The Sociolinguistics of Hip-Hop as Critical Conscience 2017
DOI: 10.1007/978-3-319-59244-2_6
|View full text |Cite
|
Sign up to set email alerts
|

“Who’s Afraid of the Dark?”: The Ironic Self-Stereotype of the Ethnic Other in Finnish Rap Music

Abstract: This is a self-archived version of an original article. This version may differ from the original in pagination and typographic details.

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
3
1

Citation Types

0
7
0
5

Year Published

2018
2018
2023
2023

Publication Types

Select...
4
2
1

Relationship

0
7

Authors

Journals

citations
Cited by 12 publications
(12 citation statements)
references
References 30 publications
0
7
0
5
Order By: Relevance
“…Accordingly, places like Rinkeby and Hässelby in Stockholm and Itäkeskus, Pikku Huopalahti, Leppävaara and Koivukylä in Greater Helsinki are often mentioned, and multiple languages are used (e.g., Arabic, Somali and English alongside Finnish or Swedish) to describe diasporic life in Northern European cities. This juxtaposition of different features, built environments, clothing, movements and other globally familiar aesthetics in hip-hop captures the lived experiences of the racialised youth by simultaneously emphasising the narratives of belonging and multiculturalism (Lindholm, 2019;Westinen, 2019).…”
Section: Translocal Aesthetics and Digital Selvesmentioning
confidence: 99%
See 3 more Smart Citations
“…Accordingly, places like Rinkeby and Hässelby in Stockholm and Itäkeskus, Pikku Huopalahti, Leppävaara and Koivukylä in Greater Helsinki are often mentioned, and multiple languages are used (e.g., Arabic, Somali and English alongside Finnish or Swedish) to describe diasporic life in Northern European cities. This juxtaposition of different features, built environments, clothing, movements and other globally familiar aesthetics in hip-hop captures the lived experiences of the racialised youth by simultaneously emphasising the narratives of belonging and multiculturalism (Lindholm, 2019;Westinen, 2019).…”
Section: Translocal Aesthetics and Digital Selvesmentioning
confidence: 99%
“…Rap music is considered a cultural form that gives voice to marginalised identities (Söderman and Sernhede, 2013;Westinen, 2019Westinen, , 2023 and 'talks back' (hooks, 1989;Kelekay, 2019Kelekay, , 2022 to different forms of cultural dominance. While gangsta rap commercialises tropes that are ostensibly harmful to its creators and seeks commercial popularity, the music also represents a radical social positioning (Quinn, 2004: 19-22), often associated with other rap subgenres such as socially conscious rap.…”
Section: Translocal Aesthetics and Digital Selvesmentioning
confidence: 99%
See 2 more Smart Citations
“…Suomalaiskansallisen leijonasymbolin merkityksen muokkaamisesta ja omimisesta uusiin tarkoituksiin (appropriaatiosta) on viime vuosina ollut paljon keskustelua. Esimerkiksi somepostauksissa(Westinen 2017) on korostettu suomalaisuuden monimuotoistumista etnonationalistisen tulkinnan sijaan.https://doi.org/10.21435/skst.1489…”
unclassified