra • Doctora Paula Dittborn, Universidad Alberto Hurtado, Chile • Doctora © Karen Donoso, Universidad de Santiago de Chile, Chile • Doctora Jacqueline Dussaillant, Universidad Finis Terrae, Chile • Doctor © Jonathan Echeverri, Universidad EAFIT, Colombia • Doctora Beatriz Feijoo Fernández, Universidad de Los Andes, Chile • Doctorando Jorge Fernández-Cedena, Universidad Complutense de Madrid, España • Doctora Bárbara Fernández Melleda, Universidad de Hong Kong, China • Doctor Raúl Fuentes Navarro, ITESO - Universidad Jesuita de Guadalajara, México • Doctora Virginia García Beaudoux, Universidad de Buenos Aires, Argentina • Doctora Andrea Gigena, CONICET, Argentina • Doctora © Daniela Grassau, Pontificia Universidad Católica de Chile, Chile • Doctora Eliana Herrera, Corporación Universitaria Minuto de Dios, Colombia • Doctora Anna Ivanova, Universidad de O´Higgins, Chile • Doctora Montserrat Jurado-Martín, Universidad Miguel Hernández de Elche, España • Doctora Rebecca Kosick, University of Bristol, Inglaterra • Doctora Sandra López, Universidad de La Frontera, Chile • Doctor Felipe Luarte Correa, Universidad Adolfo Ibañez, Chile • Doctora © Dandara Magalhães de Leiros, Universidade Federal Fluminense, Brasil • Doctora Silvia Marcos García, Universitat Jaume I de Castelló, España • Doctora María Mendoza Michilot, Universidad de Lima, Perú • Doctora Claudia Montero, Universidad de Valparaíso • Doctora © María-Cruz Negreira-Rey, Universidad de Santiago de Compostela, España • Doctor Xosé A. Neira, Universidad Santiago de Compostela, España • Magíster Elisa Niño, Universidad Nacional Autónoma de México, México • Doctora Marcela Orellana, Universidad de Santiago de Chile, Chile • Doctor Nicolás Ortiz, Universidad Católica Cardenal Raúl Silva Henríquez, Chile • Magíster Fernando Ossandón, Universidad de Santiago de Chile, Chile • Doctora Stephanie Pacheco, Universidad de la Frontera, Chile • Doctor José Miguel Palacios, New York University, Estados Unidos • Doctora Elizabeth Parra, Universidad de Concepción, Chile • Doctor Daniel Party, Pontificia Universidad Católica de Chile, Chile • Doctora Andrea Pequeño, Universitat Autònoma de Barcelona, España • Doctor José Pérez de Arce, Independiente, Chile • Doctora Carolina Poblete, Universidad de Santiago de Chile, Chile • Doctora Elisabeth Prudant, Universidad de Santiago de Chile, Chile • Doctora Elizabeth Ramírez Soto, San Francisco State University, Estados Unidos • Doctor Jacob Redekal, Universidad Alberto Hurtado, Chile • Doctora María Remedios Sánchez García, Universidad de Granada, España • Doctor Federico Rey Lennon, Universidad Nacional de la Matanza, Argentina • Doctor Omar Rincón, Universidad de Los Andes, Colombia • Doctora © Carla Rivera, Universidad de Santiago de Chile, Chile • Doctora Alejandra Rodríguez Estrada, Universidad Autónoma de Baja California, México • Doctora Susana Rodríguez Marcos, Universidad Complutense de Madrid, España • Magíster Julieta Sepich, Universidad de Palermo, Argentina • Doctor Manuel Sevilla, Pontificia Universidad Javeriana, Colombia • Doctora Pamela Tala, Universidad Mayor, Chile • Doctora Camelia Tigau, Universidad Nacional Autónoma de México, México • Doctor Rodrigo Torres, Universidad Católica Cardenal Raúl Silva Henríquez, Chile • Magíster Rodrigo Torres, Universidad de Chile, Chile • Doctor Camilo Trumper, University at Buffalo, Estados Unidos • Doctora Sandra Vera, Universidad de Chile, Chile • Doctora Ximena Vergara Versluys, Universidad