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The Networked Self: Hip Hop Musicking and Muslim Identities in Neoliberal Morocco
The Networked Self: Hip Hop Musicking and Muslim Identities in Neoliberal Morocco By Kendra Renée Salois A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jocelyne Guilbault, Chair Professor Benjamin Brinner Professor Charles Hirschkind Fall 2013 The Networked Self: Hip Hop Musicking and Muslim Identities in Neoliberal Morocco Copyright 2013 by Kendra Renée Salois Abstract The Networked Self: Hip Hop Musicking and Muslim Identities in Neoliberal Morocco by Kendra Renée Salois Doctor of Philosophy in Music University of California, Berkeley Jocelyne Guilbault, Chair This dissertation explores the emergence of a postcolonial neoliberal subjectivity amongst urban Moroccan Muslim youth through an ethnography of Moroccan hip hop practitioners’ aesthetic preferences, performance practice, disciplinary strategies, and socio-musical networks. The hip hop arts, including emceeing, deejaying, b-boying or b-girling (dancing), and graffiti, were first introduced to Morocco in the early 1990s through existing networks of migrants to and from Francophone Europe. Today hip hop music-making flourishes in the nation’s major cities and in smaller enclaves throughout the country. Under the late King Hassan II and his son, King Mohamed VI, the Moroccan state has adopted neoliberalizing policies and forms of governance since the early 1980s with far-reaching social and economic consequences. In this context, I ask how hip hop practitioners’ musical work enables and expresses new modes of citizenship and belonging while neoliberalization renders older forms of political participation less effective. To do this, I first situate Moroccan hip hop in relation to local musico-poetic traditions, already informed by previous generations’ encounters with processes of globalization, and translocally circulating hip hop aesthetics. -
Dancefloor Explorations of Feminism and Hip Hop Ilana Kelemen A
The Booty Don’t Lie: Dancefloor Explorations of Feminism and Hip Hop Ilana Kelemen A Thesis in The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for the degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada June 2013 © Ilana Kelemen, 2013 CONCORDIA UNIVERSITY ii School of Graduate Studies This is to certify that the thesis prepared By: Ilana Kelemen Entitled: The Booty Don’t Lie: Dancefloor Explorations of Feminism and Hip Hop and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Media Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Dr. Peter Van Wyck Chair Dr. Owen Chapman Examiner Dr. Krista Lynes Examiner Dr. Martin Allor Supervisor Approved by Dr. Peter Van Wyck Graduate Program Director Brian Lewish Dean of Faculty Date June 14th 2013 iii Abstract The Booty Don’t Lie: Dancefloor Explorations of Feminism and Hip Hop Ilana Kelemen This thesis draws on theories of affect, performativity, and dance practice to consider how women with varying feminist values negotiate them within sexist hip hop spaces. Using a targeted group of research participants, accessed through snowball sampling, the author engaged in four different outings which produced four specific scenic descriptions and twelve interviews to better investigate if such a negotiation is possible. Taking the view that negotiation can occur between feminist values and sexist hip hop spaces through the body, this research demonstrates four particular tactics through which such a negotiation occurs. -
I Didn't Feel Like a Human in There
“I Didn’t Feel Like a Human in There” Immigration Detention in Canada and its Impact on Mental Health HUMAN RIGHTS WATCH “I Didn’t Feel Like a Human in There” Immigration Detention in Canada and its Impact on Mental Health Copyright © 2021 Human Rights Watch All rights reserved. Printed in the United States of America ISBN: 978-1-62313-913-1 Cover design by Rafael Jimenez Human Rights Watch defends the rights of people worldwide. We scrupulously investigate abuses, expose the facts widely, and pressure those with power to respect rights and secure justice. Human Rights Watch is an independent, international organization that works as part of a vibrant movement to uphold human dignity and advance the cause of human rights for all. Human Rights Watch is an international organization with staff in more than 40 countries, and offices in Amsterdam, Beirut, Berlin, Brussels, Chicago, Geneva, Goma, Johannesburg, London, Los Angeles, Moscow, Nairobi, New York, Paris, San Francisco, Sydney, Tokyo, Toronto, Tunis, Washington DC, and Zurich. For more information, please visit our website: http://www.hrw.org Amnesty International is a global movement of more than 10 million people who campaign for a world where human rights are enjoyed by all. Our vision is for every person to enjoy all the rights enshrined in the Universal Declaration of Human Rights and other international human rights standards. We are independent of any government, political ideology, economic interest or religion and are funded mainly by our membership and public donations. Amnesty International Index: AMR 20/4195/2021 For more information, please visit our website: http://www.amnesty.org JUNE 2021 ISBN: 9781623139131 “I Didn’t Feel Like a Human in There” Immigration Detention in Canada and its Impact on Mental Health Map ................................................................................................................................... -
