oa Troubling the distinction between art and everyday life: An ethnographic case study on the socio-material complexities of musical hip hop practice

References

1. Abu-Lughod, Lila (1991), ‘Writing against culture’, in R. G. Fox (ed.), Recapturing Anthropology: Working in the Present, Santa Fe, NM: School of American Research Press, pp. 137–62.
   [Google Scholar]
2. Adams, Kyle (2008), ‘Aspects of the music/text relationship in rap’, Society for Music Theory, 14:2, pp. 1–12.
   [Google Scholar]
3. Adey, Paul S. (2023), ‘“Nothing new under the sun”: Literary allusion, intertextuality, and lyrical performative stylistic allusion in hip hop lyricism’, Ph.D. thesis, Nottingham: Nottingham Trent University.
   [Google Scholar]
4. Alim, H. Samy (2006), ‘“The Natti ain’t no punk city”: Emic views of hip hop cultures’, Callaloo, 29:3, pp. 969–90, https://doi.org/10.1353/cal.2006.0129.
   [Google Scholar]
5. Aouragh, Miriyam (2019), ‘“White privilege” and shortcuts to anti-racism’, Race and Class, 61:2, pp. 3–26, https://doi.org/10.1177/0306396819874629.
   [Google Scholar]
6. Behar, Ruth (1999), ‘Ethnography: Cherishing our second-fiddle genre’, Journal of Contemporary Ethnography, 28:5, pp. 472–84, https://doi.org/10.1177/089124199129023604.
   [Google Scholar]
7. Behar, Ruth (2007), ‘Ethnography in a time of blurred genres’, Anthropology and Humanism, 32:2, pp. 145–55, https://doi.org/10.1525/ahu.2007.32.2.145.
   [Google Scholar]
8. Benson, Bruce Ellis (2021), ‘Taking responsibility by letting go: The improvisation of responding to the call’, in S. Ravn, S. Høffding and J. McGuirk (eds), Philosophy of Improvisation: Interdisciplinary Perspectives on Theory and Practice, New York: Routledge, pp. 87–100.
   [Google Scholar]
9. Carson, A. D. (2017), ‘Owning my masters: The rhetorics of rhymes & revolutions’, Ph.D. dissertation, Clemson, SC: Clemson University, https://tigerprints.clemson.edu/all_dissertations/1885/. Accessed 27 May 2025.
   [Google Scholar]
10. Charnas, Dan (2022), Dillatime: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm, New York: Farrar, Straus & Giroux Inc.
    [Google Scholar]
11. Clarke, John (2015), ‘Stuart Hall and the theory and practice of articulation John’, Discourse: Studies in the Cultural Politics of Education, 36:2, pp. 275–86, https://doi.org/10.1080/01596306.2015.1013247.
    [Google Scholar]
12. DeNora, Tia (2000), Music in Everyday Life, Cambridge: Cambridge University Press.
    [Google Scholar]
13. DMX (2012), ‘Lookin’ Without Seein’, Undisputed, UK: Seven Arts Entertainment.
    [Google Scholar]
14. Essed, Philomena and Hoving, Isabel (2014), ‘Innocence, smug ignorance, resentment: An introduction to Dutch racism’, in P. Essed and I. Hoving (eds), Dutch Racism, Leiden: Brill, pp. 9–29.
    [Google Scholar]
15. Eusterbrock, Linus (2023), ‘Mobile safe spaces and preset emotions: Making music with apps as a digital technology of the self’, Popular Music and Society, 46:1, pp. 50–69, https://doi.org/10.1080/03007766.2022.2155029.
    [Google Scholar]
16. Exarchos, Michail (2024), Reimagining Sample-Based Hip Hop: Making Records within Records, London: Routledge.
    [Google Scholar]
17. Forman, Murray (2004), ‘“Represent”: Race, space, and place in rap music’, in M. Forman and M. A. Neal (eds), That’s the Joint: The Hip Hop Studies Reader, New York: Routledge, pp. 201–22.
    [Google Scholar]
18. Fontaine, Dick (1984), Beat This: A Hip-Hop History, UK: BBC.
    [Google Scholar]
19. Frost, Friederike (2023), ‘Flipping the academic discourse: Reflections on corporeal knowledge and gender negotiations in breaking’, in Q. Williams and J. N. Singh (eds), Global Hiphopography, Cham: Springer International Publishing, pp. 231–56.
    [Google Scholar]
20. Gaunt, Kyra D. (2006), The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop, New York: New York University Press.
    [Google Scholar]
21. Gazzah, Miriam (2008), Rhythms and Rhymes of Life. Music and Identification Processes of Dutch-Moroccan Youth, Amsterdam: Amsterdam University Press.
