Becoming-Black: Exploring Korean Hip-hop in the Age of Hallyu
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This article examines the emergence of rap and hip-hop in contemporarySouth Korea. Drawing on Achille Mbembe’s idea of “becoming black,” itproceeds from the view of hip-hop as a worldwide phenomenon madepossible by the fact that “blackness” has gained a “new fungibility” in theepoch of global capitalism. The essay explores the ways in which hiphop performers in South Korea draw on their own experiences of socialmarginality in the ghetto-like world produced by unrelenting academicand economic competition to create their work. It also considers theways in which the Korean language obliges rappers to experiment withits syntax and prosody in order to generate the rhymes and repetitionsassociated with the hip-hop genre. While rap in the South Koreancontext is often regarded as a successful adaptation of a foreign musicalgenre, in a manner that recalls the discovery and mastery of Westernpopular music by Korean musicians in the years following the KoreanWar, the essay also argues that the reception of hip-hop in the presentreestablishes ties to premodern and pre-colonial practices of oral musicalstorytelling, such as p’ansori, that were neglected and overlooked duringthe period of modernization.
Abstract
This article examines the emergence of rap and hip-hop in contemporarySouth Korea. Drawing on Achille Mbembe’s idea of “becoming black,” itproceeds from the view of hip-hop as a worldwide phenomenon madepossible by the fact that “blackness” has gained a “new fungibility” in theepoch of global capitalism. The essay explores the ways in which hiphop performers in South Korea draw on their own experiences of socialmarginality in the ghetto-like world produced by unrelenting academicand economic competition to create their work. It also considers theways in which the Korean language obliges rappers to experiment withits syntax and prosody in order to generate the rhymes and repetitionsassociated with the hip-hop genre. While rap in the South Koreancontext is often regarded as a successful adaptation of a foreign musicalgenre, in a manner that recalls the discovery and mastery of Westernpopular music by Korean musicians in the years following the KoreanWar, the essay also argues that the reception of hip-hop in the presentreestablishes ties to premodern and pre-colonial practices of oral musicalstorytelling, such as p’ansori, that were neglected and overlooked duringthe period of modernization.
참고문헌 (23)
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