“Benvenuti all’inferno”: aggressione neo-nazista e cultura hip-hop turco-tedesca negli anni Novanta

The article explores the trauma of the racist attacks of Hoyerswerda, Rostock-Lichtenhagen, Mölln and Solingen in the early 1990s and their impact on the Turkish community in Germany using the example of rap lyrics composed during those years. Hip-hop culture in Germany is primarily appropriated by...
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Gespeichert in:

Autor*in:	Matthias Kappler [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch ; Italienisch

Erschienen:	2014

Schlagwörter:	urbet türküleri / Gastarbeiterlieder Kanaksta rap Oriental Hip-Hop Turkish-German hip-hop

Übergeordnetes Werk:	In: Lea - Firenze University Press, 2013, 2(2014)
Übergeordnetes Werk:	volume:2 ; year:2014

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc

DOI / URN:	10.13128/LEA-1824-484x-13749

Katalog-ID:	DOAJ043350143

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author	Matthias Kappler
spellingShingle	Matthias Kappler misc urbet türküleri / Gastarbeiterlieder misc Kanaksta rap misc Oriental Hip-Hop misc Turkish-German hip-hop misc Language and Literature misc P “Benvenuti all’inferno”: aggressione neo-nazista e cultura hip-hop turco-tedesca negli anni Novanta
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topic_title	“Benvenuti all’inferno”: aggressione neo-nazista e cultura hip-hop turco-tedesca negli anni Novanta urbet türküleri / Gastarbeiterlieder Kanaksta rap Oriental Hip-Hop Turkish-German hip-hop
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title	“Benvenuti all’inferno”: aggressione neo-nazista e cultura hip-hop turco-tedesca negli anni Novanta
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title_sort	“benvenuti all’inferno”: aggressione neo-nazista e cultura hip-hop turco-tedesca negli anni novanta
title_auth	“Benvenuti all’inferno”: aggressione neo-nazista e cultura hip-hop turco-tedesca negli anni Novanta
abstract	The article explores the trauma of the racist attacks of Hoyerswerda, Rostock-Lichtenhagen, Mölln and Solingen in the early 1990s and their impact on the Turkish community in Germany using the example of rap lyrics composed during those years. Hip-hop culture in Germany is primarily appropriated by male immigrant youths, especially with Turkish roots. During the first years of German rap (early 1990s), it is thus natural that the themes of the rappers were dominated by issues of social integration, multicultural coexistence and, after traumatic events of the racist attacks, of xenophobia and racism. After a short introduction to Turkish-German hip-hop culture (general features, social and cultural implications, Kanaksta Rap and the Kanak Attak community), the article provides some lyrics (in German and Turkish) and an analysis of the reception of the attacks in German hip-hop culture, especially in the production of the rap formation Cartel, a merging of several hip-hop groups with mainly Turkish elements.
abstractGer	The article explores the trauma of the racist attacks of Hoyerswerda, Rostock-Lichtenhagen, Mölln and Solingen in the early 1990s and their impact on the Turkish community in Germany using the example of rap lyrics composed during those years. Hip-hop culture in Germany is primarily appropriated by male immigrant youths, especially with Turkish roots. During the first years of German rap (early 1990s), it is thus natural that the themes of the rappers were dominated by issues of social integration, multicultural coexistence and, after traumatic events of the racist attacks, of xenophobia and racism. After a short introduction to Turkish-German hip-hop culture (general features, social and cultural implications, Kanaksta Rap and the Kanak Attak community), the article provides some lyrics (in German and Turkish) and an analysis of the reception of the attacks in German hip-hop culture, especially in the production of the rap formation Cartel, a merging of several hip-hop groups with mainly Turkish elements.
abstract_unstemmed	The article explores the trauma of the racist attacks of Hoyerswerda, Rostock-Lichtenhagen, Mölln and Solingen in the early 1990s and their impact on the Turkish community in Germany using the example of rap lyrics composed during those years. Hip-hop culture in Germany is primarily appropriated by male immigrant youths, especially with Turkish roots. During the first years of German rap (early 1990s), it is thus natural that the themes of the rappers were dominated by issues of social integration, multicultural coexistence and, after traumatic events of the racist attacks, of xenophobia and racism. After a short introduction to Turkish-German hip-hop culture (general features, social and cultural implications, Kanaksta Rap and the Kanak Attak community), the article provides some lyrics (in German and Turkish) and an analysis of the reception of the attacks in German hip-hop culture, especially in the production of the rap formation Cartel, a merging of several hip-hop groups with mainly Turkish elements.
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title_short	“Benvenuti all’inferno”: aggressione neo-nazista e cultura hip-hop turco-tedesca negli anni Novanta
url	https://doi.org/10.13128/LEA-1824-484x-13749 https://doaj.org/article/6a401498180b4c5d9b7a1cbb1d97ad59 https://oajournals.fupress.net/index.php/bsfm-lea/article/view/7556 https://doaj.org/toc/1824-484X
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score	7.3989954

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