Asian hip hop
From Wikipedia, the free encyclopedia
Asian Hip Hop is a heterogeneous musical genre that covers all hip hop music as recorded and produced by artists of Asian origin.
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[edit] By region
[edit] Eastern Asia
[edit] China
Chinese hip hop is a relatively new phenomenon, rap music first having made it to Taiwan with artists such as MC HotDog, then to Hong Kong with the success of LMF. In mainland China the hip hop scene includes artists such as Hei Bomb (黑棒), Dragon Tongue (龙门阵) and Yin Tsang (隐藏), all of whom currently lead the genre and are gaining popularity with the youths. Other groups include LMF and Dai Bing. The Chinese term for rap is shuōchàng (Simplified Chinese: 说唱; "narrative", actually the name of a traditional genre of narrative singing). Breakdancing (called "jiēwŭ" (Simplified Chinese: 街舞) in Chinese, literally "street dance") has gained a lot of popularity among young Chinese as well.
[edit] Hong Kong
The Hong Kong hip hop scene first began in 1995 with the formation of LMF which was the first rap/rock group signed by a major record label, Warner Music. The group consisted of ten core members, many of whom were also in the bands NT, Screw, and Anodize. Despite of the popularity of the now disbanded LMF, which gained mild success in the mainstream, hip hop music continues to remain underground, led by independent artists.
Nevertheless, the presence of hip hop music in Hong Kong in the shadows of Cantopop is strongly reflected by the collaborations between rappers such as MC Yan (from the now disbanded LMF) with pop artists such as Edison Chen. While some musicians try to introduce hip hop to the general audience, the life of the scene remains in the underground.
[edit] Japan
Hiroshi Fujiwara, a famous musician and designer, is argued to have first started the hip hop era in Japan. The early years of Japanese hip hop was relatively weak due to record executives not wanting to pay huge venues for a different "taste" of music. However, visual forms of hip hop, such as break dancing and graffiti, sparked the first true rise of Japanese hip hop in 1983. The film, "Wild Style," incorporated various visual hip hop scenes in different areas of Japan. As years went on, 1994 and 1995 were the years in which hip hop became commercial.[1] However, it was not until 2000 and later that hip hop skyrocketed all over the Japan, with Japanese records spreading around the world.[2] Japanese hip hop (nip hop or j-hip hop) is said to have begun in 1983 when Charlie Angel's Wild Style was shown in Tokyo. The movie focused on graffiti artists but also featured some early old school MCs like Busy Bee and Double Trouble, DJs like Grandmaster Flash and breakdancers like the Rock Steady Crew. Following the showing, street musicians began to breakdance in Yoyogi Park. Crazy A soon emerged as a prominent b-boy, and he eventually founded the Rock Steady Crew Japan, while DJ Krush has become a world-renowned DJ after arising from the Yoyogi Park scene. More DJs followed, beginning in 1985. A year later, an all hip hop club opened in Shibuya. There was some hesitation at the time that the Japanese language, due to the lack of stress accents and highly variable verb endings, might prove unsuited for rapping. A few rappers emerged, however, including KG kun, Ito Seiko, Chikado Haruo, Tinnie Punx and Takagi Kan.
