![]() However when producing more fan-focussed media forms such as idol cable TV shows and social media, the masculinity they displays conforms far more clearly to existing academic conceptualisations of soft idol masculinity. In their work most frequently consumed by the general public such as music videos, the groups perform modes of masculinity influenced by existing notions of ‘authentic’ hard hip hop masculinity. This work shows that hip hop idols claim hip hop authenticity in various ways while challenging Korean hip hop’s conceptualisations of ‘realness’ when they do not fit with their persona. This analysis uses a version of McLeod’s semantic dimensions of authenticity claims in hip hop discourse (1999) which is modified to suit the specific context of Korean hip hop. This is followed by a textual analysis which examines how hip hop idols make claim to authenticity through various media – particularly song lyrics, music videos and stage performances. The first part of this methodology is a content analysis of Korean-language online news articles which demonstrates the emergence of the term ‘hip hop idol’ over a number of years and the artists with whom it is most associated. Using a mixed methodology, it examines the term’s emergence in the Korean popular media before dissecting the ways in which hip hop idols engage with ideas about authenticity prevalent in Korean hip hop. It focusses on the appropriation of hip hop’s authenticity discourse by idol groups and how this impacts the ways their masculinity is constructed. With these and other insights, the author said, “I hope this book engenders truthful dialogue about cultural borrowing, aesthetic mining and systemic racism that I think we need to have.This dissertation examines the recent trend of hip hop idols in Korean popular music (hereafter known as K-pop). On the other hand, she wrote, done with sensitivity, “Sampling and remixing are empathetic tools that can help us do the work of remembering the shared trauma that people of color have experienced in the United States.” Remixing social conditions of oppression with those of white privilege can result in the further oppression of African American people.” In the end, Persley wrote, “Hip-hop has to be sampled responsibly. That can be very triggering sometimes for audiences who experience systemic racism.” “You see the bodies, but the bodies are not telling the stories of the people that are inhabiting them. Given Miranda’s requirement that actors of color play white “founding father” roles in the musical, “There is a kind of ghosting of Black, Latinx and Asian American experiences that happens,” Persley said. ![]() Persley’s take on Lin-Manuel Miranda’s blockbuster “Hamilton” is a complex analysis that balances praise for the actor-playwright with a critique framed around the concept of “ghosting.” The chapter about hip-hop dance highlights African American choreographer Rennie Harris’ year 2000 version of Shakespeare’s “Romeo and Juliet” titled “Rome & Jewels,” and it shows the form’s global influence with its analysis of Black British performance artist and dancer Jonzi D’s 2006 “TAG: Just Writing My Name.” ![]() Persley interviewed and/or corresponded with several of the book’s subjects, including actor-playwrights Danny Hoch (“Jails, Hospitals and Hip-Hop”) and Sarah Jones (“Bridge & Tunnel”) and South Korean conceptual artist Nikki S. Persley examines the social ramifications of cultural borrowing (i.e., sampling) and personal adaptation (remixing) of hip-hop culture by non-Black and non-African American Black artists. ![]() She writes as a lifelong fan of hip-hop culture and as a keen critic of how it has been incorporated into mainstream theatre and particularly into Broadway-style musicals. ![]() In addition to her work as artistic director of the KC Melting Pot Theatre in Kansas City, Missouri, the author is an associate professor of American studies and of African & African American studies at the University of Kansas. “Sampling and Remixing Blackness in Hip-hop Theater and Performance” (University of Michigan Press) by Nicole Hodges Persley has drawn pre-publication raves from scholars in the field for its rigorous research and groundbreaking analysis. LAWRENCE – A new book by a University of Kansas professor is the first to offer both a history of hip-hop’s effect on the theatrical stage and to theorize the influence of hip-hop culture on drama worldwide. ![]()
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