    [Google Scholar]
22. George, Nelson (2004), ‘Sample this’, in M. A. Neal and M. Forman (eds), That’s the Joint: The Hip-Hop Studies Reader, New York: Routledge, pp. 437–41.
    [Google Scholar]
23. Gilbers, Steven (2021), ‘Ambitionz az a Ridah: 2Pac’s changing accent and flow in light of regional variation in African-American English speech and hip-hop music’, Ph.D. thesis, Groningen: University of Groningen, https://doi.org/10.33612/diss.178875592.
    [Google Scholar]
24. Gilroy, Paul (1993), The Black Atlantic: Modernity and Double Consciousness, London: Verso.
    [Google Scholar]
25. Guadeloupe, Francio (2018), ‘Paying attention to “Spanish radio stations” in the Netherlands: An essay on the potential of urban popular culture as anti-racism’, Etnofoor, 30:2, pp. 83–94, https://www.jstor.org/stable/26543131. Accessed 27 May 2025.
    [Google Scholar]
26. Guadeloupe, Francio (2022), Black Man in the Netherlands: An Afro-Antillean Anthropology, Jackson, MS: University of Mississippi Press.
    [Google Scholar]
27. Guadeloupe, Francio and Vincent, A. de Rooij (2014), ‘The promise of a Utopian home, or capitalism’s commoditization of blackness’, Social Analysis, 58:2, pp. 60–77, https://doi.org/10.3167/sa.2014.580204.
    [Google Scholar]
28. Hall, Stuart (1986), ‘The problem of ideology-marxism without guarantees’, Journal of Communication Inquiry, 10:2, pp. 28–44, https://doi.org/10.1177/019685998601000203.
    [Google Scholar]
29. Hall, Stuart (1996), ‘Introduction: Who needs identity’, in S. Hall and P. Du Gay (eds), Questions of Cultural Identity, London: Sage Publications Inc., pp. 1–17.
    [Google Scholar]
30. Harrison, Anthony Kwame (2014), ‘“What happens in the cabin…”: An arts-based autoethnography of underground hip hop song making’, Journal of the Society for American Music, 8:1, pp. 1–27, https://doi.org/10.1017/s1752196313000588.
    [Google Scholar]
31. Hook, Dave (2021), ‘“Scottish people can’t rap”: The local and global in Scottish hip-hop’, Popular Music, 40:1, pp. 75–90, https://doi.org/10.1017/s0261143021000040.
    [Google Scholar]
32. Jackson, Michael (2006), ‘Knowledge of the body’, in H. L. Moore and T. Sanders (eds), Anthropology in Theory: Issues in Epistemology, Oxford: Blackwell Publishing, pp. 322–35.
    [Google Scholar]
33. Kautny, Oliver (2015), ‘Lyrics and flow in rap music’, in J. Williams (ed.), The Cambridge Companion to Hip-Hop, Cambridge: Cambridge University Press, pp. 101–17, https://doi.org/10.1017/CCO9781139775298.011.
    [Google Scholar]
34. Koning, Martijn De (2016), ‘You need to present a counter-message’, Journal of Muslims in Europe, 5:2, pp. 170–89, https://doi.org/10.1163/22117954-12341325.
    [Google Scholar]
35. Krims, Adam (2000), Rap Music and the Poetics of Identity, Cambridge: Cambridge University Press.
    [Google Scholar]
36. Lacey, Alex de (2023), Level Up: Live Performance and Creative Process in Grime Music, London: Routledge, https://doi.org/10.4324/9781003295792.
    [Google Scholar]
37. Lassiter, Luke Eric (2005a), ‘Collaborative ethnography and public anthropology’, Current Anthropology, 46:1, pp. 83–106, https://doi.org/10.1086/425658.
    [Google Scholar]
38. Lassiter, Luke Eric (2005b), The Chicago Guide to Collaborative Ethnography, Chicago, IL: The University of Chicago Press.
    [Google Scholar]
39. Le Lay, Maïko (2023), ‘How I know, be, move: Embodied hip hop pedagogies as teaching, research, writing, and living praxis’, in Q. Williams and J. N. Singh (eds), Global Hiphopography, Cham: Springer International Publishing, pp. 201–30.
    [Google Scholar]
40. M’charek, Amade (2013), ‘Beyond fact or fiction: On the materiality of race in practice’, Cultural Anthropology, 28:3, pp. 420–42, https://doi.org/10.1111/cuan.12012.
    [Google Scholar]
41. Monson, Ingrid (2009), ‘Jazz as musical and political practice’, in G. Solis and B. Nettl (eds), Musical Improvisation: Art, Education, and Society, Champaign, IL: University of Illinois Press, pp. 21–37.
