holler if you hear me: taiwanese hip hop music under the
TRANSCRIPT
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國立臺灣師範大學英語學系
碩 士 論 文
Master’s Thesis
Department of English
National Taiwan Normal University
狂聲見我:東亞跨界文化流動下的台灣嘻哈樂
Holler If You Hear Me: Taiwanese Hip Hop
Music under the Transnational Cultural Flow in
East Asia
指導教授:黃 涵 榆 教授
Advisor: Dr. Han-yu Huang
研究生:王友良
Advisee: Yu-liang Wang
中華民國一百零四年七月
July 2015
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Holler If You Hear Me: Taiwanese Hip Hop
Music under the Transnational Cultural Flow in
East Asia
A thesis submitted to The Graduate Institute of
English
National Taiwan Normal University
In partial fulfillment
of the requirements for the degree of
Master of Arts
by Yu-liang Wang
July 2015
iii
摘要
本文以台灣嘻哈音樂在東亞影響下之跨界合作為主要研究目的。台灣嘻哈
樂在經過二十餘年的發展後,從初期的模仿到中期的音樂型態在地化,再至現
今與東亞國家進行各項跨界音樂交流,帶出台灣嘻哈音樂多樣且豐富的文化流
動與可變性,同時也呈現出台灣嘻哈音樂在全球化潮流下跨界亞洲之可能性。
本文分為三章。第一章探討嘻哈樂的歷史起源、饒舌音樂形式與其全球化
過程,並利用阿君.阿帕度萊(Arjun Appadurai) 全球景觀理論指出嘻哈文化所
具有的跨國族群離散與媒體景觀等特質,與饒舌樂所具有的多變性,使嘻哈音
樂能夠在不同的文化中發展出多樣風貌。第二章以東亞脈絡下的嘻哈音樂發展
為主,以日本嘻哈及節奏藍調音樂與韓流(Korean Wave)風潮下的韓國嘻哈音樂
為重點,指出兩者與台灣嘻哈樂的發展及形塑有著不可分割的關係。第三章回
歸台灣嘻哈音樂發展史,並以樂團大嘴巴、歌手李玖哲、音樂製作人 Jae Chong
與饒舌歌手蛋堡為例,分析其音樂風格、形象與自身之東亞跨國合作經驗。透
過全球離散流動、跨國主義與跨國界認同,強調台灣嘻哈音樂在地化的同時,
也經由跨國音樂合作產生了跨東亞嘻哈音樂的可能。
關鍵詞:嘻哈音樂、饒舌、跨國合作、東亞、韓流、全球化、台灣嘻哈
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Abstract
The thesis focuses on the transnational collaborations of Taiwanese hip hop
music in East Asia. Over the past twenty years, Taiwanese hip hop music has
transformed from the stages of initial imitation and appropriation of the music form,
the domestication of local culture to the present transnational crossover collaborations
among East Asian countries. Transnational Taiwanese hip hop music brings abundant
cultural diversity and flow and also presents the possibility of “trans-Asian” hip hop.
The thesis consists of three chapters. The first chapter probes into the history of
hip hop culture, the art form of rap music, and the globalization of hip hop. By
adopting Arjun Appadurai’s “scape” theory, I indicate that ethnoscapes and
mediascapes are related to the globalization of hip hop, along with the mutability of
rap to develop hip hop in different cultures. The second chapter draws the attention on
the development of hip hop music in the context of East Asian countries by discussing
specific issues as Korean Wave/K-pop, J-hip hop and J-R&B to thus suggest that the
interrelations of hip hop’s cross-cultural and regional experience in East Asia has the
great influence on Taiwanese hip hop music. In Chapter Three, I first summarize the
history and development of Taiwanese hip hop and take Taiwanese hip hop group Da
Mouth, singer Nicky Lee, music producer Jae Chong and rapper Softlipa to be the
cases to analyze their images, music style and experience of East Asian
collaborations. I argue that transnational Taiwanese hip hop music in East Asia has
come to possibility through global mobility of diaspora, transnationalism and
transbordering identities.
Key words: hip hop music, rap, transnational collaboration, East Asia, Korean Wave,
globalization, Taiwanese hip hop
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Acknowledgements
I would like to offer my sincere gratitude to those who accompanied me and
encouraged me during the writing process of my thesis. First, my grateful thanks goes
to Professor Han-yu Huang, who has always been very kind and supportive toward
my research project. I thank him for letting me choose the thesis topic and helping me
complete this project because the thesis stands for a part of my life story. Whenever I
met obstacles or felt perplexed in continuing my writing, his constant support,
patience and guidance often gave me confidence. I also regard him as a mentor in
many ways. I am thankful to my thesis committees, Professor Chen-hsing Tsai and
Professor Yuh-chuan Shao, whose precious comments inspired me to improve my
project as well. My special thanks also go to Professor Eva Tsai. Without her
encouragements, I could not have finished this thesis.
Second, I want to thank my mom and dad for their love and tolerance. I am lucky
enough to have their support no matter what happens. Also, I would like to thank my
husband, Max, for his unfailing help and support. During my long-term writing, he
always provided me with constructive suggestions and feedbacks. His warm
companion also helped me go through those dark nights. I feel truly grateful for
having him by my side. In addition, I would like to thank all my besties: Irene, Inging,
Rin, Angel, Emily, Zoe, and Ting. Thank you all for always being there for me and
participating in all the important events of my life.
Finally, my greatest gratitude goes to hip hop. For so many years, hip hop has
taught me how to live one’s life with attitude, and how to appreciate a culture with
respect and love. I thank hip hop for being my lifelong friend.
PEACE.
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Table of Contents
Chinese Abstract……………………………………………………………………...iii
Abstract……………………………………………………………………………….iv
Acknowledgements……………………………………………………………………v
Introduction…………………………………………………………………………....1
I. Motivation………………………………………………………………..1
II. Literature Review………………………………………………………...5
III. Approach………………………………………………………………..10
IV. The Outline of Chapters………………………………………………...13
Chapter One: A Brief History of Hip Hop Music and Its Globalization……………..18
I. A Brief History of Hip Hop Culture…………………………………….19
II. The Development of Rap Music………………………………………...23
III. The Globalization of Hip Hop…………………………………………..29
Chapter Two: The Transnational Development of Hip Hop Music in the East Asian
Context……………………………………………………………………………….36
I. “Asianism” as Thinking Transnational over National………………...37
II. Japanese Hip Hop and R&B/Soul Trend………………………………..43
III. The Korean Wave as K-pop of “The Localized Hip Hop” in South
Korea……………………………………………………………………48
Chapter Three: Hip Hop Music in Taiwan: History, Culture and Trans-Asian
Experience……………………………………………………………………………55
I. The Development of Hip Hop Music in Taiwan………………………..56
II. Case Studies on Taiwanese Hip Hop Music’s Trans-Asian Experience...62
III. Trans-Asian Taiwanese Hip Hop: A Reconciliation?...............................67
Conclusion……………………………………………………………………………71
Works Cited…………………………………………………………………………..74
1
Introduction
I. Motivation
Jump the way you want like crazy 跳乎伊爽 跳甲欲起痟 跳甲凍袂條
It’s been a decade of us coming back 已經過十年
Long live the Taiwanese hip hop 台灣的 hip hop 永遠袂死
It toughens more and more 逐年愈來愈硬
It toughens more and more 逐年愈來愈硬
Shout it loud, shout it loud 做卡大聲 做卡大聲
That’s the way you listen to our hip hop Hip Hop 就是應該按呢聽
—Machi “Jump 2003” on Machi —麻吉 “跳 2003” 麻吉同名專輯
(My translation on the lyrics)
When Jeff Huang (Huang Licheng 黃立成) rapped for his Machi crew debut in
2003, he claimed that his comeback signified another peak of Taiwanese hip hop
music over a decade of its development in Taiwan because hip hop music has
progressively spread out the significance in Mandarin pop-music industry. For many
people, Huang has been considered one of the precursors introducing hip hop culture
(e.g. rap, break dance, baggy jeans, etc.) from America to Taiwan with the boy group
“L. A. Boyz” in the early 90s; by the time L. A. Boyz’s music, dancing and costume
style caused huge sensations, the concept of “hip hop” or the new school style as they
formerly called it, had thus been incorporated into the mainstream Taiwanese popular
culture. It was the first time hip hop music ever drew my attention before I came to
realize what it was and where it originated. Yet little did I know hip hop would
ultimately become the obsession and also the main issue to my academic study.
This Afro-diasporic, black urban and African-American cultural form went
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across the Atlantics to rapidly spread out its most appealing and notorious features to
the rest of the world. To me, hip hop used to be all those fascinating beat, slick rap
flow, oversized apparel with most fake jewelry, and trendy break dance. It was not
until I began to trace the history, the social issues and the civil rights of hip hop did I
have more precise understanding of hip hop culture from different accounts and
perspectives. Hip hop represents a complex assemblage of modern colored American
culture keeping alive and nowadays it also transforms into myriad looks to live not
only locally but transnationally. Over the past twenty years hip hop music has been
growing in Taiwan from a novel cultural form to one of the most influential popular
cultures. I have witnessed it changing from initial appropriations of the music form to
the later mechanics of pan-patriotic ideology, patriarchy, misogyny and nationalism
wrapped in the lyrics to present its politics in a rather provocative sense. Nevertheless,
if we take a further step to scrutinize how hip hop can reach such a position here in
Taiwan today and to see how Taiwanese hip hop music has entered the phase from the
merely foreign pop music form to the local business, we will later find that trans-
Asian music collaborations with cultural bricolage alter the routes of hip hop music
and its development in Taiwan and give Taiwanese hip hop a new look.
