The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop

This essay examines the music of Nación Rap, Aymara rappers of El Alto, Bolivia, as an expression of what Aymara sociologist Silvia Rivera Cusicanqui terms a ch'ixi cultural form, one that juxtaposes seeming opposites into a changed third. I look to earlier moments of Aymara and Quechua cultura...

Ausführliche Beschreibung

Gespeichert in:
Bibliographische Detailangaben
Veröffentlicht in:Journal of the Society for American Music 2019-11, Vol.13 (4), p.461-481
1. Verfasser: SWINEHART, KARL
Format: Artikel
Sprache:eng
Schlagworte:
Online-Zugang:Volltext
Tags: Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
container_end_page 481
container_issue 4
container_start_page 461
container_title Journal of the Society for American Music
container_volume 13
creator SWINEHART, KARL
description This essay examines the music of Nación Rap, Aymara rappers of El Alto, Bolivia, as an expression of what Aymara sociologist Silvia Rivera Cusicanqui terms a ch'ixi cultural form, one that juxtaposes seeming opposites into a changed third. I look to earlier moments of Aymara and Quechua cultural production, specifically colonial New World Baroque art, to consider Aymara hip hop as another instance of ch'ixi cosmopolitanism. In examining the lyrical, musical, and visual elements of Nación Rap's performance, I argue that their music intervenes in local ideologies of race and Indigeneity. By reformulating what is understood as Aymara, by situating the Aymara language as poetically equivalent to the colonial lingua franca of Spanish, English, and French, and by wearing Aymara clothing and hairstyles in the performance of an urban musical genre with proximity to Blackness, these artists challenge dominant racial logics of their society.
doi_str_mv 10.1017/S1752196319000373
format Article
fullrecord <record><control><sourceid>proquest_cross</sourceid><recordid>TN_cdi_proquest_journals_2333893486</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><sourcerecordid>2333893486</sourcerecordid><originalsourceid>FETCH-LOGICAL-c225t-1726f9f977c52392f5106d17f7a5fd9b195cfd9f4e5948fe5e9596075333ceea3</originalsourceid><addsrcrecordid>eNplkMFKAzEURYMoWKsf4C7goqvRvGSSzFvWQR2hKGhdh5gmdGqdGZMW7Hf5Cf6YUyrddHUvj8O9j0vIJbBrYKBvXkFLDqgEIGNMaHFEBttTBqjheO-VOCVnKS0Yk3lR4IDk07mn5XxUf9f0dmndR-NTom2gT9bVvz8NfbHdKNHx5tNGS6u6y6q2OycnwS6Tv_jXIXm7v5uWVTZ5fngsx5PMcS5XGWiuAgbU2kkukAcJTM1AB21lmOE7oHS9htxLzIvgpUeJimkphHDeWzEkV7vcLrZfa59WZtGuY9NXGt4zBYq8UD0FO8rFNqXog-li3b-7McDMdhxzMI74AwXgVEc</addsrcrecordid><sourcetype>Aggregation Database</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype><pqid>2333893486</pqid></control><display><type>article</type><title>The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop</title><source>Cambridge University Press Journals Complete</source><creator>SWINEHART, KARL</creator><creatorcontrib>SWINEHART, KARL</creatorcontrib><description>This essay examines the music of Nación Rap, Aymara rappers of El Alto, Bolivia, as an expression of what Aymara sociologist Silvia Rivera Cusicanqui terms a ch'ixi cultural form, one that juxtaposes seeming opposites into a changed third. I look to earlier moments of Aymara and Quechua cultural production, specifically colonial New World Baroque art, to consider Aymara hip hop as another instance of ch'ixi cosmopolitanism. In examining the lyrical, musical, and visual elements of Nación Rap's performance, I argue that their music intervenes in local ideologies of race and Indigeneity. By reformulating what is understood as Aymara, by situating the Aymara language as poetically equivalent to the colonial lingua franca of Spanish, English, and French, and by wearing Aymara clothing and hairstyles in the performance of an urban musical genre with proximity to Blackness, these artists challenge dominant racial logics of their society.