de Chile, Chile • Doctora Claudia Villagrán, Universidad de Chile, Chile • Doctora Nadia Viounnikoff Benet, Universitat Jaume I de Castelló, España REVISTA COMUNICACION Y MEDIOS 43 ÍNDICE 08 Editorial Nº43 11 Editorial Monográfico Nº43 SECCIÓN MISCELÁNEA 24 Pluralismo agonista en la internacionalización de los estudios latinoamericanos de la comunicación: reflexiones a partir de la práctica Practice-based reflections on the internationalization of Latin American communication studies from a pluralist-agonistic perspective Martín Becerra / Universidad Nacional de Quilmes, Buenos Aires, Argentina Florencia Enghel / Universidad de Jönköping, Jönköping, Suecia 36 Imaginarios del futuro tras la muerte de Nicanor Parra: renegociando la antipoesía como vehículo de protesta online Imagining the future after Nicanor Parra's death: renegotiating antipoetry as a vehicle for online protest María Victoria Guzmán / Universidad del Desarrollo, Santiago, Chile 50 Chile, tierra de encanto (1937). La propaganda turística en los inicios del turismo de masas Chile, land of charm (1937). Tourism propaganda in the beginnings of mass tourism Juan Carlos Yáñez / Universidad de Valparaíso, Valparaíso, Chile 62 El dispositivo de la propaganda en las redes sociales de la campaña presidencial de El Salvador (2018-2019) The propaganda dispositive through social media during the presidential campaign in El Salvador (2018-2019) Tatiana Orantes / Universidad Centroamericana José Simeón Cañas, San Salvador, El Salvador SECCIÓN MONOGRÁFICA 80 Ladrones, infames y ventrílocuos: sobre la narrativa de las voces subalternas Thieves, infamous, and ventriloquists: on the narrative of sublartern voices Pablo Alabarces / CONICET-Universidad de Buenos Aires, Buenos Aires, Argentina Ana Azcurra / IIGG-Universidad de Buenos Aires, Buenos Aires, Argentina 91
Load more

Recommended publications
  • The Influence of Hip Hop on Zimbabwe's Urban Culture INFLUENCE of HIP HOP on ZIMBABWE’S URBAN CULTURE
    Sabeta aka Mau Mau: The Influence of Hip Hop on Zimbabwe's Urban Culture INFLUENCE OF HIP HOP ON ZIMBABWE’S URBAN CULTURE . The Influence of Hip Hop on Zimbabwe’s Urban Culture Shingirayi Sabeta aka Mau Mau Shingirayi Sabeta aka Mau Mau is one of the pioneers of Hip Hop in Zimbabwe. His debut single “Mau Mau” was released in 1997 and he followed his success with two albums, Mfecane (2001) and Coup D’Etat (2002). His early recordings defined Shona rap and was acclaimed for its politically conscious lyrics. Today, Shingirayi produces Gospel Hip Hop and his latest album appeared in 2010. The following piece is a transcription of his presentation at the Hiphop Symposium that took place at the University of Zimbabwe on February 27th, 2013, which is a personal reflection about the Zimbabwean Hip Hop scene, its beginnings in the 1980s and the directions it is currently taking. We live in a world that is dominated and heavily influenced by one thing that none of us can escape: mass media. If you live in a city or town in Zimbabwe it means that on a daily basis you will be exposed to what is going on globally through newspapers, magazines, radio, television, the computer and now – your mobile phone. So you effectively have the world on tap: just a click away. And just as Western culture as a whole filters to us here in Zimbabwe through mass media, so does the sub-culture of Hip Hop. Most of us know Hip Hop as a type of music, a dance, a style of dress, a way of speaking, an attitude.