Chronologically, hip hop in Taiwan encountered the global communication trend
by “re-mixing” hip hop elements into Taiwan’s music industry in the early 1990s. It
later became one of the energetic music genres, and the impact of hip hop music
stroke not only the youth subculture but also the former Mandarin pop music styles1
more than ever, which could not be detached from the context of Taiwanese popular
music culture therefore. Besides, hip hop culture, which originates from the streets
and the black neighborhoods in South Bronx of New York City in the late 1970s,
____________________
1. Before hip hop music was introduced in Taiwan in 90s, folk, rock, Chinese ballads and art songs
would be considered as the best seller of mainstream popular music genres.
3
has indeed swept across the world and has been inscribed into and familiarized with
the East Asian regions2 (here mainly indicating Taiwan, Japan, China, Hong Kong and
South Korea).This distribution of hip hop culture, mainly resulting from cultural
fluidity and globalization, affects both mainstream popular culture and subculture
over East Asia for the past twenty years and still thrives today. More specifically, hip
hop music today, therefore, as a notable form of cultural dissemination, social
identification, and art contribution, would be a comparatively substantial field to be
investigated. When listening to the music of some so-called rappers or hip hop artists,
such as Jay Chou (周杰倫), Machi (麻吉), Dog-G (大支) or MC Hot Dog, just to
name a few, one must understand that the music they call “Taiwanese hip hop” has
much to do with its background roots and requires cultural diversity and assimilation
altogether to flourish in Taiwan’s music industry. It represents not only musical and
commercial achievements but also the manifestation of cultural hybridity, both
regionally and globally. In addition, albeit Taiwan’s pop music industry possesses
excellent creative works and talents, abundant production, scholarly works on hip hop
music in Taiwan are yet to be developed; borrowing the words from the music critic
Shi-fang Ma (馬世芳), who once commented on Taiwanese popular music, “a
prosperous market with much less attention and discourse.”3
Furthermore, the growing influence of hip hop music in Taiwan cannot be
viewed solely in the local Taiwanese popular music scene since the popular music
____________________
2. The concept of defining East Asia has always been contested and categorized diversely. According to
the UN sub-regions of Eastern Asia, the idea of East Asia refers to the geographical entirety of People’s
Republic of China, Taiwan (ROC), North Korea, South Korea and Mongolia, instead of the formerly-
dominated “Great China” or ASEAN (Association of Southeast Asian Nations), the geo-political and
economic organization. The East Asian context here, in a sense, refers to the territories of Taiwan,
China (including Hong Kong), Japan and South Korea, in which share more historical backgrounds and
cultural affinities. Those regions also have more commercial and cultural exchanges in popular music
business in Asia.
3. Cited and translated from Shi-fang Ma. The Best 200 Albums in Taiwan 1975-2005, China Times
Publishing, Taipei, 2009.
4
business in East Asia turns to be so well-connected, even regionally incorporated.
Therefore, the regional incorporations here allow Taiwan’s hip hop music to not
merely absorb the spirit or music elements from America, hip hop’s motherland but to
also distinguish its features by producing the so-called “Taiwanese rap” and through
collaborating with artists and producers from neighboring countries. As a result, to
look back at the process of hybridizing, localizing, and even regionalizing Taiwan’s
hip hop music, we must not disregard the tremendous influence of hip hop music from
other East-Asian countries. Because of such globally regionalized shared facts,
Taiwanese hip hop is endowed with complex meaning in constructing and
legitimating its position into the context of Taiwan’s popular music. In this sense, it is
the cross-regional and trans-Asian cultural exchanges around East Asia that builds
Taiwanese hip hop music today.
We may question about how we consider the development of Taiwanese hip hop
music and its cultural phenomenon both as a social-political issue and as a medium of
establishing transnational and “Asian” interconnected consciousness through different
collaborations to accumulate its cultural capital. As a long-time devotee to hip hop
music, I do pay close attention to how Taiwanese hip hop music in the East Asian
context can be linked back to the contemporary black cultures worldwide and how it
forms its features and later interrelates to the regions of the Chinese circle4 and other
East Asian countries to arouse cultural resonances.
So far, most academic publications regarding Taiwanese or Mandarin hip hop
music are mainly dealing with the issues of how it is affected by or interwoven with
hip hop’s original root in America or how it is de-centered and morphed from the
___________________
4. The China Circle refers to the economic relationship between the PRC, Hong Kong and Taiwan.
Naughton, Barry. The Chinese Economy; Transitions and Growth. Cambridge: MIT
Press, 2007.
5
American pop or subculture to build its own local collective identity or ideology; yet
the transnational issues of how Taiwanese hip hop music influences or is influenced
by other East Asian countries are rarely discussed or often omitted. However,
Taiwan’s unique locality and colonial history causes the proximity to its neighboring
countries, which to a certain extent affects the development of Taiwan’s pop music
industry and in a way has the impact later on the category of the so-called “Chinese
pop” music around the world as well. The hip hop music in Taiwan has been
incorporated into the East Asian cultures to obtain diverse musical elements and styles
to render different meanings; hence, the widespread Taiwanese hip hop music here in
East Asia would appear to be a very significant phenomenon to notice.
II. Literature Review
Ever since hip hop became one of the most outstanding global popular culture
forms, there have been plenty of researches concerning how hip hop can be
successfully disseminated and then prosper globally. First of all, hip hop is associated
with African-American culture and also African and global diaspora. Paul Gilroy
interprets his idea of the “fundamental dislocation” toward hip hop’s distribution in
his remarkable work The Black Atlantic (1993), asserting this is what makes “modern
western civilisation possible, now dominate its popular cultures” (Gilroy 80).
Consequently, black music is detached from the racial slavery and now has the power
to turn the pristine Africanity into a different meaning and transcend into a new phase.
To use Gilroy’s words, that “it is possible to approach the music as a changing rather
than an unchanging same” and “[new] traditions have been invented in the jaws of
modern experience and new conceptions of modernity produced in the long shadow of
our enduring traditions: the African ones and the ones forged from the slave,
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experience which the black vernacular so powerfully and actively remembers” (101).
Gilroy thus considers that traditional black music has been changed to provide another
channel for imagination. Later, Andy Bennett points out that “hip hop is culturally
mobile” and “the definition of hip hop culture and its attendant notions of authenticity
are constantly being ‘re-made’ as hip hop is appropriated by different groups of young
people in cities and regions around the world” (Bennet 133). Furthermore, music
scholar George Lipsitz states that
Hip hop expresses a form of politics perfectly suited to the post-colonial
era. It brings a community into being through performance, and it maps out
real and imagined relations between people that speak to the realities of
displacement, disillusion, and despair created by the austerity of post-
industrial capitalism. (36)
The performing style of hip hop generated from the very urbanized life and also the
very marginalized part of “ghetto”; through constant struggles and challenges, as
Tricia Rose analyzes, “[it] is the tension between the cultural fractures produced by
postindustrial oppression and the binding ties of black cultural expressivity that sets
the critical frame for the development of hip hop” (Rose 425). Besides, hip hop has
changed and challenged the way people see Western music and therefore provided a
new form of arranging rhythms and rhymes, channeling the politics of Nationalism
and Afrocentrism (Bennett 91). Hip hop, as a genre of global music cross-culturally,
by J. Macgregor Wise’s analyses, becomes “a means of expressing issues of politics,
place, and identity…[m]usicians can also speak to the experience of displacement,
living in foreign lands, longing for real or imagined homelands” ( Wise 89).
There are also many other studies in the globalization and localization of hip hop
by different methodologies. Tony Mitchell adopts Deleuze’s notion of the “rhizome”
in Global Noise: Rap and Hip-hop outside USA (2001) to explain the globalization
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and transplantation of hip hop and rap culture; Mitchell also asserts that the use of
vernaculars can be seen as a form of resistance to preserve local culture. This idea can
aptly be applied to the use of Taiwanese or Hakka rap in Taiwan for exalting the
Taiwanese consciousness to some extent. Bennett studies the development of hip hop
culture in Frankfurt am Main, Germany and New Castle, England by ethnography to
attempt to elucidate how hip hop can be a resistant form in the local contexts to fight
against the global hip hop. He finds that the youths there attempt to “rework hip hop
into a medium for the expression of local themes and issues came as a number of local
rap groups began incorporating German lyrics into their music” (Bennet 140), so that
the cultural significance can be focused and sung.
As to the Asian hip hop study, Angel Lin seeks to follow Eric Ma’s project
(2002) on the local alternative Hong Kong hip hop/rock band, LMF (also known as
Lazy Mother Fucka 大懶堂) to discover how indie hip hop music artists dig their
niche space and alternative ways for survival instead of only legitimating the
identities among teenagers (Lin 2007). Secondly, ethnographer Ian Condry also does
projects on the study of local Japanese hip hop culture in his Hip-Hop Japan (2006).
