Cara Italia: L’Espressione Dell’Identità Multiculturale Nella Musica Rap E Trap Italiana
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CARA ITALIA: L’ESPRESSIONE DELL’IDENTITÀ MULTICULTURALE NELLA MUSICA RAP E TRAP ITALIANA A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Arts in Italian Studies By Rachel Ann Grasso, B.A. Washington, D.C. April 22, 2020 Copyright 2020 by Rachel Ann Grasso All Rights Reserved ii CARA ITALIA: L’ESPRESSIONE DELL’IDENTITÀ MULTICULTURALE NELLA MUSICA RAP E TRAP ITALIANA Rachel Ann Grasso, B.A. Thesis Advisor: Francesco Ciabattoni, Ph.D. ABSTRACT In the past fifteen years, the Italian rap and trap music scene has experienced significant changes due to the entrance of artists who have foreign heritage. Called “second-generation rappers and trappers,” these musicians represent a new generation of Italians who are born and/or raised in Italy by one or both immigrant parent(s). Giving a voice to a multicultural community that has been struggling for political, economic, and social representation in Italy, they utilize various linguistic tools, such as Italian dialects and the foreign languages of their countries of origin, in their music to express their multicultural identities. In many of their songs, they also bring awareness to the issues that their communities face, such as the difficulty to obtain citizenship, xenophobia, racist stereotypes, the exploitation of foreign workers, the identity crises of the children of immigrants, and the Italian society’s lack of understanding of these issues. As the Italian state struggles to provide opportunities for success even to its own citizens, these artists pave the way for other children of immigrants with the message that they can be successful on any path they choose or create for themselves. They also defend their Italian identity from those who try to undermine it, while communicating that progress and equality are possible for immigrants and their children in Italy’s future. However, if the Italian state cannot obtain these goals, through their music, they will. iii Alla mia famiglia Acknowledgments First and foremost, I would like to thank Professor Ciabattoni, Professor Cicali, Professor De Fina, and Professor Pireddu for their invaluable guidance, vast knowledge, unwavering support, and for everything they have taught me inside and out of the classroom, ultimately showing me the kind of scholar I would like to become. I would also like to extend my gratitude to all my professors here at Georgetown, as well as during my undergraduate years at the George Washington University and my semester in Rome, for lessons imparted on me that have and will stay with me. I would also like to thank the rap and trap artists, Amir, Laïoung, and Tommy Kuti for granting me interviews with them in person and via Zoom. Their insight was invaluable to the completion of this thesis. I would also like to say thank you to two of my closest friends in the program, who have supported me greatly during the past two years: Nikole Sanchez and Zach Penati Aguilar. Last but not least, I must thank my family without whom I would not be here, and whose limitless wisdom and encouragement mean more to me than they will ever know. To thank them properly is more than I have room for here, so in short, grazie di cuore! Disclaimer The lyrics of the songs cited in this thesis were directly transcribed from the audio found on YouTube with the help of some highly trustworthy lyric websites. I testi delle canzoni qui riportate e discusse sono stati trascritti direttamente dal sonoro YouTube con l’aiuto di alcuni siti web di alta affidabilità. iv INDICE INTRODUZIONE ........................................................................................................................... 1 CAPITOLO 1: IL SOGNO ITALIANO ......................................................................................... 6 Migrazione in Italia dal 1970 ad oggi ....................................................................................... 6 I fattori di attrazione dell’Italia ................................................................................................. 7 Abe Kayn .................................................................................................................................. 8 Amir .......................................................................................................................................... 9 Chadia Rodriguez .................................................................................................................... 11 Ghali ........................................................................................................................................ 13 Hell Raton ............................................................................................................................... 14 Laïoung ................................................................................................................................... 15 Mahmood ................................................................................................................................ 17 Maruego .................................................................................................................................. 18 OG Eastbull ............................................................................................................................. 20 Rancore ................................................................................................................................... 22 Slava ........................................................................................................................................ 23 Tommy Kuti ............................................................................................................................ 24 Zanko El Arabe Blanco ........................................................................................................... 26 Conclusione: è necessario un cambio di filosofia ................................................................... 27 CAPITOLO 2: LO SVILUPPO DELLA MUSICA RAP E TRAP IN ITALIA ........................... 29 Le fasi dello sviluppo del rap in Italia ..................................................................................... 29 Le caratteristiche del rap che lo rendono una forma musicale privilegiata ............................. 31 La presenza dell’inglese nel rap italiano ................................................................................. 32 La categorizzazione dei rapper: mainstream, overground, e underground ............................ 33 Il rapporto tra i cantautori ed i rapper italiani ......................................................................... 34 Il dibattito su come parlare di politica nel rap italiano ............................................................ 38 L’importanza dell'autenticità e della credibilità della strada nel rap ....................................... 43 Le caratteristiche e lo sviluppo della musica trap in Italia ...................................................... 44 Lo stato attuale del rap e del trap in Italia ............................................................................... 46 Conclusione ............................................................................................................................. 49 CAPITOLO 3: L’USO DEI DIALETTI PER ESPRIMERE L'IDENTITÀ ITALIANA ............. 51 L’evoluzione della lingua italiana, delle lingue di minoranza, e dei dialetti in Italia ............. 51 Lo status dei dialetti oggi in Italia ........................................................................................... 54 L’utilizzo dei dialetti da parte dei migranti in Italia ................................................................ 55 Le difficoltà affrontate dai rapper riguardo ai dialetti nella scena musicale ........................... 57 I tre gradi di gergalità dei testi rap .......................................................................................... 59 Il lessico della musica trap ...................................................................................................... 60 Cosa rappresenta l’uso dei dialetti nella musica rap e trap italiana? ....................................... 61 Caratteristiche del dialetto romanesco .................................................................................... 63 v Le canzoni di Amir nel dialetto romano: “Scialla” e “Chiccestà” .......................................... 64 Le canzoni di Rancore nel dialetto romano: “Tufello” e “L’acqua der Tevere” ..................... 66 Le canzoni di OG Eastbull nel dialetto romano: “Bella Giornata” e “Roma” ........................ 67 Altri dialetti nella musica rap e trap italiana ........................................................................... 69 Identità locale e identità italiana .............................................................................................. 73 Conclusione ............................................................................................................................. 74 CAPITOLO 4: L’USO DELLE LINGUE STRANIERE PER ESPRIMERE L'IDENTITÀ MULTICULTURALE .................................................................................................................. 76 La storia dell’uso delle lingue straniere nella musica rap e trap italiana ................................ 76 Il cambiamento della demografia linguistica a causa dell’immigrazione in Italia