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Origin Al Article International Journal of Communication and Media Studies (IJCMS) ISSN (P):2250–0014; ISSN (E): Applied Vol. 10, Issue 3, Jun 2020, 23-38 © TJPRC Pvt. Ltd. FROM GULLY BOY TO GULLY BEAT: RAP AND PARTICIPATORY CULTURE IN INDIA YATINDRA HRUDAY INGLE Research Scholar, Usha Pravin Gandhi College of Arts Commerce and Science, Department of Mass Media, Maharashtra, India ABSTRACT Theme- Digital Media and Management of User Generated Content The Internet has empowered another generation of user-generated content, undermining the authority of conventional content generators as the essential wellsprings of "real" content. With the advent of Over the Top (OTT) streaming platforms in digitized spaces, the participatory behaviour of users of applications has seen a considerable increase. This paper analyzes the participatory behaviour of the users who viewed the film 'Gully Boy' and then took an interest in downloading the application 'Gully Beat' (created by the makers of the film), which let them make rap melodies. KEYWORDS: Digital Media, Rap Music, Participatory Behaviour & User Generated Content Original Article Received: Mar 09, 2020; Accepted: Mar 29, 2020; Published: May 21, 2020; Paper Id.: IJCMSJUN20203 1. INTRODUCTION Hip-hop has long been seen as having unfulfilled potential and ailing in thought, which has sparked a cruel review. Hip-hop was also instrumental in raising consciousness and drawing attention to various social issues, despite being an unorthodox approach and often disregarded as an efficient tool. As hip hop has risen to fame, it has become a haven for oppressed voices. From financially deprived, economically maltreated areas with large African-American communities in South Bronx, New York, Hip Hop started on the edge. It was first created in the 1970s "to combat monetary conflict and racial division discontent." Although it gained media coverage among minorities, it was widely despised by non-minority networks because it questioned their oppressive practices. This articulation, as described above, was once met with brutal restrictions, but cutting-edge hip hop could trigger increasingly across- the-board shift due to an inexorably liberal air encompassing social issues with individuals of all foundations expressing support for a wide range of topics. This gradually evolved into a movement linked to social justice, and the way this increasingly opened spaces for the oppressed is inspiring. Hip Hop is a vehicle for spreading mindfulness on social issues by making those issues all the more noticeable to the crowd. The artists express their sentiments about different social problems in their verses, which resound all through a network and cause positive changes. What makes it particularly successful, notwithstanding giving current culture a voice, is that a considerable lot of the specialists were (and still are by and large) straightforwardly affected by the social issues that these artists talk about. Most experience childhoods in low-wage foundations and communities renowned for high crime rates. This takes the artists into consideration in understanding their audiences, carrying the message of development to an individual level as their music relates their encounters with firearms and group viciousness, political mistreatment, and general downtown life. www.tjprc.org [email protected] 24 Yatindra Hruday Ingle The hip hop culture brings together MCing or rapping, DJing, break dancing, and graffiti. This art form has ended up being very well-known in India and has recently advanced toward gaining acceptance. Indian Hip Hop or Desi hip hop has transformed into a subtype of hip hop. It is on a fundamental level a blend of hip hop and Indian musical and artistic elements performed by experts of South Asia, in its beginning stages. Music has been a reliable impression of how society and individuals work. Whether or not one slants to Britney Lances' bubblegum pop refrains of lamentable love or Metallica's shake and roll about youth worries and horrible dreams, one is now conscious of the human condition reflected in music. Hip hop and rap characterizations of music have segments of composing, administrative issues, and stanza, which make them colossally significant and perfect cases of how human lives and conditions are portrayed through music. Hip hop and street rap in a similar manner have scandalous reputations for provocative sections that don't gloss over systemic fights, whether or not with substance abuse and dejection or police mercilessness and bias. Indian rap is especially novel because of how intersectional and distinctive the Indian character is. Indian culture contrasts from region to area, nourishment to cooking, and language to language, delivering a stunning display of perspectives just as circumstances outstandingly opposed to struggle. So, it's nothing sudden that when activism and dispute comes in contact with the music business, it is most tumultuously and readily vocalized through rap. The energetic rappers of India today are reliable and scornful, while valiantly using their platforms to highlight issues and causes they put faith in. (Project, 2016) The Internet has ushered in another period of user-generated content, trading off the authority of regular content creators as the fundamental wellsprings of "genuine" information. With the Over the Top (OTT) streaming platforms on digitized spaces, the participatory nature of the users of applications has undergone a significant. Here, this paper analyzes the participatory nature of the users who watched the film 'Gully Boy' and a short time later participated in downloading an application 'Gully Beat' (made by the filmmakers), which let them make rap tunes. We follow the role of the application in making rap music. This participatory culture offers suggestions for changing propelled media, and customer delivered content significantly more personally with how people attract with the blend of modernized media advancement. This paper shows how New Media's responsibility and speaking with the creation of substance on cutting-edge media can affect customers with invigorating strategies for interfacing with techniques and for being melodic in contemporary society. 2. REVIEW OF LITERATURE This paper draws a general image of the participatory culture concentrating on scholarly publicly supporting and the social qualities and expectations that joined to it. Secondly, it examines the difficulties faced by the users contending that the present social, financial, and their media conditions render their learning against various social and monetary constraints. Asking to what extent the online application can support assurances of social motivation in the learning of media on the internet. Moreover, the researcher offers the perspectives of the participatory culture of the user for creating content on the internet and social media. (Kuusela, 2018). Positivist viewpoints across online media would generally assume that growth is an instrument, concentrating on the quantitative effects of progress on affiliations and concentrating on the quantifiable monetary focal points of usage (Iacono, 2001). Participatory approaches can be, for the most part, found in financial aspects, the executives, promoting, official correspondences, and data frameworks look. Web-based organizations mainly create calculations and models for speaking, managing, storing, recovering and distributing information, while supporting, planning, displaying or reproducing parts of the world. Then again, single organizations and associations consider web-based social networking as Impact Factor (JCC):3.6252 NAAS Rating: 2.52 From Gully Boy to Gully Beat: Rap and Participatory Culture in India 25 far as an unfortunate obligation, as a work substitution instrument, a profitability apparatus, a data handling device, or a social connection device. Here level of access, communication, and support are evaluated utilizing a broad scope of terms, for example, brand awareness (Angella J.Kim, 2012), brand engagement, customer relationship performance, organizational connectivity, and word of mouth (Donna L. Hoffman, 2010). The philosophy of the participatory culture sees target reality and the social world as the existing autonomous of people. Human activity is characterized as a user, on account of more business-related research, user-behaviour. This is considered as rational and purposive. According (David L. Williams, 2012). “consumers increasingly use digital media not just to research products and services, but to engage the companies they buy from, as well as other consumers who may have valuable insights”. Additionally, this approach recognizes a supposed move of intensity from organizations to users, because "shoppers are directing the nature, degree, and setting of marketing." (Richard Hanna, 2011). With these preconditions' examiners appear to have precise predictions for a future when businesses embrace openness, peering, sharing, and global thinking. Participation and cooperation will be key factors in future for an extended wealth creation. “consumers are dictating the nature, extent, and context of marketing exchanges”."(José Van Dijck, 2009) Access is a principal part of positivist ways to deal with participation in social media. From single businesses’ perspectives, promoting access entails increasing brand awareness. From the perspective of social media companies, this means opening new markets which were previously not easily accessible. The problematic aspect of access for business- related
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