    [Show full text]
  • Download His Music
    The meanings selected Rhodes University student-fans of hip-hop make of the gendered scenarios portrayed in designated South African commercial hip-hop music videos. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Journalism and Media Studies RHODES UNIVERSITY By Tamuka Phumelela Msawenkosi Misheck Mtengwa June 2019 Supervisor: Professor Lynette Steenveld ORCID: https://orcid.org/0000-0001-5194-4093 ii DEDICATION Dedicated to the memory of my father Timothy Thembalami Mtengwa, my mother Siphetheni Mtengwa my sisters Elizabeth, Onai, Gamuchirai, and cousin Tim Mtengwa iii ACKNOWLEDGMENTS I would like to extend my thanks to several people who have walked this journey with me. First and foremost, I would like to thank my supervisor Professor Lynette Steenveld, for her encouragement, compassion, patience and intellectual guidance. I would also like to thank Dr Pricilla Boshoff and Dr Alette Schoon for their academic support, Manyatsa Monyamanye for guiding me through the lingual nuances of South African vernacular, and my classmates, for assisting in various capacities. Finally, I wish to thank Luke Willetts and Dr Philip Santos for keeping me encouraged. iv ABSTRACT Hip-hop is frequently linked to misogyny and other forms of violence. This link, in many instances, is often presented outside of a critical understanding of complex underlying societal and gender dynamics. South Africa’s high rates of violence against women make it necessary to understand how hip-hop videos interact with society, as hip-hop, in its commercial form, has become a growing music genre in South Africa. Rhodes University, which has a notable student following of hip-hop, has experienced concerning levels of gender-based tensions as evidenced by the rise of the “fallist” movement’s #RapeCultureMustFall, #RUReferenceList and the suicide of Khensani Maseko, at the instigation of an alleged incident of rape, perpetrated by her boyfriend and fellow student.
    [Show full text]
  • Shoko Festival Partners & Sponsors
    WWW.SHOKOFESTIVAL.COM SHOKO FESTIVAL HARARE 2013 SHOKO FESTIVAL HARARE 2013 SHOKO FESTIVAL PARTNERS & SPONSORS MAIN FESTIVAL PARTNERS We The People The People’s History Shoko Festival is taking the capital city by storm this year! Scheduled Magamba Network successfully launched the inaugural Shoko Festival to run from the 17th to the 22nd of September 2013, Shoko is Zimba- in September 2011. Shoko 2012 expanded upon the previous year’s 3 bwe’s fastest growing international festival and has established itself day programming to six days in order to include even more events. as a major event on Zimbabwe’s annual arts calendar. During the The festival has attracted crowds of over 4,400 people in total. course of six days the festival will involve over 250 artists bringing together acts from 3 continents. Shoko Festival has brought in leading international acts such as Natty (UK), Tumi & the Volume (SA), Andi Teichmann (Germany), Akala Shoko is a vibrant space that hosts everything from live concerts, (UK), Mic Crenshaw (USA), Nomsa Mazwai (SA) and Andreattah Chu- PREMIUM SPONSORS comedy nights, talks and discussions to cutting edge presentations on ma (Botswana) while also showcasing Zimbabwe’s finest artists like citizen journalism and new media. The festival is as much about en- Chiwoniso Maraire, Tehn Diamond, Hope Masike, Synik, Carl Joshua tertainment as it is about being a living laboratory for positive social Ncube, Mannex, The Monkey Nuts and many more. change. Shoko will feature live concerts, a comedy night, DJ parties, an international poetry slam, the Hub programme, photo exhibitions, workshops, debates, free concerts in the townships and much more.
    [Show full text]
  • Zimbabwe Urban Grooves Music and the Interconnections Between Youth Identities and Celebrity Culture
    Zimbabwe Urban Grooves Music and the Interconnections between Youth Identities and Celebrity Culture By Doreen Rumbidzai Tivenga Submitted in fulfilment of the requirements in respect of the Doctoral Degree in English in the Department of English in the Faculty of Humanities at the University of the Free State August 2018 Supervisor: Professor Irikidzayi Manase Co-Supervisor: Professor Helene Strauss Declaration I, Doreen Rumbidzai Tivenga declare that this thesis hereby submitted for the qualification of Doctor of Philosophy (English) at the University of the Free State is my own work and that I have not previously submitted the same work at another university. Signature: Date: 22 August 2018 i Acknowledgements I would like to thank all the people who contributed in various ways to the success of this study. I am especially grateful to my supervisors, Professors Irikidzayi Manase and Helene Strauss, who were fully committed in the mentorship of this study. I would also like to thank my family, friends and colleagues for their love and various forms of support. Special thanks go to the schools and the authorities who gave me permission to interview youth at the schools I visited. The contributions of all the youth, musicians, music promoters and music producers who took part in the interviews for this study are much appreciated. I am also grateful to the University of the Free State for the university bursary that contributed towards the payment of my tuition fees. Finally, the financial assistance of the National Institute for the Humanities and Social Sciences - Council for the Development of Social Science Research in Africa (NIHSS-CODESRIA) towards this research is hereby acknowledged.
