Skip to main content

‘Rap on Rap Is Sacred’: The Appropriation of Hip Hop in the Czech Republic

  • Chapter
Eastern European Youth Cultures in a Global Context
  • 445 Accesses

Abstract

Since 2002 hip hop fans not only from the Czech Republic but also from Slovakia, Poland, Hungary, Germany and other countries come together on the third weekend in August at Hradec Králové region near the giant mountains of Krkonoše, more than 100 kilometres east of Prague, to celebrate the biggest event of the summer, the Hip Hop Kemp.1 Ranking among the ‘50 greatest summer music festivals’ according to CNN (Bremner, 2013) Hip Hop Kemp offers three days of performances by old-school legends and up-and-coming stars from the USA as well as domestic and European musicians. There are dance competitions, freestyle battles, live graffiti showcases, DJ sets till early morning and a hip hop market offering vinyl, CDs and other merchandise from artists and labels. Whether on the main stage, at the smaller hangar or at a random cypher inside and outside the camp area, hip hop enthusiasts speaking the same language are offering their version of ‘real’ hip hop in a local vernacular.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

eBook
USD 16.99
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Hardcover Book
USD 54.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Bibliography

  • H. S. Alim (2009) ‘Intro Straight Outta Compton, Straight aus München: Global Linguistic Flows, Identities, and the Politics of Language in a Global Hip Hop Nation’, in H. Samy Alim, A. Pennycook, A. Ibrahim (eds.) Global Linguistic Flows. New York: Routledge, 1–22.

    Google Scholar 

  • J. Androutsopoulos (2009) ‘Language ant the Three Spheres of Hip Hop’, in H. Samy Alim, A. Pennycook, A. Ibrahim (eds.) Global Linguistic Flows. New York: Routledge, 43–62.

    Google Scholar 

  • MK Asante (2008) It’s Bigger than Hip-Hop: The Rise of the Post-Hip-Hop Generation. New York: St. Martin’s Press.

    Google Scholar 

  • D. Basu and S. J. Lemelle (eds.) (2006) The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture. London, Ann Arbor, MI: Pluto Press.

    Google Scholar 

  • P. Barrer (2009) ‘My white, blue and red heart: Constructing a Slovak identity in rap music’, Popular Music and Society, 32:1, 59–75.

    Article  Google Scholar 

  • A. Bennett (2004) ‘“Hip-Hop am Main, Rappin” on the Tyne: Hip-Hop culture as a local construct in two European cities’, in M. Forman and M.A. Neal (eds.) That’s the Joint!: The Hip-Hop Studies Reader. New York: Routledge, 177–200.

    Google Scholar 

  • J. Bremner (2013) 50 Greatest Summer Music Festivals http://travel.cnn.com/explorations/play/worlds-50-best-summer-music-festivals-008106?page=0,2, date accessed 1 May 2014.

  • T.S. Brown (2006) ‘Keeping It Real in a Different ‘Hood: (African-) Americanization and Hip Hop in Germany’, in D. Basu and S. J. Lemelle (eds.) The Vinyl Ain’t Final. London, Ann Arbor, MI: Pluto Press, 137–150.

    Google Scholar 

  • W.J. Cobb (2007) To the Break of Dawn: A Freestyle on the Hip-Hop Aesthetic. New York: New York University Press.

    Google Scholar 

  • Ektor (2014) Vyjádření (Statement) https://www.youtube.com/watch?v=xYsXUg1_MHE, date accessed 14 July 2014.

  • S. Fernandes (2011) Close to the Edge: In Search of the Global Hip Hop Generation. Sydney: NewSouth.

    Google Scholar 

  • M. Forman (2013) ‘Kill the Static: Temporality and Change in the Hip-Hop Mainstream (and Its “Other”)’, in S. Baker, A. Bennett and J. Taylor (eds.) Redefining Mainstream Popular Music. New York and London: Routledge, 61–74.

    Google Scholar 

  • D. Grazian (2010) ‘Demystifying Authenticity in the Sociology of Culture’, in J.R. Hall, L. Grindstaff and M. Lo (eds.) Handbook of Cultural Sociology. New York: Routledge, 191–200.

    Google Scholar 

  • T. Havlín (2014) ‘Žiju v bublině’ (‘I live in a Bubble’ interview with Vladimír 518’), Nový prostor, 394, http://www.novyprostor.cz/clanky/394/ziju-v-bubline.html, date accessed 15 March 2014.

  • P. Hodkinson (2005) ‘Insider Research in the Study of Youth Cultures’, Journal of Youth Studies, 8: 2, 131–149.

    Article  Google Scholar 

  • A. Huber (2013) ‘Mainstream as Metaphor: Imagining Dominant Culture’, in S. Baker, A. Bennett and J. Taylor (eds.) Redefining Mainstream Popular Music. New York and London: Routledge, 3–13.

    Google Scholar 

  • M.P. Jeffries (2011) Thug Life: Race, Gender, and the Meaning of Hip-Hop. Chicago and London: University Press of Chicago.

    Google Scholar 

  • R.D.G. Kelley (2006) ‘Foreword’, in D. Basu and S. J. Lemelle (eds.) The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture. London, Ann Arbor, MI: Pluto Press, xi–xvii.

    Google Scholar 

  • C. Keyes (2004) Rap Music and Street Consciousness. Urbana and Chicago: University of Illinois Press.

