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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 The Poets of Duisburg: Risk and Hip-Hop Performance in a German Inner City Margaret Ruth Jackson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE POETS OF DUISBURG: RISK AND HIP-HOP PERFORMANCE IN A GERMAN INNER CITY By MARGARET RUTH JACKSON A Dissertation submitted to the College of Music in partial fulfillment of the requirements of the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2010 The members of the committee approve the dissertation of Margaret Ruth Jackson defended on April 21, 2010. ______________________________ Michael B. Bakan Professor Directing Dissertation ______________________________ Birgit Maier-Katkin University Representative ______________________________ Frank Gunderson Committee Member ______________________________ Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGMENTS There are many to whom I owe a debt of gratitude for supporting, encouraging, and contributing to this work. First, I thank both the American Association of University Women and the Deutsch Akademischer Austauchdienst for their generous support of my research. My gratitude also extends to the staffs of the Center for Turkish Studies in Essen, Germany, and the Institut für Jugendforschung (Institute for Youth Research) in Munich, Germany who generously shared their research and time with me. My love of Germany, its people, and its many musics is grounded in my friendships with Barbara Gern, Peter Schridde, and Cajus Bayer. I am grateful for the kindness and cultural insights you have shared with me for the past seventeen years. To Sultan and Yasemin Aydogdu, whose hospitality and replenished cup of Turkish tea gave me encouragement and fortitude during my studies, I offer heartfelt appreciation and gratitude. For welcoming me into your family and sharing your love for Turkish language and literature, I thank Afife and Çanan Üstündag. And to Adem Yilmaz and Levent, our musical adventures have placed me forever in your debt. My deep appreciation also extends to the music history faculty of the Florida State University College of Music for its generosity, mentorship, and academic rigor. I am particularly indebted to Denise Von Glahn, who has now seen me through two doctorates and provided an enduring role model as both a teacher and mentor. As I teach, know that the good things you‘ve imparted to me are channeled to my own students. To Michael Bakan: your patience, insight, and encouragement are the reasons I became an ethnomusicologist. I deeply appreciate your intestinal fortitude for getting me to the finish line and for setting me on this adventurous, rewarding path. I offer special thanks to Birgit Maeier-Katkin and Frank Gunderson for their guidance and counsel in seeing this dissertation to its fruition. And in absentia I thank Andrew Killick, who years ago sparked my interest in popular music studies. Individual thanks go to Beatrice Probson and Loredana Russo. Deepest appreciation also extends to Hannes Loh for his personal friendship and inspiring scholarship – your insights are an important part of this work. I likewise offer respect and gratitude to Michael Fröhling for opening the doors of the Bunker to me and for maintaining an inspiring commitment to the Bruckhausen community. For their unwavering support and love I thank my family, particularly Mimi Jackson, and Janice and Bill Hix. I am also deeply grateful for the support and encouragement of Michael Hix, without whom this work would still be in notecards and boxes. Above all, I thank the artists of Chillichilliwa Productions for their time, candid responses to my questions, and openness. To Niko, Stathi, and Sezen I offer my sincerest thanks for sharing your stories with me. I am honored you have trusted me to tell them further and am certain our collaboration will win you a host of new admirers. Liebe, Glück, und Abenteuer wünsche ich Euch allen. iii TABLE OF CONTENTS LIST OF FIGURES……………………………………………………………………………. vii DVD CONTENTS……………………………………………………………………………... ix ABSTRACT……………………………………………………………………………. ……... x CHAPTER 1 – INTRODUCTION TO RISK AND KANAK CULTURE…..………... ……....1 Focus of the Study……………………………………………..................... 1 Background and Historical Overview……………………………………… 4 Linguocentric Predicament(s)………………………………….………. 4 The Ruhrgebiet: Germany‘s Modern Metropolis………………….…... 7 Migrant Populations in Germany: A Constituent Feature of Urban Development……………………………………..….. 9 Migration Processes in Europe………………………………………… 11 Migration and Citizenship………………………………………...………...11 Hierarchical Divisions Among German Migrant Groups……………… 12 Work Migrants…………………………………................... 