Journal of Sociolinguistics 16/4, 2012: 547–581
BOOK REVIEWS
MARINA TERKOURAFI (ed.). Languages of Global Hip Hop. New York: Continuum. 2010. 351 pp. Hb (9780826431608) $170.00.
Reviewed by AWAD IBRAHIM
Hip hop, it seems, has (been) moved from the cultural realm to Nationhood. Not only that but it has become a Global Nation. This seems to be a Solomonic truth, at least, in the book under review. If this is so – that is, Hip Hop is a Global Nation – then how does one become a citizen of it? What code does one need to make sense of, to decode if you like, its said and unsaid language(s)? In other words, how is this Global Hip Hop Nation (GHHN) formed and how does one become one of its citizens? To answer these intricate questions, Marina Terkourafi invited a ‘crew of hip hoppers’ (i.e. a number of young scholars) who are grabbling with them. The result is her 12-chapter edited volume: Languages of Global Hip Hop. Assistant professor of linguistics at the University of Illinois, Urbana-Champaign, Dr. Terkourafi starts the volume with a ‘shout out’ (an introduction) that is mostly personal. Narrating her experience with hip hop as a Greek woman growing up in Greece in the 1980s and 1990s and how she entered the ‘global hip-hop puzzle’ (p. 2), she makes the argument that, ‘[i]f we want to understand the current fascination with hip hop by academics and the media alike – let alone the fans – we have to look elsewhere’ (p. 2). Unfortunately, no coherent answer to this ‘elsewhere’ is offered; instead we are told that: hip hop is intensely political; hip hop artists are outspoken critics of social realities around them, be it gender, race, or otherwise; and, globally, this critique is around dominant cultures and engages local issues of ethnicity, culture, language and power. For Terkourafi, hip hop defies delimitation and definition, and this is ‘not because it is in some way aberrant but exactly because, like other cultural phenomena, trying to reduce it to a set of sine qua non parameters is fundamentally misguided in the first place’ (p. 3). This is why, moreover, the debate on what might be called ‘global hip hop authenticity’ has to be reconceptualized. We need to acknowledge the supra-local origins of hip hop, Terkourafi contends, therefore, when looking at form and content, authenticity should be in the plural (authenticities), where ‘keepin it real’ means proudly using ‘national languages’ along with/side ‘regional, immigrant, or minority varieties.’ Dr. Terkourafi concludes her introduction with a reference to Aristotle’s notion of ‘tragedy’ as a ‘third way’ to re-conceptualize the question of authenticity. For Aristotle, tragedy is seen as an imitation, hyperbole, embellished language, an