    [Show full text]
  • Hiplife Music in Ghana: Postcolonial Performances of Modernity
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses November 2019 Hiplife Music in Ghana: Postcolonial Performances of Modernity Nii Kotei Nikoi University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Critical and Cultural Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Nikoi, Nii Kotei, "Hiplife Music in Ghana: Postcolonial Performances of Modernity" (2019). Doctoral Dissertations. 1804. https://doi.org/10.7275/14792936 https://scholarworks.umass.edu/dissertations_2/1804 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. HIPLIFE MUSIC IN GHANA: POSTCOLONIAL PERFORMANCES OF MODERNITY A Dissertation Presented By NII KOTEI NIKOI Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2019 Department of Communication © Copyright by Nii Kotei Nikoi 2019 All Rights Reserved HIPLIFE MUSIC IN GHANA: POSTCOLONIAL PERFORMANCES OF MODERNITY A Dissertation Presented By NII KOTEI NIKOI Approved as to style and content by: ________________________________________________ Sut
    [Show full text]
  • The Village and the Town in the Mũgithi and One-Man Guitar Performances in Kenya
    African Studies Quarterly | Volume 14, Issue 4 | September 2014 Jogoo La Shambani Haliwiki Mjini: The Village and the Town in the Mũgithi and One-Man Guitar Performances in Kenya MAINA WA MŨTONYA Abstract: The 1990s marked an emergence of a relatively new genre in the contours of Kenyan popular culture. The Mũgithi performance signaled a beginning of new directions, largely in Kenyan music and specifically in the contemporary Gĩkũyũ music in terms of themes and style. The performance, mostly an urban phenomenon dominated by Gĩkũyũ one-man guitarists, is a major site for negotiation of identities and incorporates the interface and interplay between the traditional and the contemporary, especially in the urban setting. This article highlights the inherent contradictions in creation and re-creation of urban identities as expressed in this music. The main argument is that identities are always contested and different socio- economic situations call for a negotiation, if not a re-negotiation of identities. Introduction Jogoo la shambani haliwiki mjini (“The village cock does not crow in town”) is a Swahili proverb commonly used in East Africa to capture the rural/urban tensions that characterize everyday life. An examination of popular culture reveals, however, that the rural/urban distinction captured in this saying is not nearly so clear cut, for urban identities, like all identities, are always contested terrains. This is especially so with the knowledge that an argument for a fixed identity is always problematic. As Clark contends, it is the popular cultural forms expressed in the urban landscape that provide an arena for engaging with and framing these complex debates around identity.1 Again, aware of the diverse interpretations of this tradition/modernity dyad, especially in postcolonial studies, this paper appropriates a geographical angle to delineate the urban/rural divide as expressed in the performance of Mũgithi.
    [Show full text]
  • Gnawa Confusion: the Fusion of Algeria’S Favorite French Band Andrew Mark
    Document generated on 10/02/2021 7:43 a.m. Ethnologies Gnawa Confusion: The Fusion of Algeria’s Favorite French Band Andrew Mark Volume 33, Number 2, 2011 Article abstract Gnawa Diffusion was a successful musical group of first- and URI: https://id.erudit.org/iderudit/1015031ar second-generation North African immigrants that achieved significant fame in DOI: https://doi.org/10.7202/1015031ar North Africa, the Middle East and Europe during the last two decades. Based in France, though from Algeria, their politicized egalitarian message reached the See table of contents world. Their musical skills, instrumentation, tastes and appeal to youth sounds, sentiments and meanings gave their globalized music a prominent place on the global stage. In their work Gnawa Diffusion addressed a panoply of political Publisher(s) issues and sought to represent and reach their audience. Their greatest popularity came at the height and conclusion of the Algerian civil war. By Association Canadienne d’Ethnologie et de Folklore parsing the meanings of the band’s name, this paper engages the events and cultures that informed Gnawa Diffusion, exploring the history of the Gnawa, ISSN the history of Algeria, and the relationships between France, North Africa and contemporary “French” music. Issues of cultural authenticity and 1481-5974 (print) representation are tightly layered within the band’s purposes and process of 1708-0401 (digital) artistic production. Because Gnawa Diffusion was envisioned, organized and led by Amazigh Kateb Yassin, and because the band and media recognized him Explore this journal as the spokesperson and principal author for Gnawa Diffusion, Amazigh’s life story and words accompany this paper’s arguments and analysis.