In the 1990s, teen-oriented J rap music appeared, and hip hop entered the Japanese mainstream. The first hit was Scha Dara Parr's "Kon'ya wa Boogie Back". The following year saw "Da.Yo.Ne." and "Maicca" by East End X Yuri go platinum. Economically, while the 90s were a time of boom, the new millennium saw a great economic recession for Japan. According to Social Science Japan Journal, unemployment "reached its highest recorded level of 5.4% in 2002. Unemployment increased particularly among youths; the unemployment rate of those aged 20–24 peaked at 12.8% in 2003...Japanese youth unemployment spiked since jobs for young people were slashed to protect the jobs of middle-aged and older workers in Japanese firms." [3] Young adults who came of age in with hip hop and entered the workforces in the early 2000s developed a very special relationship with hip hop because of tough economic times. In his book Hip Hop Japan, Ian Condry explains how groups like King Giddra and the underground group MSC developed lyrics that both spoke the truth of the youth of Japan and gave a venue for young people to unite, "transforming the slogans of politicians and economic reformers into a language and style appropriate to today's Japanese youth." [4] The very political nature of hip hop called youngsters to rally together for structural reform (kozo kaikaku) shows how Japanese hip hop, like early hip hop in the South Bronx, "functions as part of a public debate questioning mainstream political values." [4]
Lately hip-hop in Japan has split into two forms: normal, "hardcore" Japanese hip-hop, and the somewhat "weaker", more R&B influenced J-Urban. The group most commonly cited as the originator of J-Urban music is the group m-flo (AKA "mediarite flo). Originally composed of a single Japanese DJ (DJ Taku) and a single Korean-Japanese emcee (Verbal), they combined with a singer named LISA who is of Peruvian-Japanese descent. Their debut album, Planet Shining was released in 2000, and since then, many J-Urban acts such as Crystal Kay, AI, Heartsdales, and even collaborations with popstars like Namie Amuro and BoA. Other popular J-Urban acts like RIP SLYME have worked with m-flo.
Hip Hop in Japan is based to a large extent on the hip hop culture in America. To some degree there is debate as to weather or not there is an authenticity about Japanese hip hop. Many of the Japanese hip hop movement followers put in strong efforts to be more “blackface” through tanning and various styles of dress.[5] Despite this seeming mimicry of style, Japan has captivated hip hop and infused it with Japanese culture; this is evident in many Japanese hip hop music videos through elements of Eastern culture or through contrasts between Eastern and Western culture. [6]
[edit] Korea
In Seoul, the Korean hip hop scene has expanded into a form of cultural phenomenon. Some fans assert that Korean hip hop artists possess skills that can rival their U.S. counterparts. Notable performers include Jo PD, Drunken Tiger, and Epik High.
Many rap artists have been successful in the mainstream of Korean music. These include performers such as Jinusean, 1TYM, MC Sniper, Jo PD, and Epik High. Other lesser known underground artists who focus mainly on using non-flashy beats and lyrical skill include Quiett, MC Meta, PaloAlto, TBNY, and many more.
Korean American hip hop began in the United States in the mid 1990s, mainly attributed to the efforts of the Korean rapper duo Tiger JK and DJ Shine of Drunken Tiger. Drunken Tiger was created after the song "Black Korea" by Ice Cube and used music as a means of cultural exchange and as an attempt to promote racial harmony. Following the success of Drunken Tiger, many new groups and production companies emerged to further popularize the musical style. In order to represent the elite group of Korea's best rappers, Tiger JK and Drunken Tiger formed The Movement Crew (Dynamic Duo, Epik High, Leessang, Drunken Tiger, Eun Ji-Won, Tasha Reid, and more).
[edit] South-East Asia
[edit] The Philippines
Filipino rap is heterogeneous, encompassing rap in numerous languages such as Tagalog, Chavacano, and Ilocano, as well as English. The musical style has become as diverse as hip-hop music itself with such sub-genres as Kalye (Street), Masa (Commercial), Makabayang (Ethnocentric/Socially conscious), Gangsta, and underground rap. The Philippines is considered by many to have developed the first hip hop scene in all of Asia and the Pacific Islands.[citation needed]
The birth of Filipino hip hop music (or Flip-Hop or Pinoy Rap), occurred in the early 1980s with songs by Dyords Javier ("Na Onseng Delight") and Vincent Dafalong ("Nunal"). The genre developed slowly during the 1980s but soon hit the mainstream with Francis Magalona's debut album, Yo! which included the nationalistic hit "Mga Kababayan" (My Countrymen). Magalona, who rapped in both English and Tagalog became a pioneer in the genre and a superstar as a result. Mainstream stars rose to prominence in the Philippines, led by Michael V., Rap Asia, 'MC Lara and Lady Diane.
