Abstract
By virtue of hawaii’s (colonial) history with the u.s. mainland and its unique geographic position as crossroads between East and West, the 50th state offers a particularly complex example of the globalization of hip-hop culture. Hawai′i floats geographically and culturally in the North Pacific, connecting Asia, Polynesia and Micronesia, and the Americas in historical and contemporary ways (figure 3.1). Particularly as gateway to the Pacific Rim—the mid-way point between the United States mainland and Asia—Hawai′i is an interesting composite of Native Hawaiian, American, and Asian cultures.
They tell us that we’re equal. But if you look at history, we’re just another sequel.
Sudden Rush, Hawaiian Rap Group
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Notes
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See Halifu Osumare, “Break Dancing and the Intercultural Body,” Dance Research Journal, vol. 34, no. 2 (2002): 30–45.
James G. Spady and Joseph D. Eure, Nation Conscious Rap (New York: PC International Press, 1991), vi.
Robert Warshow, “The Gangster as a Tragic Hero,” The Immediate Experience: Movies, Comics, Theatre & Other Aspects of Popular Culture (Garden City, NJ: Doubleday & Co., 1962), 130.
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© 2007 Halifu Osumare
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Osumare, H. (2007). Props to the Local Boyz. In: The Africanist Aesthetic in Global Hip-Hop. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-05964-2_4
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DOI: https://doi.org/10.1007/978-1-137-05964-2_4
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