This book investigates how practitioners of Hip Hop negotiate identity and belonging in contemporary Israel. An interdisciplinary, ethnographic approach illustrates how practitioners embody the paradox of political disparity and co-existence through their eclectic musical idiom and through the social aspects of the music-making process.
| Foreword |
|
9 | (4) |
| Acknowledgements |
|
13 | (2) |
| Preface |
|
15 | (8) |
| Introduction: Frameworks for Urban Hip Hop in Israel |
|
23 | (14) |
|
Part One Places, Genres, and Players |
|
|
|
1 South Tel Aviv in Focus |
|
|
37 | (8) |
|
|
|
45 | (14) |
|
3 Hip Hop: Local and Global Flows |
|
|
59 | (20) |
|
Part Two Rehearsals, Performances, and Other Encounters |
|
|
|
4 Hip Hop in South Tel Aviv's Third-Spaces |
|
|
79 | (36) |
|
5 Hip Hop and Collective Memory |
|
|
115 | (36) |
|
6 From the Torah to the Arab Spring: Intertextual Highlights |
|
|
151 | (18) |
|
7 Intercultural Dynamics: Initiatives and Obstacles |
|
|
169 | (34) |
| Conclusion: Summary and Reflections |
|
203 | (14) |
| Bibliography |
|
217 | (20) |
| Index |
|
237 | |
Mirana L. Crowdus is a Research Associate at the European Centre for Jewish Music in Hanover, Germany. The common thread driving her work is an engagement with Jewish identity and musical expression. She completed her MPhil in 2011 at the University of Cambridge, and her PhD at City University London in 2016.
Daugiau apie elektronines knygas