Mainstreaming French rap music. Commodification and artistic legitimation of othered cultural goods

Hammou, Karim

doi:10.1016/j.poetic.2016.05.002

Cited by 20 publications

(8 citation statements)

References 39 publications

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“…In 1983, Pijnenburg organized a retrospective of New York graffiti pioneers at the Boyman Van Beuningen Museum in Rotterdam. During the same period, avant-garde journalists imported hip-hop culture into France, graffiti writing being part of the package with rap music, breakdance and deejaying (Hammou, 2016). The book Subway Art (Chalfant and Cooper, 1984) was a big commercial success, contributing to the dissemination of graffiti in Europe, as well as to the later legitimization of artworks by the writers who appeared in it.…”

Section: From the Bronx To The Champs-élysées: Three Cycles Of Interm...mentioning

confidence: 99%

“…For established intermediaries, the simple equation of graffiti artworks with hip-hop culture implies 'a big risk of falling into folklore'. In a similar way to rappers, it confines graffiti writers to a 'ghetto' from which they have to extract themselves, thanks to the help of cultural intermediaries, as part of an artistic legitimation process (Hammou, 2016). Nevertheless, the contextualization of their artworks contributes to conditioning their reception.…”

Section: The Established: Conditioning Artwork Receptionmentioning

confidence: 99%

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From the Train Yard to the Auction House: Connecting the Graffiti Subculture to the Art Market

Weill

2021

Cultural Sociology

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Various cultural intermediaries have become involved in connecting graffiti writing to the art market. Through this case study, I shed light on the division of intermediation labour in the commercialization process of artworks stemming from subcultures in a global art market. Since the early 1970s, an international network of cultural brokers has gradually been set up in a frontier zone between art collectors and graffiti writers. Interviews, documentary sources and participative observation as an insider made it possible to identify these intermediaries and their specific roles and resources. My investigation sheds light on three historical phases of intermediation: from the first initiatives in New York in the 1970s to thematic auctions in French between 2006 and 2017. The first two phases ended in commercial and critical failure, first in American galleries and then in European museums, but the third phase led to economic success on the secondary art market, followed by public institutions’ validation. Three types of intermediaries are distinguished: commissioned experts from graffiti subculture, who select and encourage graffiti writers to produce marketable works; entrepreneurs, who seek to create a niche in the art market and promote a flattering image of graffiti art collectors, a group to which they often also belong; established auctioneers, who mobilize influential art buyers and encourage their favourable reception of graffiti artworks in order to expand their business. Whether they collaborate or compete with each other, these cultural intermediaries have complementary roles and resources linked to their social trajectories. However, they reap unequal benefits from their activities, whose impact on subcultural practices is finally discussed.

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Section: From the Bronx To The Champs-élysées: Three Cycles Of Interm...mentioning

confidence: 99%

Section: The Established: Conditioning Artwork Receptionmentioning

confidence: 99%

From the Train Yard to the Auction House: Connecting the Graffiti Subculture to the Art Market

Weill

2021

Cultural Sociology

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“…Efforts to understand the emergence of conventions and their impact on cultural workers have generated a large body of literature on the role of cultural intermediaries, namely, the players who control how cultural production is organized and operates (Bourdieu, 1984). Despite the extensive account of cultural intermediaries, such as academics, critics and journalists, to cultural production (Hollands and Vail, 2012;Pedroni and Volonté, 2014;Hammou, 2016), little attention has been accorded to arts administration professionals, in particular their working conditions. As in any arts organizations, arts managers and administrators are in charge of forging organizational responses.…”

