51. |
- Ackfeldt, Anders, et al.
(författare)
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The black bar mitzvah : Representations of Jews in US hip-hop lyrics
- 2022
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Ingår i: Nordisk Judaistik - Scandinavian Jewish Studies. - 0348-1646. ; 33:1, s. 37-54
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- References to Jews and to matters included in Jewish discourse are commonplace in US popular culture in general and in US-produced hip-hop lyrics in particular. This article deals with the latter, and aims to analyse how Jews are represented there. It is suggested here that 1. these representations are rendered comprehensible by analysing them in the light of the term coined by Zygmunt Bauman: allosemitism, which denotes that Jews are ‘other’. This article further suggests that 2. the representations of Jews featured in the lyrics cannot be made comprehensible without looking into the historical relations between American Jews and African Americans. According to Jeffrey Melnick, this relation is characterised by ‘robust ambivalences’. This article arrives at the conclusion that the representations of Jews draw on classical conspiratorial and economic antisemitic ideas that situate Jews within the realms of shadowy (economic and instrumental) power, but which at times can be understood as philosemitic, as Jews are represented as wealthy and influential role models. Hence the usage of the term allosemitism to analyse the empirics
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52. |
- Ackfeldt, Anders
(författare)
-
The Semiotics of Malcolm X from Harlem to Tahrir
- 2020
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Ingår i: Svensk Teologisk Kvartalskrift. - 0039-6761. ; 96:1, s. 47-61
-
Tidskriftsartikel (refereegranskat)abstract
- With no ambition to provide a complete inventory, this article introducesthe reader to the ways in which Malcolm X and his legacy have been usedwithin US hip-hop music. The central argument is that US hip-hop artists,since the birth of hip-hop, have been participating in the processes ofreinventing Malcolm X and his legacy by not only casting him as a symbolof local African American resistance against racial inequalities, but alsoby fashioning him as a global Sunni Muslim revolutionary by creativelyname-, image-, or sound-dropping him in different sound and visual settings.More extensive usages mainly involve key quotes of Malcolm X orlengthy sound bites of classic speeches. The usage of certain iconic photosis comparable to key quotes as these are clearly meant to trigger establishedassociations. It is important to stress that the legacy of MalcolmX and his political theology within hip-hop culture goes beyond nationalborders, religious beliefs, and political goals.
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