How Hip-hop Connects the World

In a slightly different direction than my initial post, I have decided to focus on what makes hip-hop so relatable and accessible across different cultures around the world. Different regions and cultures have varying applications and methods of appreciation for the art form referred to as hip-hop.

            What I find interesting is the cluster of similar characteristics that hip-hop carries globally. As explained by Dr. Halifu Osumare from UC Davis, there are a few levels of accessibility that hip-hop provides for people who may perceive themselves as outcasts in some way. She refers to these points of relatability as “connective marginalities;” including class, historical oppression, culture, and youth rebellion. Just from a glance, it becomes clear how these are clear components of hip-hop whether it is old or new, familiar or foreign.

            Osumare continues to drive this point home by comparing our beloved American gangsta rap with gangsta rap from Brazil. This provides a perspective to observe the marginalities proposed above in a different culture’s interpretation of an American art form.

            From what I can gather about Racionais MC’s is that they are a Brazilian incarnation of N.W.A with a slightly less abrasive approach to raising consciousness. With N.W.A there was often a message, but that message was sometimes layered under so much description of experience that it may be perceived as glorifying a lifestyle. On the other hand, Racionais MC’s seem to be more focused on enlightening the public, where N.W.A may have been more focused on shock value.

            Though there are differences between N.W.A and Racionais MC’s, there are also clear similarities in the context of the connective marginalities that Osumare suggests are at the core of hip-hop, globally. Racionais MC’s represent those in a marginal socio-economic class and a historical experience of oppression simply by hailing from the favelas around Sao Paulo. This can be compared to the N.W.A.’s representation of Compton, CA. Compton had not been represented by an influential voice until N.W.A demanded that the world listen.

            The other marginalities are easier to explain without examples. Culture permeates through global hip-hop the same way it does for skateboarding or rock music. Ultimately, there are variations to fashion trends and such trivial details, however, there is consistently an aroma of counter-culture. No hip-hop around the world is created with the idea of conforming to status quo (of course individuals will conform to what they believe is cool, we are speaking in terms of the essence of hip-hop), to be hip-hop is to be original. In the end, youth tend to feel marginalized and underappreciated by larger society, and they often are. This sense of counter-culture paired with youth rebellion makes hip-hop a great tool for teens across the world to get under adults’ skin.

            What do you like about hip-hop? What don’t you relate to in hip-hop? What are the connections of other music genres in the global arena? Leave a comment below and let me know what you think!