By closely observing the local live performances and interviewing the rappers,
Condry draws special attention to how Japanese rappers both show their enthusiasm
and disillusion toward American nostalgia and how they turn hip hop into Japanese
(Condry 210). In addition, Condry clarifies the idea that “localization of cultural
forms, can, and at all times does, proceed simultaneously with an increasing global
sharedness, thus showing that opposition between local and global can be a false
dichotomy that hides more than it reveals” (2). Condry’s assertion discloses that in the
age of globalization, the boundaries of dichotomous symmetry would eventually
become mutual existence and construction.
Certainly, it may be a credible stance to see most of the so-called “glocalized”
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cultural features that can merge all together and live vigorously. In the case of South
Korea, Suh-Kyung Yoon points out “K-pop (as Korean music is known in Asia) is
localized hip hop that tones down the harsh beats of the American genre and deals
with issues more resonant with the Asian youth” and “it has been the dominant genre
in Korean pop music (Yoon 92, my tatlics). This demonstrates that Korean pop music
has intertwined with hip hop music culture, and even has taken it as an indispensable
element in their music industry. It is not likely to separate the relation between
Korean pop music and hip hop culture as Korean government has liberated the policy
regarding travel and media in the 1980s, so foreign television networks and music
could be introduced.
Yet, according to Sarah Morelli, Korean popular music industry has incorporated
rap and hip hop as a style of vocalization but not taken it as a category of popular
music or music genre in Korea. Likewise, black style is widely popular among
Korean youngsters, and even many young Korean students see hip hop dance and
music as “their means to success5” (Morelli 248). This conspicuous cultural
phenomenon later has a huge impact on other East Asian countries by the “Korean
Wave” strategies. Among which, K-pop (or Korean hip hop music in a way) strikes
the Asian music industry to cause turbulence. The social phenomenon has also
affected the culture of hip hop music in Taiwan for the past ten years and has not yet
seemed to die away. It is an important issue that I will have to take a further
discussion in my thesis on how Korean Wave and Korean hip hop have invaded (or
intermingled) into our music industry to alter the look of Taiwanese hip hop music.
As mentioned above, we can see that the globalization and localization of hip hop
___________________
5. Morelli describes teens in Korea today spend time practicing hip hop dance and believe it will be
their most remarkable skill in pursuing stardom. See Mitchell, Tony. Global Noise: Rap and Hip-hop
outside the USA, 2001, 248-58.
9
have been widely studied, providing essential resources for reference and further
research. In Taiwan, there are a few studies regarding Taiwanese hip hop culture in
different aspects, yet not so many have paid enough attention to the music itself since
street and hip hop dance acquire much more popularity and attention. Jing-yi Li is the
first one who studies the development of Taiwanese hip hop culture as a site of sub-
cultural practice for youngsters to identify with. Her research investigates Taiwanese
hip hop culture from deejay, street dance, graffiti, and rap music, seeking to discover
what the influence of hip hop culture brings to youngsters in Taiwan. Furthermore,
Mike Chuang asserts that there must be “authenticity” existing in Taiwanese rap and
hip hop music that he finds it survives mostly in the spirits of underground hip hop
community and activities. His ethnographic study offers a very truthful and clear
picture of the underground hip hop scene and sites in Taiwan, which helps understand
the politics of local Taiwanese rap and hip hop music. Although both Li and Chuang
have discussed the formation and the influence of Taiwanese hip hop music, they do
not deal with the issue of the trans-Asian collaborations in hip hop music and the
cultural routes, which I argue that it has drastically changed the look of Taiwanese hip
hop music. Since Taiwanese hip hop music now follows neither its local tone nor the
pursuit of its original African-American root; instead, it tends to be clustered with the
East-Asian flow to strive for a survival. The newly formed “East-Asian hip hop”
brings Taiwanese hip hop music a possibility to go trans-Asia. For this reason, the
relation between hip hop music in Taiwan and other East Asian countries can be
intriguing and yet discrepant and also a field worthy to probe.
Those academic studies of hip hop and black dispora cultures mentioned above
provide me weighty research resources in understanding globalized hip hop and the
culture behind it. Those researches enter hip hop culture by different approaches, from
historical perspectives to ethnographic field studies, so I can frame a panorama of the
10
past and the present in the development of global hip hop culture. Still, studies of
Asian hip hop are relatively scant than that of American or European; for this reason, I
believe a primary research of transnational Taiwanese hip hop music is needed as a
contribution for future study since the development of hip hop music in East Asia is
somehow intertwined to each other.
III. Approach
The circulation of hip hop music worldwide can be understood and analyzed by a
sequence of key concepts which deal with globalized and transnational cultural flows.
My thesis plans to first address two significant ideas to explain this cultural mobility.
When placing hip hop music under the framework of a cultural form, in light of the
contemporary popular cultural globalization theories, David Harvey’s idea of “time-
space compression” creates a disjunction to place to thus cause sense of
postmodernity. While new modes of communication have altered the way hip hop was
once toward, as Harvey claims it,
innovations dedicated to the removal of spatial barriers. . . have been of
immense significance in the history of capitalism, turning that history into a
very geographical affair—the railroad and the telegraph, the automobile,
radio and telephone, the jet aircraft and television, and the recent
telecommunications revolution are cases in point. (Harvey 232)
To be precise, as spatial barriers are to be reduced through particular modernizations,
the world has thus turned to be a rather smaller place, and connect producers and
consumers with a global market. Secondly, since cultural flow comes largely from
people’s mobility, in this regard, I will also address the distributions of hip hop music
to the ethnoscape based on Arjun Appadurai’s five influential “scape6” theories in
11
Modernity at Large: Cultural Dimensions of Globalization (1996). Appadurai
proposes a framework that disjunctures of cultural flow can be termed by five
dimensions: (a) ethnoscapes, (b) mediascapes, (c) technoscapes, (d) fianacescapes, (e)
ideoscapes (Appadurai 33). Among five of which, ethnoscape are deemed to be the
landscape of persons, tourists, immigrants, refugees or exiles. Thus, as Wise addresses
the idea in music, “[t]he movement of diasporic people changes not only their music
but the music of the places they move to and through” (Wise 87). The African-
American diaspora brings hip hop music to the world, with its Africanity changed,
appropriated or even eliminated into diverse phases. It is therefore no longer
associated only to the blacks. However, hip hop’s spirit has been kept through the
music form, rap, hip hop’s best weapon, along with immigrants from all over the
world, as Tony Mitchell says, “has become a vehicle for global youth affiliations and
tool for reworking local identity” (Mitchell 1-2). Thirdly, to discuss the global features
of “re-mixing” and “sampling” presented in hip hop music, as Dominic Strinati’s view
on communication arts, can be marked as “a trend towards the open and extensive
mixing of styles and genres of music in very direct and self-conscious ways”, and this
trend “has ranged from straightforward remixing of already recorded songs from the
same or different eras on the same record, to the quoting and ‘tasting’ of distinct
music, sounds, and instruments in order to create new sub- and pan-cultural identities”
(Strinati 215). Since hip hop music has entered the territory of globalization for over
twenty years, other than merely adopting the technology in music production, the
feature of “re- mixing” and “sampling” can be easily found in the inscription of
society, culture, and even politics. Accordingly, during the unceasing cultural
practices of exchange, re-mixing and sampling, hip hop music will be unavoidably
_________________ 6. Appadurai uses the suffix –scape to address different shapes of landscapes regard the characterization
of cultural capital, in which these landscapes provide diverse perspective as factors of globalization.
12
facing various challenges and changes to fit in with the foreign cultures and therefore
develop a local one outside America.
Then, to have a better understanding of the cross-regional cultural resonances
and the flow of collaborations on hip hop music in East Asia, I attempt to borrow
Koichi Iwabuchi’s idea, which focuses on how the “Asian value and identity”
presented and built under Japan’s extensive cultural interactions with other East-Asian
countries to demonstrate that “the transnational flow of popular culture has
significantly rearticulated Japan’s historically constituted relation with ‘Asia’ in a
time-space context in which cultural similarity, developmental temporality, and
different modes of negotiating with Western cultural influences are disjunctively
intermingled with each other” (Iwabuchi 6). Also, from Iwabuchi’s view, the forms of
youth culture in Asia has departed from its previous traditions because of its
embodiment of heterogeneous origins and cultural bricolage. In this regard, the image
of youths can be defined as “consuming hybrid”, and instead of caring about the
origins of those cultural products, their preferred cultural products have thus become
more “East Asian flavor”; so “[t]hose popular cultural forms made in East Asia are
neither ‘Asian’ in any essentialist meaning nor second-rate copies of ‘American
originals’” (Iwabuchi 200). From this respect, youths in East Asia experience and
receive things similar and yet heterogeneous through rapid local and global cultural
exchanges at the same time.
By focusing on the studies that Iwabuchi illustrates on Japanese popular culture,
I can apply his viewpoint to hip hop music in Taiwan as to narrow down the scope to
examine the cultural flows among Taiwanese hip hop music and its counterparts or
collaborations in other East Asian countries. I would like to examine if the
intermingled cultural interactions of global homogenization and heteregenization of
hip hop music under the East Asian context can be reflected or represented through
13
such discourse.