The beginnings of hip-hop culture in the Philippines can be attributed to several main factors; the innate of them being the heavy influx of American musical styles in that country as reflected in the widespread popularity during the 1960s of Motown artists The Temptations, The Supremes and The Jackson Five and later in the 1970s of Funk, Soul and Disco music. Bands such as The Commodores, The Gap Band, James Brown, Con Funk Shun, The Bar-Kays and Earth, Wind and Fire among many others received heavy rotation on Manila airwaves. The future importation of hip hop culture and music, similar to the previous genres mentioned can be credited to the direct contact Filipinos received with both Americans and Filipino Americans, or as they are commonly called balikbayans, stemming from the root words "balik" meaning to come back and "bayan" loosely translating into hometown or homeland.[7]
The intimate relationship between hip-hop culture and the large Filipino American community along the United States West Coast naturally resulted in the exportation of rap music back to the Philippines. Numerous cassette tapes, videos, books and magazines concerning hip hop issues and popular rap artists would be sent out by Filipinos to family members back in the islands.
The towns and barrios surrounding the numerous American military bases that were scattered throughout that country such as Clark Air Base in Angeles City and Subic Bay Naval Base in Olongopo were among the earliest to be exposed to the culture; as contact with African-American, Filipino American and Latino servicemen resulted in some of the earliest exposure the locals had to the new musical genre.[8]
Groundbreaking hip hop films such as Wild Style (1983), Breakin' (1984) and Krush Groove (1985) were also major influences; and as early as 1982 local breakdancing crews like the Angeles City based Whooze Co. International, with members consisting primarily from Clark Air Base, The Eclipse (whose former members included Francis Magalona, Dance 10's Darwin Tuason and current Federation Sounds' Glenn "Kico" Lelay), Info-Clash Breakers and Ground Control (members included Rap Master Fordy, later to be known as Andrew E. and Jay "Smooth" MC of Bass Rhyme Posse) became mainstays in local parks and malls in and around the Metro Manila area such as Glorietta Mall, which was an early hotspot for breakers. Several mobile DJ crews of the era included such names as the Rock All Parties Crew which emerged onto the scene only to produce such future Pinoy rap pioneers as Andrew E. and Norman B.
[edit] Malaysia
The Malaysian hip hop scene started in 1990s with groups such as 4U2C and KRU. Their so-called "Rap Music" wasn't accepted by the mainstream community and they had to changed to a more pop-ish sound. The Malaysian music scene was dominated by them until 1995-1996, when Poetic Ammo came out with their classic album It's a Nice Day to Be Alive. Their 1st hit, "Everything Changes" revolutionized the local music industry. There are groups from the underground scene that have established themselves such as Naughtius Maximus, but it was Poetic Ammo that made it big.
One of the powerhouses of hip hop in Malaysia is Too Phat, which consists of Malique and Joe Flizzow. They were signed to EMI International's Positive Tone division and produced their first hit album, Whutadilly and their 1st single was "Too Phat Baby" featuring Ruffedge. Their Plan B album was a hit, with songs such as "Anak Ayam" and "Just a Friend" featuring V.E receiving massive air play by local stations.
With Too Phat's success other underground groups such as Muchachaz, M.O.B and The Teh Tarik Crew have followed in their footsteps, eventually forming The Phat Family.
[edit] Singapore
Hip-Hop in Singapore is slowly but surely getting its well-deserved recognition by the government and citizens alike. With numerous organizations using hip-hop as a channel to target youth, the musical genre and its elements are being embraced with much positivity. The Singapore hip-hop scene consists mainly of youth and a small number of working adults. Out of these, the majority choose to make themselves involved in the breakdancing & emceeing elements of hip-hop. DJs and graffiti artists are also making a name for themselves by means of competitions and showcases held locally & internationally. Most of these talents and their works can be found on their personal blogs, MySpace, Friendster & deviantART pages.
[edit] Southern Asia
[edit] India
Indian hip hop, is a type of fusion music created by taking western hip hop and mixing it with Indian music. This may involve removing the words and replacing them with Indian ones, mixing the original track's chorus and replacing it with Punjabi or Hindi words. Sometimes the tracks are mixed so much that it is hard to tell if it is the original or not. Some tracks using originally made beats and riffs to fit the hip hop genre include the artists Swami, Raghav and Jay Sean.
