"Doin" Damage in My Native Language: Resistance Vernaculars in Hip Hop in France, Italy and Aotearoa/New Zealand

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dc.contributor.author Mitchell, Tony en_US
dc.date.accessioned 2009-12-21T02:39:38Z
dc.date.available 2009-12-21T02:39:38Z
dc.date.issued 2002 en_US
dc.identifier 2005004143 en_US
dc.identifier.citation Mitchell Anthony 2002, 'Doin" Damage in My Native Language: Resistance Vernaculars in Hip Hop in France, Italy and Aotearoa/New Zealan', Routledge, vol. 24, no. 3, pp. 41-54. en_US
dc.identifier.issn 0300-7766 en_US
dc.identifier.other C1UNSUBMIT en_US
dc.identifier.uri http://hdl.handle.net/10453/5592
dc.description.abstract In Spectacular Vernaculars, Russell A. Potter applies Deleuze and Guattari's comparison of Kafka's use of Prague German as a "minor language" with the use of English by African-Americans to what he regards as the heteroglossaic, marginal vernacular forms of African-American rap, which he sees as a de-territorialization of "standard" forms of English (66-68; cf. Deleuze and Guattari 16-17). Potter sees African-American rap as a form of "resistance vernacular" which takes the minor language's variation and re-definition of the major language a step further and "deform[s] and reposition[s] the rules of `intelligibility" set up by the dominant language." He concludes that African-American rappers "have looked more towards the language and consciousness of the ghetto in search of a more authentically black identity" (69). But it is arguable that the ghetto vernacular practiced by many African-American rappers has become so atrophied and ossified in its relentless repetition of a severely limited range of expletives that any claims for "resistance" have long passed their use-by date. As Paul Gilroy noted in 1994: "Hip hop's marginality is as official, as routinized, as its overblown defiance; yet it is still represented as an outlaw form." He goes on to identify a need to interrogate "the revolutionary conservatism that constitutes [rap's] routine political focus but which is over-simplified or more usually ignored by its academic celebrants" (51). In this essay I examine the use of indigenous languages other than English in rap music in Zimbabwe, Switzerland, France, Italy, and Aotearoa/New Zealand as more appropriate examples of "resistance vernaculars" which re-territorialize not only major Anglophone rules of intelligibility but also those of other "standard" languages such as French and Italian. en_US
dc.publisher Routledge en_US
dc.relation.isbasedon http://proquest.umi.com.ezproxy.lib.uts.edu.au/pqdlink?index=9&sid=1&srchmode=3&vinst=PROD&fmt=6&startpage=-1&clientid=20928&vname=PQD&RQT=309&did=108 en_US
dc.title "Doin" Damage in My Native Language: Resistance Vernaculars in Hip Hop in France, Italy and Aotearoa/New Zealand en_US
dc.parent Popular Music and Society en_US
dc.journal.volume 24 en_US
dc.journal.number 3 en_US
dc.publocation UK en_US
dc.identifier.startpage 41 en_US
dc.identifier.endpage 54 en_US
dc.cauo.name FASS.Creative Practices Group en_US
dc.conference Verified OK en_US
dc.for 200200 en_US
dc.personcode 890011 en_US
dc.percentage 100 en_US
dc.classification.name Cultural Studies en_US
dc.classification.type FOR-08 en_US
dc.staffid 890011 en_US

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