</description><identifier>ISSN: 1752-1963</identifier><identifier>EISSN: 1752-1971</identifier><identifier>DOI: 10.1017/S1752196319000373</identifier><language>eng</language><publisher>Cambridge: Cambridge University Press</publisher><subject>Aymara language ; Bilingualism ; Colonialism ; Double consciousness ; English language ; Hip hop culture ; Hip hop music ; Ideology ; Linguistics ; Music ; Musicians &amp; conductors ; Native languages ; Rap music ; Theater</subject><ispartof>Journal of the Society for American Music, 2019-11, Vol.13 (4), p.461-481</ispartof><rights>Copyright Cambridge University Press Nov 2019</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed><cites>FETCH-LOGICAL-c225t-1726f9f977c52392f5106d17f7a5fd9b195cfd9f4e5948fe5e9596075333ceea3</cites></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><link.rule.ids>314,780,784,27924,27925</link.rule.ids></links><search><creatorcontrib>SWINEHART, KARL</creatorcontrib><title>The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop</title><title>Journal of the Society for American Music</title><description>This essay examines the music of Nación Rap, Aymara rappers of El Alto, Bolivia, as an expression of what Aymara sociologist Silvia Rivera Cusicanqui terms a ch'ixi cultural form, one that juxtaposes seeming opposites into a changed third. I look to earlier moments of Aymara and Quechua cultural production, specifically colonial New World Baroque art, to consider Aymara hip hop as another instance of ch'ixi cosmopolitanism. In examining the lyrical, musical, and visual elements of Nación Rap's performance, I argue that their music intervenes in local ideologies of race and Indigeneity. By reformulating what is understood as Aymara, by situating the Aymara language as poetically equivalent to the colonial lingua franca of Spanish, English, and French, and by wearing Aymara clothing and hairstyles in the performance of an urban musical genre with proximity to Blackness, these artists challenge dominant racial logics of their society.</description><subject>Aymara language</subject><subject>Bilingualism</subject><subject>Colonialism</subject><subject>Double consciousness</subject><subject>English language</subject><subject>Hip hop culture</subject><subject>Hip hop music</subject><subject>Ideology</subject><subject>Linguistics</subject><subject>Music</subject><subject>Musicians &amp; conductors</subject><subject>Native languages</subject><subject>Rap music</subject><subject>Theater</subject><issn>1752-1963</issn><issn>1752-1971</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2019</creationdate><recordtype>article</recordtype><sourceid>A3D</sourceid><sourceid>AIMQZ</sourceid><sourceid>AVQMV</sourceid><sourceid>DJMCT</sourceid><recordid>eNplkMFKAzEURYMoWKsf4C7goqvRvGSSzFvWQR2hKGhdh5gmdGqdGZMW7Hf5Cf6YUyrddHUvj8O9j0vIJbBrYKBvXkFLDqgEIGNMaHFEBttTBqjheO-VOCVnKS0Yk3lR4IDk07mn5XxUf9f0dmndR-NTom2gT9bVvz8NfbHdKNHx5tNGS6u6y6q2OycnwS6Tv_jXIXm7v5uWVTZ5fngsx5PMcS5XGWiuAgbU2kkukAcJTM1AB21lmOE7oHS9htxLzIvgpUeJimkphHDeWzEkV7vcLrZfa59WZtGuY9NXGt4zBYq8UD0FO8rFNqXog-li3b-7McDMdhxzMI74AwXgVEc</recordid><startdate>20191101</startdate><enddate>20191101</enddate><creator>SWINEHART, KARL</creator><general>Cambridge University Press</general><scope>AAYXX</scope><scope>CITATION</scope><scope>A3D</scope><scope>AIMQZ</scope><scope>AVQMV</scope><scope>DJMCT</scope><scope>GB0</scope><scope>LIQON</scope></search><sort><creationdate>20191101</creationdate><title>The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop</title><author>SWINEHART, KARL</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c225t-1726f9f977c52392f5106d17f7a5fd9b195cfd9f4e5948fe5e9596075333ceea3</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2019</creationdate><topic>Aymara