Linguistics and Hip Hop

 Linguistics and Hip Hop Composition


How we choose to communicate performs an integral role into the way we understand yourself and the environment. As our society continues to globalize new phenomenons begin to come up that heavily affect the way we talk and subsequently the notion of your identities. In the past, our details have been connected to our neighborhood languages, (Pennycook, 2003, g. 516) nevertheless as our world progresses this belief can be far too simple and requires a lot more thought. The positive effect has created new paradigms in to how we understand " English language and is becoming locally designed and institutionalized to create distinct varieties of English around the world. " (Pennycook, the year 2003, p. 516) Some of these new blends may have no to do with communication but rather a voice of self phrase and as a result new found identities are beginning to come up.

An interesting event that has resulted from globalization is how individuals via various ethnicities, socio financial background and made use of have coupled to the hip-hop culture making it a linguistic trend. (Alim, 2006) In the past many have considered this kind of English as " simply a reflection of US culture, or perhaps music, [and] cannot be included as part of common language use". (Pennycook, the year 2003, p. 517) Yet since our communities evolve, were seeing how " a global role of rap in relationship to English produces particular understandings of what it takes to partake in multilayered ways of identity. " (Pennycook, 2003, s. 529) Researchers, such as Alastair Pennycook (2003) argue, a crucial understanding of globalization is necessary to get a more crucial understanding of this relationship among identity and new types of English (Pennycook, 2003, s. 517). From this paper We are looking at what sort of Canadian, Sikh artist by the name of Humble the Poet, is using the hiphop language to signify fresh identification with certain culturalВ affiliation.

A primary cause of choosing the matter of rap and identity is not only to get my interest of this unique literary form of music but for its significance to global sociolinguistics and social alteration. As Garnishment (2001) cites, " from a local gimmick amongst dark-colored youth inside the Bronx, [hip hop] went on to turn into a global, content industrial signifying practice, providing new guidelines of that means to normally local or nationally varied identities. " (Pennycook, 2003, p. 513) What is as well particularly interesting about this community is the inter-linkage from communities all around the world towards the Hip Hop traditions. (Pennycook, 2003) From the organic essence of Hip Hop, new identities come out allowing for fresh insights in to the beautiful blend of various mind-frames and nationalities. Similar to our identity, terminology has the exceptional ability to break down us and at the same time also unite us. My own paper should explore these in terms of a Canadian hiphop context. I will explore the idea of vocabulary and identity and the implications both have prove communities. В

The ways through which " global hip hop cultures moves, alter, and recreates to fashion new identities, as well as the technique of borrowing blending, remaking might in fact be one of the most essential aspects in current analysis globalization. " (Alim, Ibrahim & Pennycook, 2009, s. 4) In the following portions I will present a books review discussing a brief history from the emergence of hip-hop and its particular ability to stay relevant today. I will be discussing many experts but largely focusing on the works of Alastair Pennycook who has drafted much upon global Englishes and Samy Alim, a scholar-activist in whose passion is based on Hip Hop linguistics. This will be followed by a reflective debate based on a job interview I executed with Modest the Poet and his encounters as a hip hop artist canada. I will deduce this paper with pedagogical implications and closing remarks.


To begin this materials review a concrete meaning of Hip Hop and...

References: Alim, S. (2006) Roc the Mic Right: The Language of Hip Hop Tradition. Routledge, New york city.

Alim, S i9000., Ibrahim, A. & Pennycook, A. (2009) Global Lingusitic Flows: Rap Cultures, Children Identites, plus the Politics of Language. Routledge, New York.

Creese, A. and Blackledge, A. (2010) Translanguaging in the Bilingual Classroom: A Pedagogy intended for Learning and Teaching? The Modern Language Record. Vol 94, Issue 1 ) P, 103-115.

Foster, G. and Ohta, A. (2005) Negotiation to get Meaning and Peer Assistance in Secondary language Classrooms. Utilized Linguistics. Oxford University Press. 26/3 pp. 402-430.

Previous FM: Very humble the Poet person Biography. (2012) " Should you 've Received the Time, We all 've Acquired the Last. fm. ” CBS TELEVISION STUDIOS Interactive. Last. fm Limited.

Barnes, G

Pennycook, A. (2003) Global Englishes, Rip Slyme, and performativity. Journal of Sociolingusitics. Issue 7, Volume. 4. l 513- 533. November the year 2003.

Robson, C. (2002) Real World Research: A Resource for Social Scientists and Practitioners-Researchers. Second Edition. Blackwell Publisher, Oxford.

Sutcliffe, Deb. & Wong, A. (1986) The Language with the Black Knowledge. Basil Blackwell Inc. Nyc

Thomas, G

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Drive 10th, 2013



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