The global hip-hop Diaspora: Understanding the culture
Instructor: Dr. Pi-Ying Teresa Hsu
Presenter: Han-Ming Jeffrey Chen
Date: Dec. 1, 2008
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Citation
Motley, C.M., & Henderson, G.R. (2008). The global hip-hop Diaspora: Understand the culture. Journal of Business Research, 61, 243-253.
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ContentsIntroduction
Methodology
Result
Conclusion
Reflection
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Introduction
Global hip-hop youth culture has become a phenomenon in the truest sense of the word and has affected nearly every country on the map.
(Osumare, 2001)
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marginality mainstream
More than 50 million hip-hop fans in the U.S. and 100 million worldwide consume
Introduction
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Styles of dress Sagging pants
Oversized T-shirts
Baseball caps
Nike sneakers
The influences styles of behavior & dress
Business venture
Recording industry
Clothing industry
Fashion industry
Accessories industry
Beauty industry
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Research motive
Much of the research focuses primarily on the sociological and psychological aspects in single cultural setting.
Little business researches address the impact of hip-hop’s global movement on consumers.
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Methodology
participant
age
period
method
35 hip-hop enthusiasts (male: female= 75%: 25%)
Mid-teens – mid-thirties
40mins – 90minsOver two months
Depth interview (face-to-face/ telephone/ audio taped)
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Procedure
Collecting literature
Interviewing participants
Analyzing the data
Commonalities
Glocalization
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Commonalities
Main elements of hip-hop culture
MCing
Break dancing
graffiti
DJing
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adaptationappropriation authenticity
Glocalization
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From a sociological perspective, appropriation is defined as “…the productive use of an originally imported cultural pattern.”
(Androutsopoulos & Scholz, 2003)
“I used to have this feeling of racial divide, like only
African-American had access to hip-hop and
everybody else was in imposter. Now it is all over
and everybody is welcome in hip-hop clubs and
among hip-hop fans.”
White-American female, mid 30s
Appropriation : I heard it and I like it
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Culture meaning was transferred between the African-
American-based hip-hop and their local, non-U.S.
consumption experience.
(Bennett, 1999; Holbrook, 2006; McCracken, 1986)
“Hip-hop has its root in the young African-American
culture in the U.S. This has been transferred to other
races in the U.S. and on to foreign countries including
Korea. I find the hip-hop In Korea is the as same as
that in the U.S., but at the same time, a totally
different form of its original version.”
Korean male A, early 30s
Adaptation :same but different
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In hip-hop culture, there is a tension between authenticity or “keeping it real” and profitability or “selling out.”
(Grier et al., 2006)
“…Japanese rap is the real thing…for us raised in a different environment and different language, Japanese rap by rappers raised in the country is much more ‘real’ than American rap.”
Ben the Ace Japanese DJ as quoted by Condry (2000a,b)
Authenticity : for the truth
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Conclusion
Influences of consumption and the marketplace
Various means of communication
the glocalization of hip-hop
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Reflection
personal
business
Expressing their individual perceptions
lucrative market
Why is hip-hop be perceived by individuals in different cultures?
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Reflection
future
Why is hip-hop be perceived by individuals in different cultures?
Thanks for your attention!
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