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Dissatisfaction and Dissent in the Transmodal Performances of Hip-hop Artists in Mongolia

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The Sociolinguistics of Hip-hop as Critical Conscience

Abstract

The sociolinguistic practices of hip-hop artists in Mongolia can be understood as “transmodal” due to the combination of varied linguistic resources with other multiple modes such as the traditional elements and nationalistic symbols. In so doing, Mongolian hip-hop artists utilize the vernacular of the genre as a means of expressing political dissatisfaction and dissent. They form patriotic identities by declaring their love and pride for their root and tradition. They are the harsh critics and the sarcastic satirists of social injustice and corruption of the political regime in Mongolia.

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Author information

Authors and Affiliations

  1. University of Aizu, Aizu-Wakamatsu, Fukushima, Japan

    Sender Dovchin

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  1. Sender Dovchin
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Editors and Affiliations

  1. Centre for Teaching and Learning, Southern Cross University, Gold Coast, QLD, Australia

    Andrew S. Ross

  2. Centre for Meta-Learning, Faculty of Systems Information Science Future University Hakodate, Hakodate, Hokkaido, Japan

    Damian J. Rivers

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Dovchin, S. (2018). Dissatisfaction and Dissent in the Transmodal Performances of Hip-hop Artists in Mongolia. In: Ross, A., Rivers, D. (eds) The Sociolinguistics of Hip-hop as Critical Conscience. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-59244-2_8

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  • DOI: https://doi.org/10.1007/978-3-319-59244-2_8

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  • Publisher Name: Palgrave Macmillan, Cham

  • Print ISBN: 978-3-319-59243-5

  • Online ISBN: 978-3-319-59244-2

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