DOI•
Singing Against the Dictatorship (1959–1975): The Nova Cancxo´
18 Jul 2013-pp 44-57
About: The article was published on 2013-07-18 and is currently open access. It has received 3 citations till now.
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TL;DR: In this article, the sociolinguistic practices of a group of young bilingual rappers in the Yucatan Peninsula of Mexico are explored, arguing that the language choices in their music performances, which are underpinned by an essentialist outlook on language contact, accrue authenticity and legitimacy to Maya and can ultimately work towards the revitalisation of this language.
Abstract: This paper explores the sociolinguistic practices of a group of young bilingual rappers in the Yucatan Peninsula of Mexico. Against the background of ongoing language shift to Spanish in the region, the language choices of a group of Maya youths involved in Hip Hop culture and their agency as policy-makers at the grassroots level is analysed. While language mixing and hybridisation are everyday communicative practices for Maya speakers, rapping either completely in Maya or in a clear-cut alternation between Spanish and Maya is a conscious strategy for language promotion among these youths. I argue that the language choices in their music performances, which are underpinned by an essentialist outlook on language contact, accrue authenticity and legitimacy to Maya and can ultimately work towards the revitalisation of this language.
17 citations
Cites background from "Singing Against the Dictatorship (1..."
...…been a ‘serious’ subject of academic research until relatively recently (Connell and Gibson 2003), even if many music genres have been particularly relevant to movements for cultural promotion and even sociopolitical struggle (see Ayats and Salicrú-Maltas 2013; Borrull 2014 for the Catalan case)....
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TL;DR: In this article, a series of examples from the musical field, including essays, songs, and public uses of music, are studied and contextualized in order to analyze different interpretations and critiques of the Transicion developed by artists, intellectuals, and politicians who took part in the 15M or have been influenced by its "climate" (Fernandez Savater).
Abstract: Spain's current economic and social crisis has involved a profound reappraisal of the country's history, institutions, and official narratives, especially after the emergence of the 15M or indignados movement in 2011. A crucial example of this shift has been the widespread criticism of Spain's “Transition to Democracy” or Transicion, widely considered Spain's “foundational” narrative. In this article, a series of examples from the musical field—including essays, songs, and public uses of music—are studied and contextualized in order to analyze different interpretations and critiques of the Transicion developed by artists, intellectuals, and politicians who took part in the 15M or have been influenced by its “climate” (Fernandez Savater). In these examples, two complementary trends are identified: on the one hand, an intention to reclaim part of the Transicion's collective mood through its musical symbols; on the other, a rejection of its political legacy, as expressed in criticisms of its musical ...
6 citations
TL;DR: In this article, the authors focus on the song "L'estaca", which was composed in 1968 by Catalan songwriter Lluis Llach and became emblematic of the struggle against the Francoist dictatorship.
Abstract: This article focuses on the song “L’estaca,” which was composed in 1968 by Catalan songwriter Lluis Llach and became emblematic of the struggle against the Francoist dictatorship. I trace the ways ...
4 citations
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TL;DR: In this article, the sociolinguistic practices of a group of young bilingual rappers in the Yucatan Peninsula of Mexico are explored, arguing that the language choices in their music performances, which are underpinned by an essentialist outlook on language contact, accrue authenticity and legitimacy to Maya and can ultimately work towards the revitalisation of this language.
Abstract: This paper explores the sociolinguistic practices of a group of young bilingual rappers in the Yucatan Peninsula of Mexico. Against the background of ongoing language shift to Spanish in the region, the language choices of a group of Maya youths involved in Hip Hop culture and their agency as policy-makers at the grassroots level is analysed. While language mixing and hybridisation are everyday communicative practices for Maya speakers, rapping either completely in Maya or in a clear-cut alternation between Spanish and Maya is a conscious strategy for language promotion among these youths. I argue that the language choices in their music performances, which are underpinned by an essentialist outlook on language contact, accrue authenticity and legitimacy to Maya and can ultimately work towards the revitalisation of this language.
17 citations
TL;DR: In this article, a series of examples from the musical field, including essays, songs, and public uses of music, are studied and contextualized in order to analyze different interpretations and critiques of the Transicion developed by artists, intellectuals, and politicians who took part in the 15M or have been influenced by its "climate" (Fernandez Savater).
Abstract: Spain's current economic and social crisis has involved a profound reappraisal of the country's history, institutions, and official narratives, especially after the emergence of the 15M or indignados movement in 2011. A crucial example of this shift has been the widespread criticism of Spain's “Transition to Democracy” or Transicion, widely considered Spain's “foundational” narrative. In this article, a series of examples from the musical field—including essays, songs, and public uses of music—are studied and contextualized in order to analyze different interpretations and critiques of the Transicion developed by artists, intellectuals, and politicians who took part in the 15M or have been influenced by its “climate” (Fernandez Savater). In these examples, two complementary trends are identified: on the one hand, an intention to reclaim part of the Transicion's collective mood through its musical symbols; on the other, a rejection of its political legacy, as expressed in criticisms of its musical ...
6 citations
TL;DR: In this article, the authors focus on the song "L'estaca", which was composed in 1968 by Catalan songwriter Lluis Llach and became emblematic of the struggle against the Francoist dictatorship.
Abstract: This article focuses on the song “L’estaca,” which was composed in 1968 by Catalan songwriter Lluis Llach and became emblematic of the struggle against the Francoist dictatorship. I trace the ways ...
4 citations