    [Google Scholar]
42. Navaro-Yashin, Yael (2009), ‘Affective spaces, melancholic objects: Ruination and the production of anthropological knowledge’, Journal of the Royal Anthropological Institute, 15:1, pp. 1–18, https://doi.org/10.1111/j.1467-9655.2008.01527.x.
    [Google Scholar]
43. Nyamnjoh, Francis B. (2017), ‘Incompleteness: Frontier Africa and the currency of conviviality’, Journal of Asian and African Studies, 52:3, pp. 253–70, https://doi.org/10.1177/0021909615580867.
    [Google Scholar]
44. Oddekalv, Kjell Andreas (2022), ‘Surrender to the flow: Metre on metre or verse in verses? Lineation trough rhyme in rap flows’, in V. Sykäri and N. Fabb (eds), Rhyme and Rhyming in Verbal Art, Language, and Song, 25th ed., Helsinki: Studia Fennica Folkloristica, pp. 229–45.
    [Google Scholar]
45. Ortner, Sherry B. (1989), High Religion: A Cultural and Political History of Sherpa Buddhism, Princeton, NJ: Princeton University Press.
    [Google Scholar]
46. Perry, Imani (2004), Prophets of the Hood: Politics and Poetics in Hip Hop, Durham, NC: Duke University Press.
    [Google Scholar]
47. Rappaport, Joanne (2008), ‘Beyond participant observation: Collaborative ethnography as theoretical innovation’, Collaborative Anthropologies, 1:1, pp. 1–31, https://doi.org/10.1353/cla.0.0014.
    [Google Scholar]
48. Reybrouck, Mark (2017), ‘Music knowledge construction: Enactive, ecological, and biosemiotic claims’, in M. Lesaffre, P.-J. Maes and M. Leman (eds), The Routledge Companion to Embodied Music Interaction, New York: Routledge, pp. 271–85.
    [Google Scholar]
49. Rollefson, J. Griffith (2017), Flip the Script: European Hip Hop and the Politics of Postcoloniality, Chicago, IL: The University of Chicago Press, https://press.uchicago.edu/ucp/books/book/chicago/F/bo26955610.html. Accessed 15 March 2024.
    [Google Scholar]
50. Rose, Tricia (2008), The Hip Hop Wars: What We Talk About When We Talk About Hip Hop – And Why It Matters, New York: Basic Books.
    [Google Scholar]
51. Scarth, Greg and Linn, Roger (2013), ‘Roger Linn on swing, groove, and the magic of the MPC’s timing’, Attack Magazine, 2 July, https://www.attackmagazine.com/features/interview/roger-linn-swing-groove-magic-mpc-timing/. Accessed 15 March 2024.
    [Google Scholar]
52. Schiavio, Andrea and Jaegher, Hanne de (2017), ‘Participatory sense-making in joint musical practice’, in M. Lesaffre, P.-J. Maes and M. Leman (eds), The Routledge Companion to Embodied Music Interaction, New York: Routledge, pp. 31–39.
    [Google Scholar]
53. Schloss, Joseph G. (2004), Making Beats: The Art of Sample-Based Hip-Hop, Middletown, CT: Wesleyan University Press, https://doi.org/10.5860/choice.42-2713.
    [Google Scholar]
54. Small, Christopher (1999), ‘Musicking: The meanings of performing and listening – A lecture’, Music Education Research, 1:1, pp. 9–22, https://doi.org/10.1080/1461380990010102.
    [Google Scholar]
55. Spady, James G. (2013), ‘Mapping and re-membering hip hop history, hiphopography and African diasporic history’, Western Journal of Black Studies, 37:2, pp. 126–57.
    [Google Scholar]
56. Tyner, McCoy (1973), Song of the New World, New York: Milestone Records.
    [Google Scholar]
57. Wekker, Gloria (2016), White Innocence, Durham, NC: Duke University Press.
    [Google Scholar]
58. West, Cornel (1989), ‘Black culture and postmodernism’, in B. Kruger and P. Mariani (eds), Remaking History: Discussions in Contemporary Culture, vol. 4, Seattle, WA: Bay Press, pp. 87–96.
    [Google Scholar]
59. Williams, Quentin and Singh, Jaspal Naveel (eds) (2023), Global Hiphopography, Cham: Springer International Publishing, https://doi.org/10.1007/978-3-031-21955-9.
    [Google Scholar]
60. Wynter, Sylvia (1992), ‘Beyond the categories of the master conception: The counterdoctrine of the Jamesian Poiesis’, in H. Paget and P. Buhle (eds), CLR James’s Caribbean, Durham, NC: Duke University Press, pp. 63–91.
    [Google Scholar]
61. Wynter, Sylvia (2022), We Must Learn to Sit Down Together and Talk About a Little Culture: Decolonizing Essays, 1967–1984 (ed. D. L. Eudell), Leeds: Peepal Tree.
    [Google Scholar]