"World Music" and "Global Hip-Hop"

In either case, the normalized core culture (typically white, traditionally Western) is always the centrepiece and the measure by which all others are contextualized and discussed...

Wait, is she saying the "normalized core culture" of hip hop (to which Global Hip Hop is examined in opposition) is "typically white, traditionally Western." Let's remove a few words and ask again: is she saying hip hop is typically white?

I understand her argument, but I also agree that the term Hip Hop is way better than the term music.

I think if we were to take the term global Hip Hop and interpret it literally then it is refering to all Hip Hop (unless the aliens are making it), not just that outside the US. The notion that there is the Globe and then the US is absurd.

Hi, I believe this one is directed to me.

This particular section you've highlighted, asmile, pulls away from the World Music/Global Hip Hop argument and looks at both (somewhat at a distance) in the context of multiculturalism and multicultural policy. As in, people will talk about multiculturalism in North America, but generally only in juxtaposition to the "core" culture, which is white... there's no balance to be spoken of. I see multiculturalism as kind of a delusion, but really, that's another topic for another weblog.

I should have gone back and responded to both Jace & David's lovely, insightful comments days ago, but I've been slacking. Thanks for sparking this up again, Jay.

aside from the Othering problem, another issue with the term "world music" is that it lumps every single type of music that is not considered "western" into one category, regardless of whether it shares anything in common (um.. like west african highlife vs. chinese erdu music?)

yeah that's my main issue with it..

"Non-American" music

World = not America

It's worth noting that the term "world music" didn't just spring up overnight--it was actually decided upon at a meeting in England, detailed here: http://www.bbc.co.uk/dna/collective/A2526815. Pretty interesting stuff, and it had everything to do with marketing.

and the term comes from westerners, not the people who are supposed to fall under that category. in stores in china, nigeria, india, i doubt they have a "world music" section in music stores! in the west, those who identify as "world music" fans seem to be mostly white too (not to say that POC don't like the music, but they are less likely to call themselves a "world music fan")

Yeah, I agree about the typical "World music" fan base. But to be fair, I've yet to see "American" music labelled as anything more than Elvis or mainstream pop in other countries. (I regulalry visit fam in DR, and I've travelled to Spain, Hong Kong, and Ireland as well, so I'm only speaking from my own experience.) Maybe it's b/c I live in a large metropolitan city but I dont have much trouble finding the artists I'm looking for, (except if it's Virgin Megastore & they're playing "My Humps"), if I need a CD from a certain artist from a particular county I just go to the "International" department, find the section dedicated to that country, and they usually break it down pretty clearly from there. (i.e., traditional Chinese music, popular Chinese contemporary artist, etc.) I always thought of "World" music as fusion stuff from artists who weren't always very successful in their own countries, either b/c their stuff was too "out there" to be accepted or -- more often -- they just weren't that good.

Either that, or just a lousy marketing scam by Putomayo. :P

"World Music" has become one of those terms of journalistic convenience/critical shorthand, usually lumping together music from countries with no established corporate monolith. You don't hear US journalists talking about music from Britain or Japan as "world music," though you will hear music from Ireland or India described as such.

Jay's on point re: Hip-Hop. I doubt I'd ever use the term "global hip-hop" in writing as it is a bit of an oxymoron, isn't it?

There was a big book by some European guy about non-American hip hop. But I didn't read it.

Wow. Super late to the party. But here's my two cents anyway...

I hear people's concerns about 'othering' etc, but in this case, I think it's a little more complicated.

In almost every scene that I've been to around the world, hip-hop culture defines itself in relation to America. The US is both the birthplace of hip-hop, and the commercial machine that drives the globalization of it. In literally every country I've been to, American hip-hop is the most visible force culturally. It is the yardstick by which all hip-hop is measured. Whether a scene or artist is imitating American styles and/or content or rejecting them, the influence of American hip-hop is always present.

So, to me, it makes sense to break it down as American hip-hop and Global Hip-Hop.

PS-There are two books out on international hip-hop:

Where You're At by Patrick Neate

and

Global Noise edited by Tony Mitchell