Most tracks are a unique popular blend of hip hop baselines and riffs and Indian drums and other instruments. Again, they may be taken from other tracks or made up to fit the hip hop genre, then mixed with Indian music to create a distinctive mix of Indian hip hop that is popular with Eastern and Western people. Indian Hip Hop has made a significant impact to the Asian Underground. Indian Hip Hop uses beats which are relevant to an Indian dance/music called Bhangra. Many famous Indian Rappers are from overseas, mostly from the United Kingdom.
Essentialism is a key component to Indian hip hop. Stemming from British colonialism, the idea that musical styles from all over a massive continent are placed into the one label of “Asian.” It is important to delineate between styles of music in Asia and their cultures. “There is a danger of temporally equating Bhangra with an Asian cultural essentialism, and post-Bhangra as a more politically emancipatory musical site.” [9] Recently, there has been an explosion of Bhangra competitions. Teams from towns or schools compete in dance competitions. Recently an international Bhangra competition was held in Miami. The 2008 champion was a team from the University of California at Davis. [10]
There is the growing presence of home grown Indian Hip Hop artists. Although they cannot be categorized as fusing Indian music into mainstream Hip Hop. The Indian rappers are known to be excellent in wordplay & unique blend of issues concerning the Indian Society. Notable South Asian hip hop artists and groups include Nivla, the1shanti, One Signata Nach and Panjabi MC. Madras (Chennai) is in the forefront of establishing an Indian rap culture, though most South Asian hip hop artists are immigrants from North America and Europe.
- Most underground hip hop artists possess exceptional complex lyricism. They rap mainly in English and are infamous for copying near perfect American accents with their styles influenced by the American East and West Coast artists.
- Notable underground artists are Wattabottles(Chennai) consisting of Srikanth Kannan as the main emcee, Swaminathan as emcee and Shashank Raju as Producer, Skizzophonic of Mumbai consisting of Sreejith Nair, Binoy Nair and Vinay Acharya, R16 of Calcutta consisting of LyriK(Sukanto Chanda) and Homicide(Satyaki Bose), A-Card(Mumbai) and Team Hustle of Delhi. Another rapper from New Delhi-Young Prozpekt is also on the rise and has successfully recorded with well known U.S and U.K hip hop artists. The largest Underground Hip Hop group in India is signed by Desi Media Networks, and is known as DNOAX.
[edit] See also
[edit] References
- ^ Condry, Ian. Hip-hop Japan: Rap and the Paths of Cultural Globalization. Durham, NC: Duke University Press, 2006.
- ^ Takatsuki, Yo. “Japan grows its own hip-hop.” BBC News. http://news.bbc.co.uk/2/hi/asia-pacific/3324409.stm. Updated 17 Dec 2003. Accessed 2 April 2008.
- ^ Genda, Yuji. "Jobless Youths and the NEET Problem in Japan." Oxford University Press in conjunction with the University of Tokyo, 2007. http://ssjj.oxfordjournals.org/cgi/content/full/jym029v1?ck=nck#FN4, Retrieved 2-4-2008
- ^ a b Condry, Ian. Hip-hop Japan: Rap and the Paths of Cultural Globalization. Durham, NC: Duke University Press, 2006
- ^ Wood, Joe. "The Yellow Negro" Transition 73: p.40-67
- ^ Condry, Ian. "Japanese Hip Hop", “Japanese Hip Hop”. Accessed April 4, 2008.
- ^ Republic Act No. 9174. Republic of the Philippines (November 7, 2002). Retrieved on 2006-07-02.
- ^ History of Pinoy Rap. Retrieved on 2006-07-02.
- ^ Sharma, Sanjay. "Noisy Asians or 'Asian Noise'?" In Disorienting Rhythms: The Politics of the New Asian Dance Music, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996.
- ^ International Bhangra Competition http://blogs.miaminewtimes.com/riptide/2008/01/the_bhangra_competition_what_d.php
[edit] External links
- http://www.phlowtron.com.my/ (Phlowtron - Malay Rap Hip Hop Group)
- http://www.klgsqwad.com/ (Malaysia's Multi Ethnic Hip-hop Group)
- http://www.joeflizzow.blogspot.com/ (Joe Flizzow's Blog)
- http://www.achmedrauff.com/ (Malaysian Hip-hop Insider)
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