Download La fusion de la culture hip-hop et du mouvement rastafari by Steve Gadet PDF

By Steve Gadet

L. a. tradition hip-hop est née dans les quartiers défavorisés de New-York à l. a. fin des années 70 ; le mouvement rastafari est né durant les années 30 dans les quartiers défavorisés à l. a. Jamaïque. Depuis les années ninety, aux États-unis, de plus en plus d'adeptes du mouvement rastafari expriment leur créativité, leurs croyances à travers les disciplines de l. a. tradition hip-hop. A los angeles lumière des recommendations de médiation, d'interculturalité et de créolisation, remark comprendre et analyser le rapprochement de ces deux phénomènes socioculturels majeurs ? remark se manifestent ces échanges interculturels ?

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Il y découvre la culture hiphop et commence à y rapper en 1995. Il s’est également rendu aux ÉtatsUnis pour des séjours de courte durée chez des amis et des membres de sa famille. 45 Shaq The MC, cliché de Steve Gadet, Jamaïque, mai 2007. Swire découvre le hip-hop à l’âge de 10 ans par le biais de MTV. Sa découverte se fait par l’intermédiaire du groupe Wu-Tang Clan en voyant leur clip vidéo. Il s’immerge encore plus dans le mouvement lorsqu’il part faire ses études supérieures dans le Wisconsin, aux États-Unis, entre 2000 et 2003.

Travers ces émissions, la jeunesse jamaïcaine découvre la culture hip-hop et ses éléments, à savoir la danse, le rap, le graffiti et le Djing (en partie, cet art existait déjà sur l’île avant la naissance de la culture hip-hop à New York). Les premiers foyers qui reçoivent la télévision câblée appartiennent aux classes sociales aisées. Durant la deuxième moitié des années 90, la télévision câblée se démocratise et devient plus accessible aux classes sociales plus modestes. Nous le verrons dans notre développement mais ce schéma aura des répercussions sur la typologie du mouvement hiphop.

Let the youth do what they want (…) I expect it to be like NYC, Atlanta, LA, a station with the Jamaican style…I want it to be big, let people know it »22 Frank Grizzy Ce qu’il nous faut comprendre dans la déclaration de Frank Grizzy, c’est l’aspiration des acteurs du mouvement à plus d’autonomie au sein de la culture jamaïcaine, une liberté qui leur donnera plus d’assurance, plus d’« autorité » pour se diffuser hors de la Jamaïque. En se diffusant, la particularité du hiphop jamaïcain pourra à son tour devenir un style bien défini et respecté aux Etats-Unis, tout comme les autres courants déjà présents.

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