Remix Multilingualism: Hip Hop, Ethnography and Performing Marginalized Voices

Cover
Half Title
Series
Title
Copyright
Dedication
Contents
Foreword: Dit. Is. Die. Remix: Remixing Multilingualism Straight Outta Cape Town
Preface
Acknowledgements
1 Introduction: Remixing Multilingualism in a Globalized World
	1.1 Setting the Scene: Globalization
	1.2 Multilingualism in a Globalized World
	1.3 Remix Multilingualism: Marginality, Voice, Hip Hop
	1.4 Cape Town Hip Hop: Remixing Hip Hop, Multilingualism, and Voice
	1.5 Organization of This Book
2 Designing Hip Hop Sociolinguistics Research on Multilingualism
	2.1 On the Origins and Development of the ‘Spatial Turn’
		2.1.1 The Spatial Turn in Multilingualism
		2.1.2 Space and Place
		2.1.3 Scale
	2.2 ‘All World’s a Stage . . .’/ ‘To Say or Do Is to Be’: The Performance and Performativity of Multilingual Remixing
	2.3 To Localize Multilingual Voices: On the Stylization of Multilingualism
	2.4 Contextualizing Genres on the Move: Performance as Entextualization
	2.5 Sounding Familiar and Performing Multilingual Remixing as Enregisterment
	2.6 Conclusion
3 The Hip Hop Sociolinguist and Multi-sited Ethnography: Collecting Multilingual Remix Data
	3.1 Multi-sited Ethnography as Paradigm
	3.2 Rationale for Exploring Multilingual Remixing in Multi-sited Ethnographic Research
	3.3 Collecting Multilingual Hip Hop Data and the Role of the Hip Hop Sociolinguist
	3.4 Reflexivity, Position and Privilege
	3.5 Conclusion
4 Multilingual Emcees up in the Club and Other Spaces
	4.1 The Commercialization of Local Multilingual Hip Hop in Local Place
	4.2 Commercial Multilingual Repertoires in the Club
	4.3 Multilingual Repertoires and Biographies
	4.4 Multilingual Remixing in Other Spaces: The Menace Mansion, Social Media
	4.5 Conclusion
5 Multilingual Braggadocio and Intertextuality
	5.1 Performing Multilingual Braggadocio
	5.2 Sampling and Intertextuality
	5.3 A MobCoW Performance: Voices in Intertextual Gaps
	5.4 Conclusion
6 Multilingual Freestyle Rap and Performing Locality
	6.1 Introducing Freestyle Rap Battling
		6.1.1 Emcee Keaton versus Emcee Phoenix
			6.1.1.1 Analysing First Round of the Freestyle Rap Performance: Entextualizing the Discourse of Verbal Cueing, Biting Rhymes a
			6.1.1.2 Analysing Second Round of Freestyle Rap Performance: Entextualizing Disrespect (Dissing)
	6.2 Freestyle Battling at the Menace Mansion
	6.3 Talking as Battling about Battling: ‘Should the Battles Be Limited to 1 Language at a Time?’
	6.4 Conclusion
7 Staging Masculinity: Emceeing Toughness, Toughing up the Emcee
	7.1 Language Ideology, Gender and Masculinity
	7.2 Hip Hop Burdened by Tough Masculinity
	7.3 Tough Performance as Entextualization
		7.3.1 Emceeing Toughness with Personae: Chuck vs Bio.has.it
		7.3.2 Toughing up the Emcee with Sexuality: Jack Denovan vs Bio.has.it
	7.4 Conclusion
8 Precarious Femininity: The Performativity of Sexualized Bodies
	8.1 The Performativity of Sexualization in ‘Body Rap’
	8.2 The Performativity of Hip Hop Dance
	8.3 The Performativity of ‘Hou Op, Hou Op!’ as Bodily Resistance
	8.4 Conclusion
9 Conclusion: On the Future Study of Marginalized Voices
	9.1 Transmodal Semiotics of Hip Hop Spaces: Remixing of Multilingualism
	9.2 The Performance of Marginalized Voice in Cape Town Hip Hop
	9.3 Moving Forward on Marginalized Voices: Consumption in Hip Hop Spaces
		9.3.1 Authenticities in Hip Hop Spaces
		9.3.2 The Performativity of the Body in Hip Hop Spaces
	9.4 Note on Enregisterment and Deregisterment of English
Notes
	1 Introduction: Remixing Multilingualism in a Globalized World
	5 Multilingual Braggadocio and Intertextuality
	6 Multilingual Freestyle Rap and Performing Locality
	8 Precarious Femininity: The Performativity of Sexualized Bodies
Bibliography
Discography
Index