Glocalisation of Hip-Hop
Critics of the global media giants claim that global media is increasingly homogenised. Others, in contrast, argue that global media is thoroughly hybridised. Discuss the evidence for each of these positions with reference to hip-hop.
I: Introduction
Increasingly over the past twenty years, hip-hop has transformed from “marginalised to mainstream” (Motley & Henderson, 2008, p.243) as more and more of the world’s youth follow the genre. With these growing numbers all over the world there is simultaneously growing concern that hip-hop is increasingly homogenised as artists adopt the genre. This essay will address both the homogenous and hybrid aspects of hip-hop, arguing that true hip-hop must contain an element of localisation, as authenticity underpins the very notion of hip-hop.
II: Homogenisation v.s. hybridisation
Homogenisation in the context of hip-hop refers to artists around the globe subscribing to a global popular culture in their music, names and dress fashion in a process sometimes termed “Americanisation” (Omoniyi, 2006). Thus, in this interpretation of hip-hop it is not regarded as unique, but rather as simply reproducing American culture in other parts of the world, and furthermore an example of cultural imperialism (Dennis, 2006).
In contrast, hybridisation refers to the “creative adaptation and strategic innovation” (Dennis, 2006, p.271) of traditional hip-hop, to better reflect and preserve aspects of a particular culture. This upholds the idea that “hip-hop is a life-style rather than simply a musical genre” (Omoniyi, 2006, p.203), meaning that hip-hop reflects local concerns and values rather than being globally uniform. In essence, hybridisation in the context of hip-hop involves the melding of the global trends (such as the fashion and aspects of the music), with local issues so as to speak to the people (Motley & Henderson, 2008).
III: Hip-hop: origins
Hip-hop’s origins are believed to date back to the late 1970’s, where the
I: Introduction
Increasingly over the past twenty years, hip-hop has transformed from “marginalised to mainstream” (Motley & Henderson, 2008, p.243) as more and more of the world’s youth follow the genre. With these growing numbers all over the world there is simultaneously growing concern that hip-hop is increasingly homogenised as artists adopt the genre. This essay will address both the homogenous and hybrid aspects of hip-hop, arguing that true hip-hop must contain an element of localisation, as authenticity underpins the very notion of hip-hop.
II: Homogenisation v.s. hybridisation
Homogenisation in the context of hip-hop refers to artists around the globe subscribing to a global popular culture in their music, names and dress fashion in a process sometimes termed “Americanisation” (Omoniyi, 2006). Thus, in this interpretation of hip-hop it is not regarded as unique, but rather as simply reproducing American culture in other parts of the world, and furthermore an example of cultural imperialism (Dennis, 2006).
In contrast, hybridisation refers to the “creative adaptation and strategic innovation” (Dennis, 2006, p.271) of traditional hip-hop, to better reflect and preserve aspects of a particular culture. This upholds the idea that “hip-hop is a life-style rather than simply a musical genre” (Omoniyi, 2006, p.203), meaning that hip-hop reflects local concerns and values rather than being globally uniform. In essence, hybridisation in the context of hip-hop involves the melding of the global trends (such as the fashion and aspects of the music), with local issues so as to speak to the people (Motley & Henderson, 2008).
III: Hip-hop: origins
Hip-hop’s origins are believed to date back to the late 1970’s, where the