Organismal Futurisms in Brown Sound and Queer Luminosity: Getting Into Gressman’S Cyborgian Skin
ARTICLES Organismal Futurisms in Brown Sound and Queer Luminosity: Getting into Gressman’s Cyborgian Skin Sandra Ruiz My skin glows in the dark shines in the light It’s the color that holds me tight My brown me is the shade that’s just for me I’m never not missing anything but me Cause I love you And I can’t miss anything but you You’re stuck on me And all this time I’m inside you Our time together we grow We stretch and show It’s tough as it goes and it won’t rub off of you —Helado Negro For contemporary, indie, electronic singer-songwriter, and son of Ecuadorian immigrants, Helado Negro, or Roberto Carlos Lange, the above lyrics are an homage, a love poem even, to that Brown skin that “won’t rub off.” “It’s My Brown Skin” lays bare the intricate contours of our biggest organ: it is “stuck” on us, and we are always already inside of it. This interarticulation between the interiority and exteriority of the subject, as Helado Negro explains, intently coheres human affection to such an extent that one can’t “miss anything but” it. But what happens when the human skin we live in isn’t thick enough to mediate ideologies of race, sexuality, and gender? What happens when we must turn profoundly inward because the meanings that accrue to “the color that holds [us] tight” constrict, contain, and contort our Brown existence? How thick is our Brown skin, then?1 Pulling from the metaphoricity of skin, too, is Miami-born queer and Colombian avant-garde performance artist, Erica Gressman.2 In Wall of Skin (2016), Gressman pulls back the layers of her Brown skin that both “shines in the light” and “holds one tight” by cloaking herself in five layers of white Lycra spandex zentai, or a face-covering full body suit, in order to eventually unearth her insides. -
Enrique's Journey
CONTENTS TITLE PAGE DEDICATION MAP PROLOGUE 1. THE BOY LEFT BEHIND 2. SEEKING MERCY 3. FACING THE BEAST 4. GIFTS AND FAITH 5. ON THE BORDER PHOTO INSERTS 6. A DARK RIVER, PERHAPS A NEW LIFE 7. THE GIRL LEFT BEHIND AFTERWORD: WOMEN, CHILDREN, AND THE IMMIGRATION DEBATE EPILOGUE NOTES ACKNOWLEDGMENTS ABOUT THE AUTHOR PRAISE FOR ENRIQUE’S JOURNEY COPYRIGHT To my husband, Bill PROLOGUE It is Friday morning, 8 A.M. I hear a key turn in the front-door lock of my Los Angeles home. María del Carmen Ferrez, who cleans my house every other week, opens the door. She walks into the kitchen. Carmen is petite, intelligent, and works at lightning speed. At this early hour I am usually in a frenzy to get out the door and rush to my office. But on days when Carmen arrives, she and I shift gears. Carmen loiters in the kitchen, tidying things. I circle around her, picking up shoes, newspapers, socks—trying to give her a fighting chance at cleaning the floors. The ritual allows us to be in the same room and talk. On this morning in 1997, I lean on one side of the kitchen island. Carmen leans on the other side. There is a question, she says, that she has been itching to ask. “Mrs. Sonia, are you ever going to have a baby?” I’m not sure, I tell her. Carmen has a young son she sometimes brings to watch television while she works. Does she want more children? I ask. Carmen, always laughing and chatty, is suddenly silent. -
Everything Change an Anthology of Climate Fiction
Everything Change An Anthology of Climate Fiction FOREWORD BY Kim Stanley Robinson INTERVIEW WITH Paolo Bacigalupi EDITED BY Manjana Milkoreit Meredith Martinez & Joey Eschrich “It’s not climate change— it’s everything change.” MARGARET ATWOOD Everything Change An Anthology of Climate Fiction FEATURING STORIES FROM Arizona State University’s 2016 Climate Fiction Short Story Contest EDITED BY Manjana Milkoreit Meredith Martinez Joey Eschrich Credits Editors Manjana Milkoreit Meredith Martinez Joey Eschrich Judges Robbie Barton, School of Sustainability, Arizona State University Bob Beard, Center for Science and the Imagination, Arizona State University Jeff Cheney, Virginia G. Piper Center for Creative Writing, Arizona State University Mollie Connelly, Virginia G. Piper Center for Creative Writing, Arizona State University Laura Hazan, Virginia G. Piper Center for Creative Writing, Arizona State University Paul Hirt, Department of History, Arizona State University David Hondula, Center for Policy Informatics, Arizona State University Danielle Hoots, Virginia G. Piper Center for Creative Writing Anna Pigott, Imagination and Climate Futures Initiative, Arizona State University Kim Stanley Robinson, Science Fiction Author Steven Semken, School of Earth and Space Exploration, Arizona State University Cody Staats, Center for Science and the Imagination, Arizona State University Book Design Matt Phan, Center for Science and the Imagination, Arizona State University Art Direction Nina Miller, Center for Science and the Imagination, Arizona State