Moreover, to precisely discuss the transnational collaborations of hip hop music
in Taiwan, I will draw Shin Hyunjoon’s concept of “transbordering”, which has been
transformed and revised from Appadurai’s “ethnoscape” and Eun-young Jung’s notion
of “transnational cultural traffic7,” in which Jung uses to analyze the interaction
between Japanese and Korean popular music. Transbordering refers to the “particular
interactions that have taken place between migrant musicians who have crossed
borders literally and figuratively and this phenomenon is “at once global and local”
(Shin 103). Shin asserts that the idea can be carried and actualized through
international collaborations in music industry, especially in the category of popular
music. In the final analysis, I will take three different transnational hip hop
artists/groups (Da Mouth, Aziatix and Soft Lipa) in Taiwan as my case study; by
analyzing their “transborering” experiences, diaspora image and most of all, their
music works, I intend to prove that “trans-Asian” hip hop music in Taiwan has created
its own niche.
IV. The Outline of Chapters
My attempted thesis will be divided into three chapters. To give a clear picture of
the development of Taiwanese hip hop music and its relation among the East Asian
countries, I will discuss its historical backgrounds, global dissemination to the
analyses of socio-political accounts to focus on hip hop’s global experiences in the
realm of popular culture and how the transnational cultural flow has affected its
development in Taiwan and East Asia. To begin with, I first explore the history of hip
__________________
7. See Eun-young Jung, “Transnatinoal Cultural Traffic in Northeast Asia: The ‘Presence’ of Japan in
Korea’s Popular Music Cuture.” Ph. D. Diss., Univ. of Pittsburgh, 2007.
14
hop, from its origin in America to the later disseminations around the world to bring
out some important ideas of cultural globalization and issues that have been addressed
or concerned. I shall briefly introduce the history of hip hop culture, focusing on its
influences of music form and politics; in addition to its background history, I also pay
close attention to the language use of rap, a kind of African storytelling originally
called “griot” (The History of Rap music 10), and since this chanted rhymes turns into
a distinct modern black verbal communication, its diasporic feature has become part
of “a transnational movement and collective, a transnational dialogue speaking to
local political and economic conditions and providing cultural resources for local
populations to find a voice and means of expression” (Wise 99). Yet, after rap records
and videos have been spread globally, this cultural power of hip hop, as Lipsitz has
viewed it “the radical nature of hip hop comes less from its origins than from its uses”
(Dangerous Crossroads 37). I will continue to focus on the globalization of hip hop
around world and how it causes tremendous popularity and cultural phenomena since
hip hop “demonstrates the various and particular flows of people, music and politics
we’ve been discussing as crucial to understanding cultural globalization” (Wise 101).
My main focus in Chapter Two lies in the development of hip hop music in the
contexts of East Asian countries, and I attempt to connect their interrelations by
closely observing the cultural flow and the “transnationalism” among them. In
addition to merely stating the development of hip hop music in each country, I would
draw attention to Iwabuchi’s analyses of trans/nationalism among East Asian
countries and take Japan and South Korea hip hop (presented features as Korean
Wave) as two main focuses. According to Iwabuchi, “[c]ultural flows among East
Asian countries, particularly between Japan, Taiwan, Hong Kong and South Korea are
gradually becoming active and constant more than ever”; however, cultural flows in
East Asia circulating as transnationalism turns out to highlight “uneven power in the
15
region” (Iwabuchi 201). Japan, in particular, as a major role in constructing meaning
under the system of global capitalism, intertwines with its nationalistic discourse to
generate the transnational cultural power in Asia; in another word, the
transnationalism of Japan’s popular culture renders cultural superiority and
“postcolonial desire for ‘Asia’” (Iwabuchi 202). I will adopt this assertion and
combine it with another significant notion “Korean Wave” (Hallyu or Hanryu in
Korean), which recently has been considered a cultural invasion in the popular
cultural studies to draw significance on how they influence the development of hip
hop in East Asia, especially K-pop is considered, as Joon has put it “a localized hip
hop” (92). This discussion will also be continued to the next chapter to show how
Japanese and Korean hip hop makes great impact on transnational Taiwanese hip hop
music.
I would like to draw attention in Chapter Three to Taiwanese hip hop music
scene to foremost give an account for the development of hip hop music in Taiwan
and the particular issues (Korean Wave and diaspora) concerning East Asian hip hop
nowadays and later discuss their interrelationship among each other. This chapter is
divided into three parts. I first introduce a brief development of Taiwanese hip hop
history to further analyze what topics are most discussed and therefore contextualize
the whole picture of the development of Taiwanese hip hop culture in East Asia. Then,
I shall discuss that ever since the emergence of Taiwanese hip hop culture has become
one of the globally hegemonic forms of popular culture, its transnational
interrelationship among those East Asian countries would trigger myriad social
influences and generate cultural transformations. Second, I draw special attention to
the rappers and hip hop groups as my image and lyric text to exemplify the trans-
Asian collaborations in Taiwan. I will adopt Shin Hyunjoon’s concept of
“transbordering” to support my analyses. Transnational collaborations of music can
16
and always, in a sense, reflect and present the cultural and music flow. Taiwanese hip
hop group Da Mouth (Da Zuiba 大嘴巴), and rapper Softlipa (Dan Bao 蛋堡) to be
the cases (both image and lyrics context) to discuss the East Asian collaborations of
Taiwanese hip hop music and what phenomena and effects they cause by examining
and comparing their music style, modes of collaboration and their figure images.
Along with these two different types of hip hop artists and groups, I also address
Nicky Lee (李玖哲 이철구), the former member of the Machi crew and now leading
vocal of the Asian band (as they name it,) Aziatix and also Jae Chong, the famous
Korean-American producer in East Asia to connect their trans-Asian collaboration to
construct “Asian hip hop” in their debut album. With the analyses of Da Mouth and
Softlipa, I tend to indicate that the recent emergence of the two seemingly wants to
transform the impression that hip hop music used to bring to the mass from hatred,
condemnation, sex or misogyny to a more urbanized and less hard-core preference. In
addition, the members of Da Mouth come from different music and cultural
backgrounds, including Japanese, Taiwanese-Japanese, Taiwanese, and Taiwanese-
Korean descendants, which to a certain extent strengthen the notion of transbordering,
no matter in music or in culture. As to Softlipa, his music style, by the cover slogan, is
described as “rap with urban Jazzy hip hop style”; his Golden Melody Award-winning
album Moonlight and new release Riding Bicycle were produced and collaborated by
one Japanese hip hop producer, Shin-Ski, and an urban jazz group, Jabberloop. I
particularly focus on the Japanese producers here because the transnational crossover
collaboration, which Softlipa presents in his music; I argue that a different Taiwanese
hip hop style of musical expression has thus been formed that Taiwanese local
independent rappers have no longer insisted on the way of making their music on their
own for the purpose of national identity; instead, they turn to transnational
collaborations to seek a novel breakthrough. Last, I seek to address the issue of the
17
possibility of transnational Taiwanese hip hop music by arguing that there is no
absolute “authenticity” in global hip hop, because under the age of globalization, any
claim of any “authentic” cultural form would comparatively dubious when to comes
to essentialism.
My thesis seeks to explore transnational Taiwanese hip hop music in the
context of East Asia and therefore indicate the possibility of “trans-Asian” hip hop
music in Taiwan. I combine contemporary globalization theories as analytical
backgrounds; I further address significant cross-cultural issues, such as Korean Wave
and transnational Taiwanese hip hop music as my main observing focuses. I will also
examine the transnational Taiwanese hip hop music as the case study to support my
assertion. My main aim in this thesis is to offer a solid research of trans-Asia
Taiwanese hip hop music and to develop its cultural routes and cause in East Asia.
18
Chapter One
A Brief History of Hip Hop Music and Its Globalization
Nobody knows how a rapper really feels
A mind full of rhymes, and a tongue of steel
Just put on the hammer, and you will be rewarded
My beat is ever boomin’, and you know I get it started
MC Hammer, “Let’s Get It Started” (1988)
From the very beginning of hip hop culture, the African diaspora holds a large
part of its cultural origin, just as many other music forms popularized in America (e.g.,
jazz, blues, rhythm and blues and rock ‘n’ roll). Hip hop’s African root later develops
its spirit throughout the practice of the language form, rap, and other important elements
(breakdance, graffiti and deejaying) to communicate messages of different social and
life issues.
As hip hop culture emerges from the intertwined Black and Latin communities in
America, its innate political nature has thus been presented in order to address the
ongoing poverty, racial discrimination and social injustice. The hip hoppers who have
an alternative mind in exposing their wrath and channeling their voice build their
identity and subjectivity on rap, break dancing, graffiti and deejaying; their distinctive
life styles soon receive wide attention in public and become one of the most
influential youth and popular cultures around the world. As Nelson George points out,
“[B]ecause hip hop has so many elements—music, dance, attitude—its essential
mutability makes it adaptable worldwide” (Hip Hop America 203). As hip hop
expands and grows as a contemporary global cultural form, its wider impacts on
different groups, cultures and regions have thus become notable and researchable.
