Hybridizing Hip-hop in Diaspora: Young British South Asian Men Negotiating Black-inflected Identities

Et si on changeait la musique? Déterminants sociaux des préférences pour le hip‐hop, le rap et les musiques urbaines en Grande Bretagne

“…Bien que leurs proses furent relativement moins revendicatrices et provocatrices, Hesmondhalgh et Melville expliquent qu'il s'agissait pour eux d'affirmer leurs capacités à produire un rap d'une qualité équivalente à celle des afro‐caribéens, mais aussi d'assumer un sens de l'identité plus complexe que celle véhiculée dans les médias (Hesmondhalgh et Melville, 2001 : 96). Drissel (2011, p.201) voit ainsi la chanson « Big Trouble in Little Asia » comme une ode contre le racisme blanc et une invitation à la solidarité pan‐asiatique visant à contrecarrer l'exclusion. Ce même auteur évoque aussi l'idée selon laquelle le rap et le hip‐hop, en tant que culture de subversion, ont été mis à profit par les artistes indiens afin de déjouer les stéréotypes du « nerds », c'est‐à‐dire du jeune indien docile, soumis, renfermé et uniquement concentré sur ses performances scolaires et les nouvelles technologies.…”

Between Return and Resistance: Rap as a Means of Access to Engagement and Empowerment Among French Hmong Youth

“…Four waves of immigration at separate periods of the 20th century—colonial migrants after World War II, labour migrants in the 1960s, family migrants and refugees —presented Western Europe with integration problems (Sassen, 2000; Scholten & Holzhacker, 2009). The descendants of immigrants, including the Turkish German, Southeast Asian Londoner, French Algerian communities and countless others negotiate identities, express aspirations and demonstrate visibility through rap music (Bennett, 1999; Drissel, 2011; Jouili, 2013; Nitzsche & Gruzweig, 2013). Androutsopoulos and Scholz (2003) traced the process of the formation of rap in Europe with the emergence of a new territory.…”

“…Bennett (1999) observed that youth from ethnic minority groups in Germany remade rap music into the medium to express their concerns about racism and identity issues in their local context. Similarly, South Asian young men in the U.K. have embraced hip-hop music as a medium to negotiate and construct their ‘masculine’ and ‘empowered’ identities (Drissel, 2011). Even in Eastern Europe, hip hop has been developed to indicate youth experiences and aspirations of alternatives in a post-socialist society where violence, police corruption, poverty, and instability are embedded in social structures (Miszczynski & Helbig, 2017).…”

“…The dynamics and tensions in the process of indigenization of rap outside of the U.S.A. constantly draw attention to local specificities (Mitchell, 2001). Rap music’s locale characteristics and its voice of ‘self-pride, self-help, and self-improvement’ (Laidlaw, 2011, p. 72) have attracted young groups of various ethnic origins (Bennett, 1999; Clarke & Hiscock, 2009; Drissel, 2011).…”

Mother Mary in the Hindu Pantheon Among Portuguese Gujarati Families

“…There are other situations of hybridization amongst Hindu diasporas: cultural expressions such as dance performances (Chacko and Menon 2011;Drissel 2011;Roy 2013) and ethnolinguistic references (Eisenlohr 2006). But in what constitutes religion, some diasporas created hyphenated identities (see Persaud 2013), particularly Hindu-Caribbean, where Hinduism and Christianity intersect in rituals and in funeral practices (Manian and Bullock 2016).…”