Hip Hop En Francais

Hip-Hop en Français charts the emergence and development of hip-hop culture in France, French Caribbean, Québec, and Senegal from its origins until today. With essays by renowned hip-hop scholars and a foreword by Marcyliena Morgan, executive director of the Harvard University Hiphop Archive and Research Institute, this edited volume addresses topics such as the history of rap music; hip-hop dance; the art of graffiti; hip-hop artists and their interactions with media arts, social media, literature, race, political and ideological landscapes; and hip-hop based education (HHBE). The contributors approach topics from a variety of different disciplines including African and African-American studies, anthropology, Caribbean studies, cultural studies, dance studies, education, ethnology, French and Francophone studies, history, linguistics, media studies, music and ethnomusicology, and sociology. As one of the most comprehensive books dedicated to hip-hop culture in France and the Francophone World written in the English language, this book is an essential resource for scholars and students of African, Caribbean, French, and French-Canadian popular culture as well as anthropology and ethnomusicology.

For more than two decades, le hip hop has shown another face of France: danced by minorities associated with immigration and the suburbs, it has channeled rage against racism and unequal opportunity and offered a movement vocabulary for the expression of the multicultural difference that challenges the universalist discourse of the Republic. French hip-hoppers subscribe to U.S. black culture to articulate their own difference, but in France hip-hop was championed by a Socialist cultural policy, subsumed into the cultural heritage, and instituted as a pedagogy. France supported hip-hop dance as an art of the suburbs: a multicultural mix of North African, African and Asian forms that circulate with classical and contemporary dance performance. French hip-hop develops into concert dance, becoming a civic discourse and legitimate employment, not through the familiar model of a culture industry, but within a Republic of Culture. It nuances an Anglo-Saxon model of identity politics with a francophone identity poetics and grants its dancers a national profile as artists who develop dance techniques and transmit body-based knowledge. This book, the first in English to introduce readers to the French hip-hop movement, analyzes the choreographic development of hip-hop into la danse urbaine, touring on national and international stages, as hip-hoppers move beyond the suburbs, figuring new forms within the mobility brought by new media and global migration.

This text is about the emergence and growing notoriety of rap music and the hip-hop culture in the French-speaking world. It provides an introduction to many forms of expression of hip-hop cultures.

This book shows how le hip hop reflects a republic of culture rather than a culture industry; a minority identity politics that takes shape as a movement poetics or figural language; and the public valorization of dance as a technique, meriting unemployment compensation and understood as a high-tech knowledge practice.

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

Rap music was born in America in the early 1980s. Over the last decade it has not only grown in popularity within the United States, with rap music soaring to the top of the music charts, but it has also influenced other cultures around the world. Black, Blanc, Beur is about the emergence and growing notoriety of rap music and hip-hop culture in the French-speaking world (France, Quebec, and Western Africa). It provides an introduction to many forms of expression of hip-hop cultures (rap music, hip-hop dance, and graffiti/tagging). Since its arrival in France, rap music experienced immediate and ever-growing success, going from an underground sound to becoming the second largest market in the world after the United States. Just as American rap crossed borders, French rap influenced artists in the rest of the Francophone world. In addition to a foreword by Adam Krims, a noted rap authority, this volume has contributions by some of the most renowned hip-hop scholars on both sides of the Atlantic and addresses hip-hop from the perspective of various disciplines: African studies, anthropology, cultural studies, ethnology, French and Francophone studies, history, linguistics, musicology, psychology, and sociology. Contributors discuss the history of French rap music from its origin to the present, the various artists and their groups, stage performances of the rap groups in Paris, Marseilles, the art of graffiti, and the French public's perceptions of rap music. Each chapter is equipped with a short bibliography. This is the first book on the subject of French rap music and hip-hop culture in English. A wonderful resource for scholars and students of African, French and pop culture, ethnomusicology, and for the general public interested in rap music and the hip-hop culture.

Looks at linguistic, cultural and economic aspects of hip-hop in parallel using various frameworks of analysis.

The essays contained in this volume address some of the most visible, durable and influential of African American musical styles as they developed from the mid-1960s into the 21st-century. Soul, funk, pop, R&B and hip hop practices are explored both singly and in their many convergences, and in writings that have often become regarded as landmarks in black musical scholarship. These works employ a wide range of methodologies, and taken together they show the themes and concerns of academic black musical study developing over three decades. While much of the writing here is focused on music and musicians in the United States, the book also documents important and emergent trends in the study of these styles as they have spread across the world. The volume maintains the original publication format and pagination of each essay, making for easy and accurate cross-reference and citation. Tom Perchard?s introduction gives a detailed overview of the book?s contents, and of the field as a whole, situating the present essays in a longer and wider tradition of African American music studies. In bringing together and contextualising works that are always valuable but sometimes difficult to access, the volume forms an excellent introductory resource for university music students and researchers.

Ethnic minorities, principally from Africa, Asia, the Caribbean and the surviving remnants of France's overseas empire, are increasingly visible in contemporary France. Post-Colonial Cultures in France edited by Alec Hargreaves and Mark McKinney is the first wide-ranging survey in English of the vibrant cultural practices now being forged by France's post-colonial minorities. The contributions in Post-Colonial Cultures in France cover both the ethnic diversity of minority groups and a variety of cultural forms ranging from literature and music to film and television. Using a diversity of critical and theoretical approaches from the disciplines of cultural studies, literary studies, migration studies, anthropology and history, Post-Colonial Cultures in France explores the globalization of cultures and international migration.

This volume provides the first comprehensive reference work in English on the French language in all its facets. It offers a wide-ranging approach to the rich, varied, and exciting research across multiple subfields, with seven broad thematic sections covering the structures of French; the history of French; axes of variation; French around the world; French in contact with other languages; second language acquisition; and French in literature, culture, arts, and the media. Each chapter presents the state of the art and directs readers to canonical studies and essential works, while also exploring cutting-edge research and outlining future directions. The Oxford Handbook of the French Language serves both as a reference work for people who are curious to know more about the French language and as a starting point for those carrying out new research on the language and its many varieties. It will appeal to undergraduate and graduate students as well as established scholars, whether they are specialists in French linguistics or researchers in a related field looking to learn more about the language. The diversity of frameworks, approaches, and scholars in the volume demonstrates above all the variety, vitality, and vibrancy of work on the French language today.