Recently I have read the following book, its main points are:
Book title :Condry, Ian. 2006. Hip-hop Japan: Rap and the Paths of Cultural Globalization. Durham,
NC: Duke University Press.
Book
Summary:
The thesis of the book is that the path of hip-hop
development had showed that cultural globalization was not solely driven by
powerful media (as a Frankfurt school’s thinking). This book shows that
localized cultural forms could have a global shared-ness (from the US underground
to Japan), and to understand hip-hop in term of a dichotomy of local/global
could be problematic.
Condry argues that while the Japanese rappers drew inspiration
from hip-hop which was about African Americans’ struggles, hip-hop became an
approach for these rappers to talk about race issues in a Japanese way. Contrasting
the hip-hop in the US as black noise, some people called hip-hop in Japan as
yellow noise. In Japan, race as a topic could touch on the much debated issue
of Japanese homogeneity. Rappers also touched on new cultural politics, and
advocated transnational connectedness with others ethnic groups, for example
easing tension with the Korean (p.47).
Condry notices that many Japanese emcees often
packaged themselves into the images of samurai toughness, representing a link
to Japanese culture e.g. in history and language (p.49). The author suggests
that genba (the actual sites of
performance) enabled the audience to feel the global nature of hip-hop while at
the same time enjoyed a local feeling (e.g. through the samurai image picked by
the rappers/hip-hoppers to represent themselves). Hip-hop generated a challenge
to understand cultural globalization using the dichotomy of global and local (p.86).
Focusing on some hip-hop events held in clubs,
Condry points out that the clubs were in existence amidst the larger music
industry and in a society that encountered a changing youth culture. The young
people were facing a change in employment pattern and a drop in job
opportunities (p.87). Condry asks the question: whether hip-hop performance in
clubs could influence the society (to cause reforms to improve the situation of
the youth), the business world (that was looking for sale and profit) and
government politics (that was looking at pop music as a source of soft-power) respectively
(p.87). The book argues that genba
hip-hop, based on performativity, could offer a way to distinguish between the different
paths of cultural globalization. Genba
hip-hop emerged from the collective focus of energy and attention from all
participants, which was different from other US globalized culture such as
McDonald
fast food. Condry also asserts that through genba
we could see how the global and the local intersected (p.94).
For the purpose of examining the relation between
rap fans and Japan’s consumer culture, and based
on the ideas of Clammer and Miller, the author asserts that “consumerism shapes
capitalism while extending its reach, becoming integrated into notions of
national and local identities” (pp.112-113). Quoting Miller, Condry suggests
that “people admire authenticity through creation: if you make it, it is yours”
(p.113). The author further argues that Japan in 1990s witnessed a change that
could be noticed in the self-organization of hip-hop fans. There were two broad
changes: an increased massifcation of popular culture, and an increased
diversification of markets. In hip-hop, there were specialized scenes for
different styles of hip-hop, and a growing number of fans came to occupy
relative autonomous “island in space” (p.115). The author identifies two worlds
of Japanese rap fans: the underground hip-hop and the party rap. On the changes
in consumer culture, Condry identifies two new concepts seen during 1980s to
1990s: the shinjinrui (the new human
type, i.e. those who had money to spend due to the economic boom) and the otaku (those youth who retreated from
the society) (p.124).
Condry also pointed out the scarcity of women
rappers in Japan. He concluded that this situation reminded us that there was
still a peculiar conservatism among the men who control entertainment business
in Japan (p.180).
Condry also looks into the use of English in achieving
rhyming in hip-hop and suggests that Japanese rap demonstrated the contingency
of linguistic identity. Using English could be interpreted as Western domination.
But some of these uses were aimed at cracking the hegemonic understanding that
Japanese was one people with one language (the Nihonjinron) (pp.134-5). Rapping was not just about rhyming, it was
about finding a language that could creak the fissure of artificial language
i.e. the “standard Japanese” (p.152). Language
used in Japanese hip-hop told us about the power of English in global popular culture,
and that to evaluate the role of English depended on knowing why it was used (might
be aiming at generating aesthetic or political forces) (p.162). This view of
language politics might help us to see beyond the stereotype that the use of
English was an evidence of “American influence” (p.163).
Condry argues that it was not money alone that
motived the development of Japanese hip-hop. Without the artists’ commitment in
organizing shows and reaching out to the wider audience, hip-hop could not
generate money. For the artists, there were other goals to promote hip-hop: to
promote upcoming projects, to build a reputation and to extend fan support. (p.182).
There were no clear line between culture and market. Both economic force and
the cultural force could be at work. Condry concluded that commercialism alone did
not drive hip-hop in Japan.
Hip-hop in Japan showed that the conventional
understanding of globalization was in need of a revision. If we viewed
transnational flow in terms of multinational corporation, powerful media, or
government forces, we would fail to see the diversity of paths that connected the
global culture. Genba, the actual
sites of performance (including nightclubs and recording studios) was and
important path for cultural globalization (p.207). Going to clubs embodied a
movement against the mainstream; it emphasis leisure, consumption and speaking
out. Hip-hop offered a chance to speak truth to those in power, and provided a
way for hip-hoppers to imagine themselves as part of a global cultural movement
(p.217).