12 Elite Migrants…………………………………………...……... 13 Repatriated Germans…………………………………… ………14 Asylum Seekers………………………………………………....15 Misadventures in Diasporic Understanding………………………... ……... 17 Theoretical Stance and Literature Review: Key Features of Risk................. 19 Ulrich Beck‘s Risikogesellschaft………………………………………..22 Individualization……………………………………………….. ……... 24 Risk: Key Sociological Perspectives……………………………………24 Risk and Impurity……………………………………………….25 Risk and Kanak Culture………………………………………... 27 Hip Hop Studies……………………………............................... ……... 28 Data Collection……………………………………………………..….. 29 Chapter Synopses………………………………………………………. 30 Contributions of the Study……………………………………... ……... 32 CHAPTER 2 – “DUISBURG IS LIKE THE BRONX‖ - HIP-HOP RISKS AND GERMAN GHETTOS …………...... ……... 34 Entering the Ghetto Real: May I make an appointment? .……………... 34 The Ruhrgebiet: From Migrant Mecca to Germany‘s Rustbelt 40 Migrant Labor and Duisburg‘s Industrial Growth……………............... 42 Deindustrialization and Unemployment – Duisburg becomes a city of the out-of-work…………............... 43 Paris is burning: Are you ok?......................................................………46 The Ghetto Imagined: Hip-hop stars and the claiming of Space…….…48 Azad‘s ―Mein Block‖ (2004) (DVD ex. 2)…………………….............. 49 iv Sido‘s ―Mein Block‖ from (DVD ex. 3)………………………….……. 53 Bushido ―Electro Ghetto‖ (DVD ex.4).............................................…...58 Reading the Code: Bruckhausen Youth Respond……………… ………63 Conclusions: Theorizing the Ghetto……………………………............ 71 CHAPTER 3 - HIP-HOP, THE CODE OF THE STREET, AND THE AESTHETIC DEMANDS OF THREAT – AT THE CROSSROADS OF THE RISK SOCIETY….............................................................. ............75 Risk as Formative Feature of Migrant Hip-hop Practice in Germany......76 The Code of the Street: Hip-hop readings of the Inner City…... ........... 77 Historical Overview: Hip-hop in Germany…………………….. ........... 78 The Alte Schule…………………………………………............78 The Neue Schule……………………………………….............. 81 The Advent of Cartel: Hip-hop and the Risk Response……….. ........... 86 Gangsta Origins and the Hip-hop Imaginary…………………............... 90 Learning the Code: Media Interventions………………………............. 93 ―Rauch in der Lunge‖ (Smoke in the Lungs)…………………............... 95 Bordieu, Risk, and the Acquisition of Sub-cultural Capital....................100 CHAPTER 4 - ―RISKY BUSINESS‖ – BLACKNESS AND THE NEGOTIATION OF KANAK IDENTITY………………………………………. ............105 Adem………………………………………………................................ 107 The Public Theater of Blackness: Key Theoretical Viewpoints.............. 109 Speaking Kanak to Power: Blackness, Kanak Sprak, and the Conflation of the Stereotype………………………............. 115 Becoming Kanak: Poedra‘s Process of Self-Articulation........................ 117 Of Risks and Cultural Talents: Mediating Kanak Performance.............. 121 ―Kanakizm‖ (2005)…………………………………………................. 123 Prestige or Blame? Mapping the Risks of Kanakism.............................. 128 CHAPTER 5 - KANAKS IN THE LEITKULTUR: RISKS AND NEGOTIATIONS OF GERMAN BELONGING………………………………….. ............132 The Melez Festival: Cultural Diversity and Migrant Identity….............. 132 Locating the Leading Culture………………………………….............. 136 Leitkultur and Fears of Islamic Radicalism …………………................ 139 Reactions to the PISA………………………………………….............. 140 Responding to Multiculturalism: Two Strategies……………................ 144 Confronting Stereotypes: The Case for Kanak Attak................... 144 Marketing Multicultural Unity: Du bist Deutschland….............. 150 v Assessing the Risks - Belonging and Power in the BRD..........................154 CHAPTER 6 – KANAK COOL AND BUNKER STRATEGIES – THE SUB- CULTURAL DANGERS OF SUBVERTING VIOLENCE…... ............156 The Function of Youth Houses in German Society…………................. 159 Youth Social Work, Migrancy, and Crime Prevention…........................ 161 Hip-hop and the Jugendhaus: Early Experiences………………............. 164 Offene Jazz Haus Schule………………………………………............. 165 Bunker Offerings: Hip-hop ―Gegen Gewalt‖………………….............. 168 Sezen the Teacher………………………………………………............ 172 ―Du bist frei‖……………………………………………………............ 172 CHAPTER 7 – RISK, HIP-HOP, AND KANAK BELONGING – SOME CONCLUSIONS………………………………………………............ 178 Is That Really Appropriate? Talking Hip-hop in the Academy……………………................ 181 Epilogue………………………………………………………............... 188 APPENDIX A: HUMAN SUBJECTS APPROVAL……………...…………………...………190 BIBLIOGRAPHY………………………………………………………………………

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