Advertisement

Language, Migration and Globalization: French Hip-Hop Versus Arabic Diaspora Hip-Hop

  • Michał MochEmail author
Chapter
Part of the New Frontiers in Translation Studies book series (NFTS)

Abstract

The article discusses examples excerpted from several songs by French and Arabic hip-hop artists. The motivation behind the choice of these specific passages was to investigate hip-hop songs as a reflection of contemporary linguistic and cultural processes from a comparative and cross-cultural perspective. French and Arab diaspora artists frequently use the globalized (as well as glocalized) medium of hip-hop to recount immigrant and post-immigrant experiences of living in European societies. The analysis of the lyrics by MC Solaar, K-Mel (with Cheb Mami), Shadia Mansour and Lowkey illustrates different linguistic, cultural and identity-related issues. The French artists strongly criticize the discrimination directed against the post-immigrant segments of French society, although e.g. MC Solaar also expresses appreciation for republican and secular values associated with France. The Arab diaspora artists, on the other hand, regardless of the language they use, be it dialectal Arabic or English, aim at expressing the Arab, and not Western, political point of view, strengthening the Arab collective identity in diaspora as well as in the Arab world.

Keywords

Arab Country Arab World Artistic Expression French Citizen Balfour Declaration 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

References

  1. Andersen, Janne Louise. 2011. The passion, politics and power of Shadia Mansour. Rolling Stone, September 2011: 58–63. https://pl.scribd.com/document/140472010/The-passion-politics-and-power-of-Shadia-Mansour. Accessed Oct 2016.
  2. Anderson, Benedict. 2006. Imagined communities. Reflections on the origin and spread of nationalism. London-New York: Verso.Google Scholar
  3. Daoust, Phil. 2004. ‘I visit a lot of bookshops’. The espresso-drinking rapper MC Solaar talks to Phil Daoust. The Guardian. https://www.theguardian.com/music/2004/may/03/popandrock. Accessed Oct 2016.
  4. Gana, Nour. 2011. Rap Rage Revolt. http://www.jadaliyya.com/pages/index/2320/rap-rage-revolt. Accessed Oct 2016.
  5. Gospodarczyk, Hanna. 2013. Słowa przeciwko czołgom – Shadia Mansour i zaangażowany politycznie rap palestyński [Words against tanks – Shadia Mansour and politically engaged Palestinian rap]. In Kultura popularna na Bliskim Wschodzie [Popular culture in the Middle East], ed. Katarzyna Górak-Sosnowska, and Katarzyna Pachniak, 266–281. Warszawa: Difin.Google Scholar
  6. Hassa, Samira. 2012. Kiff my zikmu. Symbolic Dimensions of Arabic, English and Verlan in French Rap Texts. In Languages of Global Hip Hop, ed. Marina Terkourafi, 44–66. London: Continuum.Google Scholar
  7. Kahf, Usama. 2007. Arabic Hip Hop: Claims of authenticity and identity of a new genre. Journal of Popular Music Studies 19 (4): 359–385. doi: 10.1111/j.1533-1598.2007.00133.x.CrossRefGoogle Scholar
  8. Nayel, Moe Ali. 2013. The Roots of Arab Hip Hop. Where Does It Come From? Now. https://now.mmedia.me/lb/en/features/the_roots_of_arab_hip-hop. Accessed Oct 2016.
  9. Phillips, Christopher. 2013. Everyday Arab identity: The daily reproduction of the Arab World. London: Routledge.Google Scholar
  10. Williams, Angela. 2012. ‘We ain’t terrorists but we droppin’ Bombs’: Language use and localization in Egyptian Hip Hop. In Languages of Global Hip Hop, ed. Marina Terkourafi, 67–95. London: Continuum.Google Scholar
  11. Wright, Robin. 2011. Rock the Casbah. Rage and Rebellion Across the Islamic World. New York: Simon & Schuster.Google Scholar

Copyright information

© Springer Nature Singapore Pte Ltd. 2017

Authors and Affiliations

  1. 1.Department of Arabic Language and CultureKazimierz Wielki UniversityBydgoszczPoland

Personalised recommendations