    Google Scholar 

  • M. Kolářová (ed.) (2011) Revolta Stylem: Hudební subkultury mládeže v České repub-lice (Revolt Through Style: Youth Music Subcultures in the Czech Republic). Praha: Sociologické nakladatesltví SLON.

    Google Scholar 

  • N. Macdonald (2001) The Graffiti Subculture: Youth, Masculinity and Identity in London and New York. New York: Palgrave Macmillan.

    Book  Google Scholar 

  • P. McFarland (2003) ‘Challenging the Contradictions of Cicanismo in Chicano Rap Music and Male Culture’, Race, Gender & Class, 10:4, 92–107.

    Google Scholar 

  • K. McLeod (1999) ‘Authenticity within Hip Hop and Other Cultures Threatened with Assimilation’, Journal of Communication, 49:4, 134–150.

    Article  Google Scholar 

  • E. Miklódy (2004) ‘A.R.T., Klikk, K.A.O.S., and the Rest: Hungarian Youth Rapping’, in H. Raphael-Hernandes (ed.) Blackening Europe: The African American Presence. New York: Routledge, 187–200.

    Google Scholar 

  • T. Mitchell (ed.) (2001) Global Noise: Rap and Hip-Hop outside the USA. Middletown, CT: Wesleyan University Press.

    Google Scholar 

  • C. M. Motley and G.R. Henderson (2008) ‘The Global Hip-Hop Diaspora: Understanding the Culture’, Journal of Business Research, 61, 243–253.

    Article  Google Scholar 

  • S.A. Nitzsche and W. Grünzweig (2013) Hip-Hop in Europe: Cultural Identities and Transnational Flows. Berlin: LIT Verlag.

    Google Scholar 

  • M. Ochmann (2013) ‘The Notion of Authenticity in International Hip-Hop Culture’, in Nietzsche, S.A. and W. Grünzweig (eds.) Hip-Hop in Europe: Cultural Identities and Transnational Flows. Berlin: LIT Verlag, 423–446.

    Google Scholar 

  • A. Oravcová (2013) ‘In Search of the “Real” Czech Hip-Hop: The Construction of Authenticity in Czech Rap Music’, in Nietzsche, S.A. and W. Grünzweig (eds.) Hip Hop in Europe: Cultural Identities and Transnational Flows. Berlin: LIT Verlag, 125–143.

    Google Scholar 

  • A. Oravcová (2012) Movement in Motion http://worldhiphopmarket.com/movement-in-motion-bringing-hip-hop-education-to-the-czech-republic/, date accessed 15 March 2014.

  • R. A. Potter (1995) Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. Albany: State University of New York Press.

    Google Scholar 

  • H. Raphael-Hernandez (2004) Blackening Europe: The African American Presence. New York and London: Routledge.

    Google Scholar 

  • Ravenak (2011) Blog by Raveňák vol. 9, http://www.cream.cz/?profily=blog-by-ravenak-vol-9-hledani-batmana, date accessed 1 May 2014.

  • G. Ritzer (2003) ‘Rethinking Globalization: Glocalization/Grobarization and Something/Nothing’, Sociological Theory, 21:3, 193–209.

    Article  Google Scholar 

  • J. Rodriguez (2006) ‘Color-Blind Ideology and the Cultural Appropriation of Hip-Hop’, Journal of Contemporary Ethnography, 35:6, 645–668.

    Article  Google Scholar 

  • Svobodná mládež (2012) Hip Hop, nástroj zla (Hip Hop, the Tool of the Devil), http://www.svobodnamladez.org/2012/05/hip-hop-nastroj-zla.html, date accessed 15 March 2014.

  • S. Thornton (1995) Club Cultures: Music, Media and Subcultural Capital. Middletown, CT: Wesleyan University Press.

    Google Scholar 

  • E. N. Ulen (2007) ‘They’re Not Talking About Me’, in Gwendolyn D. Pough (ed.) Homegirls Make some Noise: Hip Hop Feminism Anthology. Mira Loma, CA: Parker, 141–147.

    Google Scholar 

  • V. Walach (2010) ‘Perspektivy krajene pravicového hip-hopu v Česku’/‘The Perspectives of Extreme Right-Wing Hip-Hop in the Czech Republic’, Rexter, 1, 41–72.

    Google Scholar 

  • R. Weitzer and C. E. Kurbin (2009) ‘Misogyny in Rap Music: A Content Analysis of Prevalence and Meanings’, Men and Masculinities, 1–27.

    Google Scholar 

Download references

Authors

Editor information

Editors and Affiliations

Copyright information

© 2016 Anna Oravcová

About this chapter

Cite this chapter

Oravcová, A. (2016). ‘Rap on Rap Is Sacred’: The Appropriation of Hip Hop in the Czech Republic. In: Schwartz, M., Winkel, H. (eds) Eastern European Youth Cultures in a Global Context. Palgrave Macmillan, London. https://doi.org/10.1057/9781137385130_7

Download citation

  • DOI: https://doi.org/10.1057/9781137385130_7

  • Publisher Name: Palgrave Macmillan, London

  • Print ISBN: 978-1-349-55912-1

  • Online ISBN: 978-1-137-38513-0

  • eBook Packages: Social SciencesSocial Sciences (R0)

Publish with us

Policies and ethics