19
I. A Brief History of Hip Hop Culture
According to the definition of Encyclopedia of Rap and Hip Hop Culture (2006),
the term “hip hop” refers to the newly-formed music and subculture of which Africa
Bambaata credits DJ Lovebug Starski as the inventor. Around 1973, the Zulu Nation8
begins widespread usage of the term hip hop as means to organize the new subculture
(171). The birth of hip hop culture is in fact based on the youth who live in the urban
black community in the South Bronx district of New York City, where people in
poverty desire new things for a change. The background story starts with the city
planner Robert Moses’s The Cross-Bronx Expressway Project between 1948 and
1972. Although this urban renewal project at the first claims to benefit all city
residents, it turns out to support the rich and the influential, leaving the minority and
the working class’s civil rights behind. As Tricia Rose indicates, “The Cross-Bronx
Expressway Project, like many of Moses’s city projects, broke up Black and Latino
communities and left them with little leadership and resources” (quoted from The
History of Rap Music 18). The desperate reality triggers the birth of hip hop culture.
As the founder of the Zulu Nation, Bambaataa urges his young fellows to commit to
rap music and dance instead of drug and violence as outlets to express themselves
(The History of Rap Music 24). Lipsitz analyzes that this appeal, to a large degree,
helps “channel the anger and enthusiasm of young people in South Bronx away from
gang fighting into music, dancing and graffiti” (26). Thus, the performing style of hip
hop is generated from the very urbanized life and also the very marginalized part of
“ghetto”; through constant struggles and challenges, as Tricia Rose analyzes, “[it] is
___________________
8. The Zulu Nation is a group which Bambaata organized in 1974, a collective of DJs, breakers, graffiti
artists and homeboys.
20
the tension between the cultural fractures produced by postindustrial oppression and
the binding ties of black cultural expressivity that sets the critical frame for the
development of hip hop” (425). As a result, hip hop enters the public sphere to
become one of the members of popular culture with its unique performing style and
critical nature. The activities and events held by Bambaataa soon spread in favor of
young people of color under the tough living circumstances in the marginalized
communities, which those groups of diverse ethnicities enable the cross-cultural
exchange, as Lommel describes the phenomenon, “[g]raffiti-tagged trains became
unwitting cultural ambassadors, showcasing hip hop throughout New York City”
(Lommel 24).
And African-American and Latino teens from neighborhoods across the city
descended on parks and clubs in the Bronx to hear rap musicians relate experiences
overlooked by mainstream media and entertainment” (Lommel 18-19). Nelson
George also concludes in Hip Hop America (1999) that Bambaataa’s important
contribution lies in the myth he established for hip hop culture for the Zulu Nation
“filled the fraternal role gangs play in urban culture while de-emphasizing crime and
fighting” (18). At present, Bambaataa and the Zulu nation still serve as the anchor and
also mediates disturbances for its safety value in hip hop culture for over twenty-five
years and more (George18-19), even when hip hop is not possessed by merely small
amount of local people.
Along with Bambaataa, DJs (Disco Jockeys) in the clubs such as Kool Herc and
Grandmaster Flash are also the precursors in cultivating and promoting rap music and
break dancing. They develop new techniques9 for break beats on turntables and
___________________
9. The new break-beat techniques included “cutting”, “back spinning, “punch phasing” (The History of
Rap Music 23). Further aesthetics of rap will be explained in following sections.
21
blend reggae styles (based on their Jamaican and Afro-Caribbean heritage) into the
foundation of rap music; they recruit young people for dance crews and produced hip
hop tracks for rap groups like The Furious Five, which push the culture to higher
visibility as well (The History of Rap Music 23). Kool Herc introduces Coke La Rock
as his MC (master of ceremonies); Coke La Rock later invents several party slogans
which are to be deemed as the classic ones in the club culture. As to Flash, with his
electrician background, he further invented and applied techniques to mix sound. As
George analyses, “[O]ut of his curiosity came the ‘clock theory’ of mixing where
Flash is able to ‘read’ records by using the spinning logo to find the break” (Geroge
19). Flash even leads beat mixing to an entertaining level by using body gesture to
please the crowd (George 19). On the whole, Africa Bambaata, Kool Herc, and
Grandmaster Flash’s contributions to hip hop culture not only build the criteria of rap
music but also merge the music into “an expression of a local culture hungry for new
connections and eager to form a unique identity” (The History of Rap Music 25) to the
youngsters in the South Bronx community and “outgrew the local and burst on to the
national scene, drawing in young white teenagers as well as others of the African-
American diaspora” (The History of Rap Music 25). By the time the rap hit “Rapper’s
Delight” (1979) presented by Sugar Hill Gang, it has marked the momentous
milestone that hip hop music first starts to be known by the mainstream public, so as
to claim the coming of the epoch of hip hop (Rap Attack 3 ix). The song also heaves
the position of hip hop “from a local to an international entity” (Encyclopedia of Rap
and Hip Hop Culture xxiii).
Nevertheless, Bakari Kitwana has provided an alternative way to understand the
formation of hip hop culture. In The Hip Hop Generation (2002), Bakari Kitwana
points out that the group of African Americans whose birth years start from 1965 to
1984 can be considered as the group of “hip hop generation”. They are involved in
22
the activities of all areas, from artists to activists. They also lay the key ground that
helps materialize this cultural form. Hip hop generation is set to describe “the young
African Americans born between 1965 and 1984 who came of age in the eighties and
nineties and who shared a specific set of values and attitudes” (Kiwana 4). This group
of people play a very essential role in laying the groundwork for hip hop to appear in
the society as a prominent youth/popular culture. They obtain the rights from their
older generations to enjoy “the fruits of civil rights and Black power movement,”
including voting rights, affirmative action, the rise of Black elected officials, and
social programs benefiting the poor (Kitwana 147). They offer their critical or
political viewpoints through their works. Rap artists in the late 1980s such as NWA,
KRS-One, Queen Latifah or writers and filmmakers like Carlito Rodriguez, Bonz
Malone, Selwyn Hinds, John Singleton and Hype Williams in the mid-1990s all
endeavor themselves to the making of hip hop culture. Kiwana believes that those hip
hop generationers lay the foundation for understanding the generation’s worldview
(Kiwana 4-5). However, with those harvests of the previous civil rights movements,
those young Black middle-class citizens of hip hop generation seem to have less
critical and political acts regarding their culture and rights. Hence, the hip hop
generation seeks for a change covering race, class, gender and ethnicity. As Kiwana
continues to state, “our generation focuses on a wide range of issues: racial profiling,
environmental justice, electoral politics, youth issues, parenting, and globalization”
(Kiwana 149). Yet, Kiwana gives credits to Africa Bambaataa, Grandmaster Flash,
Melle Mels and DJ Kool Herc and many others that Lisa Sullivan called the “bridge
generation,” who technically do not belong to the hip hop generation but the ones who
“gave birth to the hip hop movement that came to define the hip hop generation”
(Kiwana xiii-xiv).
The historical consciousness, as mentioned above, endows the hip hop
23
generation with a strong motivation to search for their identity and also encourages
them to manifest their significance to the society of coming out from the streets to the
nation.
II. The Development of Rap Music
For the very first time hip hop culture appears as a cultural form constituted
by the four elements of rap, deejaying, graffiti and break dancing; hip hop rises
to inherit myriad features from different cultures.10 Although each one of the elements
counts in the development of hip hop culture, from Andy Bennett’s view, rap still
remains the particular and most significant one as resisting and addressing the living
condition of everyday life in Bronx. As Bennett argues,
In particular, the absence of a need for a musical skill, in the more
conventional sense of being able to play a musical instrument, gave rap
an essentially “hands-on” quality, making it an ideal medium through
which young people could spontaneously express their views or simply vent
frustration regarding issues such as interracial violence, poverty, and
unemployment─issues that were all exacerbated due to the ghettoization of
the Bronx district and its labelling as a “no-go” area. (89, my
italics)
Accordingly, rap as an oral art form contains the innate feature of arranging materials
____________________
10. According to Ian Maxwell, hip hop culture has the standard narrative, which from his words would
be the three key practices, “rapping, the historical precedents of which can be found in the singer-
historian father/faith healer of sub-Saharan Africa, inflected through the forced orality of slavery and the
more benign evangelism of southern Baptism, (re)united with the rhythms of Africa via the Caribbean,
collided, in the late 1970s, in New York, with the Latino-American tradition of quasi-combative dance
and (also) Latino urban idiographics, morphing into what Brewer (1992) calls ‘Hip Hop Graffiti’”
(Maxwell 41). See Phat Dope, Beats, Rhymes: Hip Hop Down Under Comin’ Upper (2003)
24
at hand for sounds and blending with rhythms and rhyming words, and using vinyl
records on turntables to produce sound effects called “scratching.” The “hands-on”
quality makes rap accessible because instrumental devices can be replaced by human
voice to produce the sound effects of music.
