Playing the Revolt: The Cultural Valorization of Russian Rap and Covert Change in Russian Society of the 2010s

Kukulin, Ilya

doi:10.1016/j.ruslit.2020.11.004

Cited by 4 publications

(3 citation statements)

References 12 publications

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“…In alternative music, perhaps the most powerful recent rendition of this myth was “I am Dropping the West” ( Ia roniaiu Zapad ) by the rapper Face. Ilya Kukulin (2020, 88) concludes that “Face exaggerates the popular propagandist narratives of anti-American hysteria for humorous effect but without changing their meanings.”…”

Section: Discussionmentioning

confidence: 99%

“…As a result, the focus has been almost exclusively on the political message of songs and clips, at least when it comes to genres such as rap. Given the rising popularity of rap music in Russia, there have been a number of interventions exploring rappers' response to current politics (Ewell 2017;Kukulin 2020) or their attempts to create alternative "resistant publics" (Denisova and Herasimenka 2019).…”

Section: State Of the Art: Perspectives On Art And Politicsmentioning

confidence: 99%

“…With that in mind, we interpret contemporary Russia as a space where the implosion of the formal political sphere led to an explosion in the politics of art. Admittedly, this is not a recent phenomenon: the politics of Russian art has been productively analyzed by a number of scholars (Jonson 2015;Ewell 2017;Beumers et al 2017;Jonson and Erofeev 2017;Engström 2018Denisova and Herasimenka 2019;Kukulin 2020). This politics, however, largely remained embedded within the age-old dichotomy of progressive West vs. backward Russia, posing a very familiar challenge for the regime.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

“F*** tha police!” à la Russe: Rancière and the Metamodernist Turn in Contemporary Russian Music

Morozov

Reshetnikov

Gaufman

2022

Nationalities Papers

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The nationwide prominence of Russian oppositional artists has inspired a fair number of studies analyzing the political aspects of their creative output. We argue that the new generation of Russian musicians, whose art became popular in the end of 2010s, brings political engagement to a qualitatively new level. Following Jacques Rancière, we reject the assumption that critical art can bring about political mobilization by exposing social evils. Instead, we juxtapose politics and police, distinguishing between transformative moments of discursive confrontation and the mundane activity centered on distributing places and roles. In this article, we look at three popular Russian musical collectives – IC3PEAK, Shortparis, and Monetochka – whose art disrupts the police order in a novel and subversive manner. Some of their works became even more timely with the outbreak of Russia’s large-scale aggression against Ukraine. We have performed multimodal discourse analysis of their audio and video clips, aimed at identifying the ways in which these artworks create the conditions of possibility for new politics by re-articulating the connection between the political and the universal.

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Section: Discussionmentioning

confidence: 99%