    [Show full text]
  • Glocalization Trends: the Case of Hiplife Music in Contemporary Ghana
    International Journal of Communication 3 (2009), 1085-1106 1932-8036/20091085 Glocalization Trends: The Case of Hiplife Music in Contemporary Ghana JOSEPH ODURO-FRIMPONG Southern Illinois University, Carbondale Central Africans in suits, Indonesian soap operas, and South Asian brands are no longer inauthentic copies by people who have lost their culture after being swamped by things that only North Americans and Europeans “should” possess. Rather there is the equality of genuine relativism that makes none of us a model of real consumption and all of us creative variants of social processes based around the possession and use of commodities. ~ Daniel Miller, 1995, p. 144. Consumption and Commodities This paper responds to Kraidy’s (1999) proposal to communication scholars, specifically international and intercultural communication researchers, to utilize the “glocalization” concept to investigate global-local communication. This plea resonates with the views of certain international communication scholars (Straubhaar, 1991; Harindranath, 2003), who, despite acknowledging the limitations in the media imperialism thesis to analyze contemporary complex global-local communication, argues for a modification of the thesis. I deem the “glocalization” idea as such a corrective in that it allows for a holistic approach in investigating the nuanced juncture of contemporary global-local interactions. I utilize the glocalization concept to examine hiplife music, a Ghanaian reappropriation of U.S. rap music. Specifically, I investigate two Ghanaian-based
    [Show full text]
  • Hip-Hop Pedagogy, Epistemic Disobedience, and Youth Engagement in West Africa
    University of South Carolina Scholar Commons Theses and Dissertations Summer 2020 African, Know Thyself: Hip-Hop Pedagogy, Epistemic Disobedience, and Youth Engagement in West Africa Noella Binda Niati Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Niati, N. B.(2020). African, Know Thyself: Hip-Hop Pedagogy, Epistemic Disobedience, and Youth Engagement in West Africa. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/ 6072 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. AFRICAN, KNOW THYSELF: HIP-HOP PEDAGOGY, EPISTEMIC DISOBEDIENCE, AND YOUTH ENGAGEMENT IN WEST AFRICA by Noella Binda Niati Bachelor of Arts Nebraska Wesleyan University, 2007 Master of Arts University of Rochester, 2011 ____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Educational Foundations and Inquiry College of Education University of South Carolina 2020 Accepted by: Payal Shah, Major Professor Kara Brown, Committee Member Anuradha Chakravarty, Committee Member Birgitta Johnson, Committee Member Breanne Grace, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Noella Binda Niati, 2020 All Rights Reserved. DEDICATION To the members of Y’en a Marre and FESCI ii ACKNOWLEDGEMENTS It took a village to write this dissertation. I am forever grateful and humbled by the support I received from my committee, professors, family and friends alike, who have supported me throughout my studies.