It is also considered that rap’s oral form has carried the African root from the
historical slavery in America. Based on the storytellers in traditional African culture,
“griots” are believed as the root of rap music, by singing and reciting things to reserve
knowledge. In Lommel’s words, “[T]hey entertained their audiences, and they educated
their people. . . [t]hey required and inspired the participation of their people in events
and by extension, in communities” (Lommel 10-11). Henry L. Gates has argued that
rap is the cultural continuity and “an African-American oral tradition, traceable through
the Middle Passage back to the sub-Saharan griot, elaborated by the experience of
slavery” (Phat Dope, Beats, Rhymes 42). Griots had the similar structures as rap now
possessed of its oral musicality which the “chanted rhymes punctuated by the rhythm
of drums underlines modern rap music, as it does so much of 20th-centrury black poetry
and musical expression, such as R&B11” (Lommel 11). Hip hop and R&B songs have
had bonds between each other because hip hop songs often “sample a musical or vocal
hook from a well-known R&B or pop song” (Hip Hop America 64) to acquire success
in business.
Moreover, hip hop culture’s thriving specialties include the performance presented
by the MC rapping on the stage, the DJ(s) working on musical collages and scratching
sound effects, and sometimes the DJ samples/adapts beats or verses from old songs
__________________
11. R&B sprang from the chord and beat of jump blues in the 1940s and it laid the groundwork for rock
and roll. In recent development, R&B evolves into a more changeable facet, often associating with hip
hop that “R&B began adding stylistic components of hip-hop until – by the end of the millennium—
there were hundreds of artists who featured both rapping and singing on their records.” More details of
the relations between contemporary R&B and hip hop will be discussed in later chapters. (See the music
genre definition http://www.allmusic.com/genre/r-b-ma0000002809)
25
seeking to create different styles for a new song. The sampling technique turns out to
be the most adventurous invention in the development of hip hop music that ties the hip
hop history from traditions to innovations (American Popular Music 386). Bennett
adopts L. Back’s interpretation on the “mixing” with the term “bricolage” to illustrate
the relations between rap music and the hip hop culture itself. According to Back’s
definition, “[R]ap music is independent on the rearranging of musical fragments
intermixed by the DJ. . .[t]he DJ is close to what Lévi-Strauss (1976) called a
‘bricoleur12’ or craftsperson who makes use— of musical fragments in order to create
new music” (Cultures of Popular Music 90). Back indicates that rap music has the
similar usage of musical fragments for which it extracts different music and lyrics from
different pieces of music works, thus forming the same “bricoleurist cut and mix”
effects (Cultures of Popular Music 90). Thus, Bennett concludes Back’s notion to
suggest that rap is postmodern music because it reassembles “songs and sound bites
from different eras, genres and ‘cultures’ of music corresponds with the blurring of
stylistic boundaries now occurring across a range of cultural and artistic concerns”
(Cultures of Pop Music 90). The idea of “bricolage” stands for a great part of hip hop’s
spirit, especially in the making of its music; through the process of bricolage, hip hop
music proves its capability of absorbing diverse elements across time and space and
creating its own cultural production.
Apart from the technical features presenting rap music with cultural diversities,
rap lyrics also possess an artistry of its poetic aesthetics. Lyrics, however, can be seen
_________________
12. To define “bricolage” in youth or subculture, Hebdige takes British punk music to reveal how the
subcultures are constructed: different materials with or without meaning borrowed or assembled into
shaping the punk style, which “was defined principally through the violence of its ‘cut-ups’” (Hebidige
106, my italics). Hebidige then clarifies the idea by exemplifying the already “manufactured objects
which qualified as art because [he] chose to call them such. . . a pin, a plastic clothes peg, a television
component, a razor blade, a tampon — could be brought within the province of punk (un)fashion”
(Hebidige 107).
26
as rap’s most essential property, which functions to make the music works expressive
and cultivated. Adam Bradley carefully examines the structure and the techniques of
rap and classifies its poetic conditions in Book of Rhymes: The Poetics of Hip Hop
(2009) to six categories: rhythm, rhyme, wordplay, style, storytelling, and signifying.
He discreetly puts rap into a theoretical domain and explains it in an intellectual eye.
First, he claims that rap is public art and also an oral poetry; it cannot be separated from
the rapper/MC or leave without the beat because the beat in rap is “poetic meter
rendered audible” (Bradley xv). Rap has to be sung and performed:
The majority of rap beats are in 4/4 time, as Bradley indicates, and it means
that “each musical measure (or bar) comprises four quarter-note beats. For
the rapper, one beat in a bar is akin to the literary poet’s metrical foot. Just as
the fifth metrical foot marks the end of a pentameter line, the fourth beat of
a given bar marks the end of the MC’s line. (Bradley xix-xx)
In addition to beat, rhythm, another essential factor in poetry, is also significant to
the creation of rap. Drawing on M. W. Croll’s theory, Andrew Walsh explains the
importance of rhythm in Roots of Lyric: Primitive Poetry and Modern Poetics (1987):
[T]he rhythmic form of verse is the same in its essential principles as that of
the music of song, from which it is, in fact derived in the first
instance…meanwhile a great of poetry continues and will always to
be made much like song as possible. Dancing and music are the arts of
rhythm; they have nothing to learn their own business from poetry; poetry,
on the other hand, has derived all it knows about rhythm from them.
(Walsh 192)
Therefore, rhythm proves to be one of rap’s fundamental elements, born with
rapper/MC’s voice and the beat they produce to create the dual relationship. Besides,
when rappers/MCs want to achieve the conformity with the syncopation and the stress,
27
they must try to connect their works with flows and rhythms that can best surprise the
audience.
Along with the beat and rhythm, rhyme can also be regarded as the most creative
and original artwork that rappers/MCs make from their mouth as well. In general, rap
usually rhymes in the end of the line, falling on the last beat, as Bradley analyzes, and
“two lines in succession with end rhymes comprise a couplet” (Bradley 50). With every
repetition of the last (or middle) stressed vowel, there comes the rhymes in the
accordance with the sound. Yet, whether the rhymes lie in the end or in the middle of
the lines, the function of the rhymes can always be the sparkle or the spotlight of rap.
Furthermore, the literary technique “wordplay” is another indispensable yet
interesting element of rap. Wordplay may possibly be the “most revolutionary way that
rap refashions the language. Wordplay creates surprising figures of speech and thoughts
that bind words and ideas in unexpected ways (Bradley 91). Rap morphs when MCs
have to use the inexplicit implications (similes or metaphors) to avoid the subject matter
they actually refer to; in this regard, rap can transcend the language into another level,
more playful and tactful. This technique not only presents the varieties of rap but also
demonstrates rap as the poetic form and a cultural phenomenon as well.
As to storytelling, many believe that it is a credit to rap, but also a defect. Since
rap is performed in public, the lyrics weigh much more than the written text, as it is
usually attacked by some social critics (e.g. C. DeLores Tucker, the African-American
activist, was deemed the most aggressive one in degrading the value of rap) for the
excessive inclination toward violence, misogyny, drug, and commercialism. However,
there are still intelligent storytellers who contribute themselves to writing their real life
stories and personal opinions and perform them with skilled rhymes and rhythms. The
lyrics can stand for an “attitude.” Tricia Rose once mentioned in Black Noise: Rap
Music and Black Culture in Contemporary America (1994) that to rappers, storytelling
28
means more than just sharing life experience:
Rappers tell long, involved, and sometimes abstract stories with catchy
and memorable phrases and beats that lend themselves to black sound bite
packaging, storing critical fragments in fast-paced electrified rhythms. Rap
tales are told in elaborate and ever-changing black slang and refer to black
cultural figures and rituals, mainstream films, video and television
characters, and little-known black heroes. (Black Noise 3)
Rap has close relationship to urban black culture, carrying and voicing out the thoughts
and attitudes of urban blacks. In a sense, storytelling communicates how the ethnicity
live their life and how they would like to share their life with others via this slick
language form.
Even though rap now can no longer be exclusive only to the “Blacks” or, to some
extent, not as the medium of conveying the black consciousness for its highly
commercialization, the performing style still reveals strong individual or local identity.
Moreover, when rap is appropriated into different languages other than English, its
language structure will also be modified into a novel form with new metrical flows and
new syncopated rhythms to meet the rhetoric device and thus to create unique lyrical
aesthetics. For instance, French Rapper MC Solaar, whose rapping style is considered
pure musicality that both the combination of the rhymes and syllables of French
language of his works render with different flows, punch lines and stops. Signifying
(aka battling) is a rather special facet of hip hop culture. Competitors stand face to face
to deliver improvised rap, battling rap skills (including rhyme, puns, and other wordplay)
with one another; whoever has better skills wins the battle. Such “freestyle battle” could
have originated from the ancient Greeks thousands of years ago.13 Because of its
___________________
13. See Geneva Smitherman’s Black Talk (2000) for a word definition on rap.
29
impromptu characteristic, some people may wonder its orthodoxy of being poetry
instead of the finely revised composition. However, as Bradley seeks to defend that “no
matter how we define the precise connection, the freestyle battle provides a way of
understanding something as a whole. Most raps, whether freestyled or written,
celebrates individual excellence” (Bradley 179).