language</topic><topic>Bilingualism</topic><topic>Colonialism</topic><topic>Double consciousness</topic><topic>English language</topic><topic>Hip hop culture</topic><topic>Hip hop music</topic><topic>Ideology</topic><topic>Linguistics</topic><topic>Music</topic><topic>Musicians &amp; conductors</topic><topic>Native languages</topic><topic>Rap music</topic><topic>Theater</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>SWINEHART, KARL</creatorcontrib><collection>CrossRef</collection><collection>Music Periodicals Database</collection><collection>ProQuest One Literature</collection><collection>Arts Premium Collection</collection><collection>Music &amp; Performing Arts Collection</collection><collection>DELNET Social Sciences &amp; Humanities Collection</collection><collection>ProQuest One Literature - U.S. Customers Only</collection><jtitle>Journal of the Society for American Music</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>SWINEHART, KARL</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop</atitle><jtitle>Journal of the Society for American Music</jtitle><date>2019-11-01</date><risdate>2019</risdate><volume>13</volume><issue>4</issue><spage>461</spage><epage>481</epage><pages>461-481</pages><issn>1752-1963</issn><eissn>1752-1971</eissn><abstract>This essay examines the music of Nación Rap, Aymara rappers of El Alto, Bolivia, as an expression of what Aymara sociologist Silvia Rivera Cusicanqui terms a ch'ixi cultural form, one that juxtaposes seeming opposites into a changed third. I look to earlier moments of Aymara and Quechua cultural production, specifically colonial New World Baroque art, to consider Aymara hip hop as another instance of ch'ixi cosmopolitanism. In examining the lyrical, musical, and visual elements of Nación Rap's performance, I argue that their music intervenes in local ideologies of race and Indigeneity. By reformulating what is understood as Aymara, by situating the Aymara language as poetically equivalent to the colonial lingua franca of Spanish, English, and French, and by wearing Aymara clothing and hairstyles in the performance of an urban musical genre with proximity to Blackness, these artists challenge dominant racial logics of their society.</abstract><cop>Cambridge</cop><pub>Cambridge University Press</pub><doi>10.1017/S1752196319000373</doi><tpages>21</tpages></addata></record>
fulltext fulltext
identifier ISSN: 1752-1963
ispartof Journal of the Society for American Music, 2019-11, Vol.13 (4), p.461-481
issn 1752-1963
1752-1971
language eng
recordid cdi_proquest_journals_2333893486
source Cambridge University Press Journals Complete
subjects Aymara language
Bilingualism
Colonialism
Double consciousness
English language
Hip hop culture
Hip hop music
Ideology
Linguistics
Music
Musicians & conductors
Native languages
Rap music
Theater
title The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop
url https://sfx.bib-bvb.de/sfx_tum?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2024-12-24T22%3A40%3A38IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-proquest_cross&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=The%20Ch'ixi%20Blackness%20of%20Naci%C3%B3n%20Rap's%20Aymara%20Hip-Hop&rft.jtitle=Journal%20of%20the%20Society%20for%20American%20Music&rft.au=SWINEHART,%20KARL&rft.date=2019-11-01&rft.volume=13&rft.issue=4&rft.spage=461&rft.epage=481&rft.pages=461-481&rft.issn=1752-1963&rft.eissn=1752-1971&rft_id=info:doi/10.1017/S1752196319000373&rft_dat=%3Cproquest_cross%3E2333893486%3C/proquest_cross%3E%3Curl%3E%3C/url%3E&disable_directlink=true&sfx.directlink=off&sfx.report_link=0&rft_id=info:oai/&rft_pqid=2333893486&rft_id=info:pmid/&rfr_iscdi=true