    [Show full text]
  • Embodied Performances in Nairobi Underground Hip Hop
    Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By RaShelle Ranae Peck, M.A. Graduate Program in Comparative Studies The Ohio State University 2014 Dissertation Committee: Barry Shank, Advisor Nina Berman Maurice Stevens Copyright by RaShelle Ranae Peck 2014 Abstract My dissertation project, Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop, explores how hip hop practitioners in Kenya enact agentive subjectivity through the creative maneuverability of bodily performances. Non- commercial rappers operate from a post-Mau Mau underground cultural aesthetic of resistance, which harnesses the long trajectories of narrativized political struggles and underground hip hop culture to challenge categories of difference and circumvent disciplinary regimes that encode bodies. Underground performances materialize out of long trajectories of the performative practices of Congolese dance, US rap, dancehall, and Kenyan Benga, which include the knotty transnational history of the black body as propertied and commodified. Hip hop gestures and stances contest an environment where state repression, a restrictive music industry, and the struggle for economic security all work to create constraining conditions for many practitioners. These embodied enactments are heavily masculinized, and male and female artists use this embodied knowledge to both celebrate and challenge hip hop’s gendered spaces. Artists develop creative gestures and movements that are in conversation with both larger historic, cultural, and economic realities, as well as their racial, national, and gender subjectivities. Rappers create music videos, which espouse their subjectivities as artists and allow them to participate in a global rap culture.
    [Show full text]
  • The Bongo Flava Industry in Tanzania and Artists' Strategies for Success Institut Für Ethnologie Und Afrikastudien
    Institut für Ethnologie und Afrikastudien Department of Anthropology and African Studies Arbeitspapiere / Working Papers Nr. 127 Uta Reuster-Jahn and Gabriel Hacke The Bongo Flava industry in Tanzania and artists’ strategies for success 2011 AP IFEAS 127 / 2011 Herausgegeben von / The Working Papers are edited by: Institut für Ethnologie und Afrikastudien, Johannes Gutenberg‐Universität, Forum 6, D‐55099 Mainz, Germany. Tel. +49‐6131‐3923720; Email: ifeas@uni‐mainz.de; http://www.ifeas.uni‐mainz.de http://www.ifeas.uni‐mainz.de/workingpapers/Arbeitspapiere.html Geschäftsführende Herausgeberin / Managing Editor: Eva Spies (espies@uni‐mainz.de) Copyright remains with the author. Bitte zitieren als / Please cite as: Reuster‐Jahn, Uta and Hacke, Gabriel, 2011: The Bongo Flava industry in Tanzania and artists’ strategies for success. Arbeitspapiere des Instituts für Ethnologie und Afrikastudien der Johannes Gutenberg‐Universität Mainz (Working Papers of the Department of Anthropology and African Studies of the Johannes Gutenberg University Mainz) 127. <URL: http://www.ifeas.uni‐mainz.de/workingpapers/AP127.pdf> Uta Reuster‐Jahn and Gabriel Hacke: The Bongo Flava industry in Tanzania and artists’ strategies for success Zusammenfassung Bongo Flava ist eine Kategorie zeitgenössischer Musik der urbanen Jugend in Tansania, deren Entstehung mit vier simultanen Entwicklungen verbunden ist: Demokratisierung, Privatisierung, Globalisierung und Digitalisie‐ rung der Medien. Stilistisch ist Bongo Flava hauptsächlich, jedoch nicht ausschließlich, von Hip‐hop und R&B geprägt. Im Prozess der Aneignung spielte die Umstellung auf Texte in Swahili eine wichtige Rolle. Der vorlie‐ gende Artikel untersucht Bongo Flava im Hinblick auf Karriereverlauf und sozialen Aufstieg der Musiker. Von Anfang an wurde Bongo Flava als ein Sprachrohr der einfachen Leute und besonders der Jugend betrachtet.
    [Show full text]
  • Journal of Hip Hop Studies
    et al.: Journal of Hip Hop Studies Published by VCU Scholars Compass, 2014 1 Journal of Hip Hop Studies, Vol. 1 [2014], Iss. 2, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Special Guest Editor: Katja Kellerer – PhD student, Humboldt University of Berlin Senior Editorial Advisory Board Anthony Pinn, Rice University James Paterson, Lehigh University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Associate & Copy Editor: Travis Harris Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Jason J. Campbell, Nova Southeastern University Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre Johnson, Memphis Theological Seminary Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University https://scholarscompass.vcu.edu/jhhs/vol1/iss2/1 2 et al.: Journal of Hip Hop Studies Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) Save The Kids Foundation (http://savethekidsgroup.org/) Published by VCU Scholars Compass, 2014 3 Journal of Hip Hop Studies, Vol.
    [Show full text]