In a word, youngsters channel their emotions, thoughts and life philosophy
through rap, turning daily conversation into lyrical or poetical patterns and also
communicating many of the personal ideas about political, social and racial issues for
“rap is a legitimate literacy tool with the added benefit that addresses the social,
economic, and political position. . . It serves to facilitate cultural synchronization”
(Forell 30). Yet, no matter what political or social causes have ever influenced and
reconstructed the transformation of hip hop culture, as young African-American (and
other ethnicities that make the progress) people resort to rap music for the vent to
dissatisfaction or anger toward the society thirty years ago, hip hop culture now is going
beyond its original root and it has morphed into diverse looks concerning the popular
culture worldwide. Since the serious issues discussed from the African-Americans such
as racism, inequality and oppression have been loosened, the definition of hip hop has
been reworked as well (Bennett 102). Nonetheless, music remains the core of hip hop
as it progresses into the postmodern popular culture globally (George xiii).
III. The Globalization of Hip Hop
The globalization of hip hop culture could be discussed in several phases and
aspects as cultural mobility takes great part in its worldwide development. First of all,
Paul Gilroy addresses the Black Diaspora in The Black Atlantic (1993) to explain that
hip hop is not only associated with African-American culture but also African and global
30
diaspora. Gilroy asserts that the process of hip hop’s distribution could be interpreted as
the “fundamental dislocation” since black music is detached from the mobility of race
and turns the pristine Africanity into a different phase which can mutate elsewhere (The
Black Atlantic 101). Traditional black music henceforth varies and provides another
channel for imagination. Andy Bennett also points out that “hip hop is culturally mobile”
(Bennett 133). One important reason lies in its resistant nature, in terms of the easy-to-
be-appealing provocativeness of rap, is that rap “can be used as a means of engaging
with and expressing dissatisfaction at the more restrictive features of everyday life in
globally diffuse social settings” (Bennett 89).
Yet, what facilitates hip hop culture to spread globally does not merely conclude
with one dimension. According to Appadurai’s accounts, the disjunctures of cultural
flows can be classified into five scapes, which are enthnoscapes, mediascapes,
technoscapes, financescapes, and ideoscapes. Among them, the ethnosapes and
mediascapes are fairly related and commonly adopted to elucidate the globalization of
hip hop. Ethnoscapes refer to the landscape of persons that move from place to place,
including “tourists, immigrants, refugees, exiles, guest workers and other moving
groups and individuals constitute an essential feature of the world and appear to affect
the politics of (and between) nations to a hitherto unprecedented degree” (Appadurai
33). Therefore, Wise addresses both ethnoscapes and mediascapes in global music to
elaborate that “the movement of diasporic peoples changes not only their music but the
music of places they move to and through….[T]hese immigrant populations represent
potential audiences for these music” (Wise 87). In this sense, global musicians can carry
the experience of displacement and also “speak to trans-Atlantic, and transnational
movement of people and music” (Wise 89-90). Thus, hip hop culture’s dissemination
relies largely on people’s diaspora with the unceasing movement and cultural practices
of exchange around the world. Obvious transnational samples given as South Korean
31
rap groups Drunken Tiger, the group members are mostly Korean ethnicity with
American nationality, rap in English and Korean and sample local Korean music into
their songs and sign to Korean record label (Wise 101). Similar to Drunken Tiger,
Taiwanese hip hop group Machi rap in Taiwanese, Mandarin and English, and they
record and produce their music in both America and Taiwan, releasing their albums on
international record label. The cases above present how human movements can affect
the spread of music in such a global form and thus alter the content of music from its
original look. Mediascapes, as Appadurai defines, are related to the “landscapes of
images” and are also “disjunctures” that cannot be formed as simple or mechanical
infrastructures:
Mediascapes refer both to the distribution of the electronic capabilities
to produce and disseminate information (newspapers, magazines, television
stations, and film-productions studios), which are now available to a
growing number of private and public interests throughout the world, and to
the images of the world created by these media. These images involve many
complicated infections, depending on their mode (documentary or
entertainment), their hardware (electronic or preelectronic), their audience
(local, national, or transnational), and the interests of those who own and
control them. (Appadurai 35, original italics)
Hence, the mediascapes offer audiences large contents of different sorts of texts, from
television to audio products, to which “the world of commodities and the world of
news and politics are profoundly mixed” (Appadurai 35). The technical and media
agencies both render the so-called “black” music with public attention and propel hip
hop culture onto global stage. Nelson George takes Michael Jackson’s music videos
as a pioneering model when his music videos first changed people’s appreciation of
music, the images of his music videos not only “extend the conceptual reach and
32
upgrade filmmaking style and budgets for acts of all colors” (George 99) but also
pioneer for other crossover stars (e.g. Whitney Houston, Prince and Lionel Richie) to
gain much more visibility. While rap group Run-D.M.C. playes an essential role in hip
hop’s first music video, MTV Channel’s daily show Yo, MTV Raps! helps promote hip
hop culture to a larger stage. As George says, the show “didn’t just pull in viewers—it
sent seismic waves through the whole music industry. By giving hip hop music,
dances, and gear a regularly scheduled national platform, the broadcast was integral to
inculcating hip hop’s distinctly urban culture into the rest of the country” (George
101). Moreover, as George continues, videos can “project images of these ever-
changing styles and the artists who wore them across the globe, as no other African
American music style had been before” (102). Appadurai pretty much draws the
account that mediascapes “tend to be image-centered, narrative-based accounts of
strips of reality, and what they offer to those who experience and transform them is a
series of elements” (Appadurai 35). Hip hop’s attitude and the obsessions of urban
America have been transmitted to the world through the images of music videos;
while “black music was shown only briefly and often in a very culturally hostile
environment” (George 103), the constantly repeated images from music videos
engage young kids everywhere around the world for hip hop’s larger than life
personas has been visualized since then and therefore make the culture “mythic”
(George 98).
Yet, the globalization of hip hop culture manifests itself in various aspects because
of hip hop’s innate mutability when it appears in different countries. Scholars and
cultural observers deduce that “mutability” enables hip hop culture (including its
music, dance, and costumes, or ideologies such as Afrocentrism or political
inclination) to be embraced diversely by the young people and popular culture
worldwide. The mutability of hip hop can be detected from different fashions. Tony
33
Mitchell adopts Deleuze’s notion of the “rhizome” to interpret the quick application of
hip hop culture and rap music into different cultures. He uses Silent Majority, a
Switzerland rap group that raps in a mixture of English, Jamaican patois, French,
Spanish, and Swahili to exemplify how. The multilingual use of the languages can be
seen as “a ‘plant’ neatly corresponds to Deleuze’s ‘rhizome’ and serves to emphasize
the ‘glocalization’ of rap” (Mitchell 3) and he also asserts that the use of vernaculars
presents as a form of resistance to preserve local culture. This idea applies to the use
of Taiwanese or Hakka rap in Taiwan for exalting the local Taiwanese consciousness
to a certain extent. Moreover, based on Bennett’s ethnographic study of hip hop
culture of Frankfurt am Main, Germany and New Castle, England, he attempts to
elucidate that hip hop tends to be a resistant form in the local contexts. The youths
there attempt to “rework hip hop into a medium for the expression of local themes”
(Bennett 140). Bennett also finds that “local rap groups began incorporating German
lyrics into their music” (Bennett 140), so that the cultural significance in the lyrics can
be portrayed and performed through such artistic creation.
In France and Italy, hip hoppers are likely to express the political and socially
conscious side of hip hop music for rap is taken as a means to articulate the political
or critical appeals for them and to vent the anger toward the government (George
206). The radical nature has been transplanted into foreign culture. As Lipsitz views
the phenomenon, “the radical nature of hip hop comes less from its origins than from
its uses” (Dangerous Crossroads 37). In Hong Kong, the local alternative Hong Kong
hip hop/rock band, LMF (also known as Lazy Mother Fucka 大懶堂) seeks the
identity from teenagers with their local consciousness and blue collar image. They
create the “emotional space” for their fans to feel they are an integral whole to the
group which brings “the band and its audience together to express something likewise
unintelligible, a rage or frustration or something else which expresses their daily
34
affective experience of life in Hong Kong” (Wise 105). Eric Ma argues that LMP
presents a local identity that Hong Kong has been longing for since its diasporic
history lacks strong “nationalist imperatives” and it always “involves a triangular
articulation of Chinese nationalism, British colonialism, and globalization” (Ma 187).
Japan and South Korea adopt different manners in carrying the high popularity of
hip hop culture. In Ian Condry’s Hip-Hop Japan (2006), he closely observes the local
Japanese live performances and interviews the rappers. Condry draws special attention
to how Japanese rappers both show their enthusiasm and disillusionment about
American nostalgia and how they turn hip hop into Japanese (Condry 210). They
embrace the grassroots of the African-American hip hop culture, which they call “new
blackism” while at the same time they also seek the latest fashion of hip hop trends, or
go as far extreme as to tan their skin dark (George 204). However, Japanese hip hop
still has created its specialty by the language use and different performing styles that
gives the culture a local tone. Moreover, Condry clarifies the idea that “localization of
cultural forms, can, and at all times does, proceed simultaneously with an increasing
global sharedness, thus showing that opposition between local and global can be a
false dichotomy that hides more than it reveals” (Condry 2). Condry’s assertion more
or less discloses that under the age of globalization, the boundaries of dichotomous
symmetry would eventually become mutual existence and construction.