Section: Introductionmentioning

confidence: 99%

Bridging structural and micro-level factors in cultural labor studies

Shin¹,

Tsang

Tse³

2020

STICS

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Purpose This study aims to examine how the organizational structure of arts groups and their administrative personnel’s socio-demographic attributes affect the working conditions of and create tensions for their staff. Recent discussion about the cultural industries and labor has pursued two strands – macro-level research expounds on the organization of cultural industries and labor market; and micro-level studies focus on the work and employment of cultural practitioners. Very few of them, however, articulate the relationships between the two levels. This study contributes to the literature with a multilevel framework that examines the interplay between the structural conditions and personal factors in which labor–capital relationships evolve. Design/methodology/approach This study applies a qualitative approach to collect and analyze data. It conducted 39 in-depth interviews with arts managers and administrators from a sample of 18 performing arts organizations across four performing arts sectors in Hong Kong, namely, drama, music, dance and opera. The stratified sample covers arts organizations of different funding models – the public “nationalized” form, the mixed-economy form, and the privatized form. Findings This study shows that the funding and organization model of arts organizations resulted in various forms of job structure, and that the practitioners’ socio-demographic background shapes their career expectations. The job structure and career expectations together affect the labor turnover and influence organization strategies. Originality/value This study’s methodological contribution lies on its application of a multilevel framework to analyze the relationships between the macro- and the micro-level factors underpinning the working conditions of labor in the cultural industries. Besides, it contributes to the discussion about “labor precariousness” with empirical evidence from a comparative study of arts managers and administrators from organizations across four performing arts sectors.

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“…Très largement impensée en sociologie des arts et de la culture, elle permet cependant de comprendre comment des biens symboliques sont plus ou moins chargés de légitimité en fonction des appartenances ethnoraciales de leurs publics ou de leurs producteur•rice•s.Après avoir été au coeur de la compréhension des modalités de réception de la musique jazz (Roueff 2013), les rapports sociaux de race sont également des clés de lecture pour saisir le monde social du rap, que prennent pour objet deux des articles publiés dans ce dossier. Les travaux de Karim Hammou démontrent la constitution d'un segment racialisé au sein de l'industrie de la musique, qui peut à la fois bénéficier commercialement de son altérisation (grâce à l'existence d'un « marketing de la marge ») tout en étant mis à l'épreuve d'une double stigmatisation raciale et populaire(Hammou 2016).Cependant, les travaux de chercheur•e•s issu•e•s de la tradition des cultural studies font figure de pionniers sur le traitement des questions ethnoraciales en France. Dans la lignée de travaux anglophones comme ceux de Stuart Hall, qui a mis en avant le caractère politique à la fois des représentations, de leur étude et de leur réception, ainsi que leur rôle dans la constitution des identités individuelles et collectives(Hall 2007), ils interrogent le rôle de la culture dans la (dé)construction de catégories comme le genre ou la race.…”

unclassified

Pour une approche intersectionnelle en sociologie des arts et de la culture

Delaporte¹,

Espínola²,

Guittet³

et al. 2022

bssg

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Comment s’articulent et se croisent les différents rapports de domination qui traversent le monde social – qu’ils soient de classe, de sexe, de race, etc. – et, surtout, comment cette imbrication est-elle susceptible de produire des configurations spécifiques ? C’est toute l’ambition des approches intersectionnelles que d’analyser, notamment du point de vue des expériences situées, la manière dont les effets croisés des appartenances et assignations de classe, de sexe, de race, etc., produisent des situations sociales particulières, qui ne procèdent pas que de l’addition des inégalités. Ce dossier thématique argumente en faveur d’une approche intersectionnelle en sociologie des arts et de la culture. L’introduction offre un retour sur les contextes d’émergence et de diffusion du concept d’intersectionnalité, en particulier aux États-Unis et en France, permet d’en souligner les enjeux programmatiques et les défis méthodologiques. Le dossier, composé de trois articles, d’une note de lecture et d’un entretien, offre une illustration possible de l’usage de ces approches dans l’étude des mondes de la culture.

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Mainstreaming French rap music. Commodification and artistic legitimation of othered cultural goods

Cited by 20 publications

References 39 publications

From the Train Yard to the Auction House: Connecting the Graffiti Subculture to the Art Market

From the Train Yard to the Auction House: Connecting the Graffiti Subculture to the Art Market

Bridging structural and micro-level factors in cultural labor studies

Pour une approche intersectionnelle en sociologie des arts et de la culture

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