Hip-Hopping Across China: Intercultural Formulations of Local Identities.

The linguistic dimensions of globalized hip-hop cannot be understood simply as a byproduct of English as an American export. As hip-hop mobilizes, it is common (and arguably necessary) for global hip-hop communities to struggle through purposeful, semiotically rooted dialectics over what constitutes “authentic” and respectable forms of local hip-hop identity (Pennycook, 2007; Omoniyi, 2009). In many ways, hip-hop in China is in the midst of that very struggle. During the past decade, relaxed economic regulations (Fang, 2006) and cultural allure have attracted several foreigners to China, many of whom have taken an active role alongside local enthusiasts in formulating a sense of Chinese hip-hop identity. This study uses Agha's emblematic figures of identity (2007) as a framework for bringing forth the following research question: How are intercultural processes of identity formation between local and foreign artists mediated by language in the Chinese hip-hop community? Data were gathered through interviews and lyric analysis, as well as recording-studio and live performance observations. Contrary to folk and academic criticisms claiming that foreign presence leads to mimicry or cultural “pollution” (De Kloet, 2005), the findings suggest that in many cases global hip-hop resources are interculturally recruited and (re)analyzed according to their ability to promote practices rooted in local significance. [ABSTRACT FROM AUTHOR]