Hip Hop Desis , livre ebook

Duke University Press - Sharma Nitasha Tamar Sharma

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368 pages

English

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Hip Hop Desis explores the aesthetics and politics of South Asian American (desi) hip hop artists. Nitasha Tamar Sharma argues that through their lives and lyrics, young "hip hop desis" express a global race consciousness that reflects both their sense of connection with Blacks as racialized minorities in the United States and their diasporic sensibility as part of a global community of South Asians. She emphasizes the role of appropriation and sampling in the ways that hip hop desis craft their identities, create art, and pursue social activism. Some desi artists produce what she calls "ethnic hip hop," incorporating South Asian languages, instruments, and immigrant themes. Through ethnic hip hop, artists, including KB, Sammy, and Deejay Bella, express "alternative desiness," challenging assumptions about their identities as South Asians, children of immigrants, minorities, and Americans. Hip hop desis also contest and seek to bridge perceived divisions between Blacks and South Asian Americans. By taking up themes considered irrelevant to many Asian Americans, desi performers, such as D'Lo, Chee Malabar of Himalayan Project, and Rawj of Feenom Circle, create a multiracial form of Black popular culture to fight racism and enact social change.

Sujets

Sociologie, société et politique

USA

South Asia

Popular culture

États-Unis

Informations

Publié par	Duke University Press
Date de parution	17 août 2010
Nombre de lectures	0
EAN13	9780822392897
Langue	English
Poids de l'ouvrage	4 Mo

Informations légales : prix de location à la page 0,1498€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Hip Hop Desis

ReIguring American Music

A series edited by Ronald Radano and Josh Kun

Charles McGovern, contributing editor

Nitasha Tamar Sharma

Hip Hop Desis

South Asian Americans, Blackness,

and a Global Race Consciousness

Duke University Press Durham and London 010

© 2010 Duke University Press All rights reserved Printed in the United States of America on acid-Free paper∞ Designed by C. . Westmoreland Typeset in Quadraat by Tseng ïnFormation Systems, ïnc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book.

Duke University Press grateFully ac-knowledges the support of the North-western University Research Grants Committee, which provided Funds toward the production of this book.

frontispiece:Deejay Bella spins at a 4th of July event. Photograph courtesy of Deejay Bella.

This book is dedicated with eternal love to my parents, Miriam and Jagdish Sharma,

to Makaya McCraven with love for his unending support and brilliance,

to the South Asian American hip hop artists who make much more than music,

and to Ronald Takaki, who made generations o activist scholars

Contents

PreFaceix Acknowledgmentsxiii

ïntroduction: Claiming Space, Making Race1

1Alternative Ethnics: Rotten Coconuts and Ethnic ip op37

2Making Race: Desi Racial ïdentities, South Asian and Black Relations, and Racialized ip op88

3lipping the Gender Script: Gender and Sexuality in South Asian and ip op America138

4He Appeal of ip op, Ownership, and the Politics of Location190

5Sampling South Asians: Dual lows of Appropriation and the Possibilities of Authenticity234

Conclusion: Turning Houghts into Action through the Politics of ïdentiIcation283

Notes301 ReFerences315 ïndex335

Preface

He lives of South Asians in America, ordesis—a term meaning “of the land” From the indi/Urdu worddesh, or country—are both historically constituted and circumscribed by global processes and the limitations of what is possible today. Yet some members of this community, such as South Asian American hip hop artists, take active roles in their surroundings by disrupting seemingly Ixed ideologies in order to generate new possibilities. ïn chapter 1 of this volume, “Alternative Ethnics,” ï explore the artists’ ambivalent relationships to ethnicity and the inuence of South Asian par-ents and peers From recollections of their childhood and college experiences. While nearly half of the artists grew up in middle-class, mostly White neighborhoods (as most desis do) where they have contended with racism From a young age, the other half came From racially and class-diverse neighborhoods in which they grew up alongside Blacks and participated in creating hip hop culture. Hus, class alone does not explain who becomes a hip hop artist; however, where the artists grew up had broad implications For their interactions with Blacks and their experiences with racism. ï illustrate the critique by these artists of expectations of ethnic au-thenticity expressed within American South Asian communities as hegemonic notions of desiness—that is, as conservative responses to displacement, racism, and a desire to It high up in American society. Heir production of “ethnic hip hop” illustrates a process of sampling. Hese individuals turn toward alternatives by rejecting not only