In the case of South Korea, Suh-Kyung Yoon points out “K-pop (as Korean
music is known in Asia) is localized hip hop that tones down the harsh beats of the
American genre and deals with issues more resonant with the Asian youth” and “it has
been the dominant genre in Korean pop music” (Yoon 92, my italics). Nevertheless,
according to Sarah Morelli, rap has been well-incorporated into Korean popular music
industry and hip hop music has been taken as a style of vocalization but not been
seriously deemed as a category of popular music or music genre in South Korea, which
35
seems to generate the rupture from what hip hop culture is usually defined and realized.
Similarly, black style is widely popular among Korean youngsters, and even many
young Korean students see hip hop dance and music as “their means to success” in
pursuing the stardom.
From New York to Paris, or Tokyo to Hong Kong, hip hop has emitted its light
to shine the global culture. In this chapter, I have discussed the history of hip hop culture,
from its origin in America to the later national dissemination and “the hip hop
generation”, which refers to the people committed the contribution to the development
American hip hop. I also have addressed the language use of rap, pointing out the
original African roots and its linguistic features that credit it a distinct modern black
verbal communication. Yet, I focus on the globalization of hip hop culture, discussing
its dissemination and how its socio-political consciousness has affected different
cultures to be resonated since “hip hop demonstrates the various and particular flows of
people, music, and politics […] as crucial to understanding cultural globalization” (Wise
101). In the next chapter, I will continue to focus on the development of hip hop music
in the context of East Asia countries. I will pay attention to the proximity to Taiwan,
Japan and South Korea to closely analyze the cultural flows and transnationalism among
each other and how they intermingle with different issues of Asian hip hop music that
turn out to influence the experience of hip hop music in Taiwan.
36
Chapter Two:
The Transnational Development of Hip Hop Music in the East Asian Context
During the past decades, hip hop culture has arrived and been embraced by the
youths and the popular culture around the world. As I have mentioned in the previous
chapter, after hip hop appears to be the global shared culture by cross-cultural
exchange, people’s diasporic movement and the circulation of international capital
commodities and technology, its impact has thus been expanded for the culture’s
strong features of “remixing” and “sampling” to inscribe different cultures into the
category from local identity, politics to the development of society to decenter or
innovate hip hop’s global look. The routes of the disseminations of hip hop do not
occur to only one itinerary after hip hop departed from America, in which different
societies and cultures around the world can breed diverse hip hop cultures that now
emerge to be connected to turn into one of the significant global cultures. Ever since
hip hop has been widely spread and been inscribed and familiarized with the East
Asian regions (mainly indicating Taiwan, Japan, China, Hong Kong and South
Korea), it has also become one of the most intriguing and also influential popular
cultural forms over East Asia. The East Asian context of hip hop culture, in a sense,
could result from the geographical proximity and cultural affinity for East Asian
countries share some of the historical backgrounds and cultural affinities other than
the Euro-American ones, which Koichi Iwabuchi asserts “East Asia as a region”
(Iwabuchi 403) to have more commercial and cultural exchanges to a certain extent.
In this chapter, I shall discuss the influences of cultural flows and routes
regarding the development of hip hop music and the issues around its transnational
development in the context of East Asia, focusing on the mainstream fad of Korean
Wave (i.e., K-pop), J-R&B and then the hip hop trend and the transnational mass
media culture in Taiwan to thus indicate how the interrelationship of hip hop’s cross-
37
cultural and regional experiences in East Asia affects Taiwanese hip hop music.
I. “Asianism” as Thinking Transnational over National
As Okakura Kakuzō mentions earlier in The Ideals of the East (1941) to point
out that “Asia is one,” he suggests that every region of Asia, though demarcated by
geographical, social and cultural ranges, has unique connections to build a common
life to each other. Yet, over the past decades, the definition and interpretation of
“Asianism” has been reconstructed and revised through various means since the end
of World War II. Asianism once indicated Japan’s another imperial reign after Asia’s
long post-colonial history of the Western countries that granted Japan the expansionist
role to resist the Western imperialism in wartime. However, Japan’s defeat in World
War II subverted the situation and even changed the conception of Asianism and the
connotation of Japanization to later entitle it a more positive meaning. As Iwabuch
Koichi elaborates in Recentering Globalization: Popular Culture and Japanese
Transnationalism (2002), this historical turnover “curtailed Japanese cultural
orientation toward other Asian countries as a colonial power” (9) and simultaneously
Japan forged to change the fairly inferior status compared with that of the Western
(usually referring to the United States) by indigenizing or domesticating the Western
culture, to which intended to replace the process from “imitation” to “appropriation”
(Iwabuchi 10). Moreover, Iwabuchi asserts that even though Japan received notorious
reputation after the war, the prevailing economic growth along with other countries in
Asia after the 1960s reversed the situation because “[t]he rapid economic growth of
several countries in Asia14 has, for the first time in history, turned negative
connotations associated with the term Asia into positive ones” and “[i]n this context,
the Japanese experience of modernization and its economic power are no
38
longer perceived as scandalous or spectacular, since the ascent of Asian power is
becoming more important to the West” (Iwabuchi 12, original italics).
Therefore, on the account of Iwabuchi’s assertion, Japan’s returning-to-Asia
experience transits and mutates into a more novel and positive form. Although
constantly seeking for the Japanese national identity through an unique place built
under the trichotomy of Asia, Japan and the West, Japan’s encounter with Asia
mutually grows with the so-called “Asian values.” Namely, the rising power of Japan
has created a space to speak for herself since “the rise of ‘Asian’ capitalism signifies a
transnational configuration wherever the global spread of Western-origin capitalism
has made any attempt at a clear discursive demarcation of ‘the West’ and ‘Asia’ (and
‘Japan’) fallacious” (Iwabuchi 15, my italics). Iwabuchi also discovers that other than
the past historical invasion and the political complex which Japan once longed or
imagined concerning the regions of Asia, in recent decades, the Japanese
commercialized popular culture has taken over the position in terms of diffusing
Japanese TV dramas and popular music since “[t]he development of communication
technologies has facilitated the simultaneous circulation of numerous kinds of media
information, images and texts, on a global level” (Iwabuchi 16). This phenomenon
explicitly represents Japan’s transitional take on its cultural flow in the East-Asian
regions.
In fact, Iwabuchi indicates that transnational interactions have tremendous
impacts on the circulations of Japanese popular culture because
[C]ultural flows among East Asian countries, particularly in Japan, Taiwan
and South Korea are gradually becoming active and constant more than
____________________
14. The countries that Iwabuchi mentions here include Singapore and Malaysia. The leaders of these
Southeast Asian countries, such as Lee Kuan-Yew and Mahathir Mohamad, advocated the preliminary
Asia value against the Western modernization.
39
ever……as the spread of common popular and consumer culture in many
parts of Asia is often referred to as evidence of the ‘Asianization of Asia,’
evidences cited are in many cases the prevalence of Japanese popular
culture in Asia. (Iwbuchi 209)
However, even if those East Asian countries receive and share cultural influences
from each other, Iwabuchi does not suggest that the Japanese colonial power of
wartime has disappeared henceforth; on the contrary, Iwabuchi points out that the
“Asia” in Japan is reworked through the transnational popular cultures, which
“Japan’s conception of being ‘in but above’ or ‘similar but superior’ to Asia is
asserted, displaced and rearticulated” (Iwabuchi 199). Thus, Japanese popular culture
can be reconstructed through a seemingly postcolonial route to disseminate to other
areas across East Asia yet not quitely deemed as a negative approach as what the
Asianism in Japan was once accused. As a result, the wide spread of Japanese popular
culture in East Asian regions reveals the reciprocal relationships of the transnational
exchange:
Young people in Taiwan or Hong Kong actually perceive the sense of
cultural similarity or proximity in positive ways in consuming Japanese
popular cultural forms. Yet, even if this is the case, audience identification
of cultural proximity should not be seen in any essentialist manner. It is a
more complex and dynamic process of ‘becoming,’ in which the perception
of comfortable distance and cultural similarity is based upon a recognition
that Taiwan, Hong Kong and Japan live in the same temporality, the
recognition brought about by the narrowing gap of material conditions and
the (globally) converging tendency in terms of the urban consumerism of an
expanding middle class, the changing role of women in society and the
development of transnational communication technologies and media
40
industries. Hence, even if a craving for Japanese popular culture and
consumer commodities is being generated among the youth in East Asia, it
is no comparable to the yearning for ‘America’ evoke in the 1960s or 1970s
Japan, in which the people found the pleasure of identifying with the
materially and symbolically unambiguously superior center. (Iwabuchi 205,
my italics)
Iwabuchi thus claims that the popularity of Japanese popular culture among East Asia
is formed upon the mutual foundation of the proximity with other East Asian
countries, the growth of the middle class in material societies, the elevation of women
roles, technologies and the development of media industries. Yet at the same time, the
fondness of Japanese popular culture does not completely symbolize an attitude of
xenomania, i.e., the frenzy for Western or American culture or the identification of
Western power; instead, it is forged with wider intensity and connections among other
Eastern Asian countries to perform a cultural fusion. On this account, the Asianism
presenting in Japanese popular culture would be as a reversed version differing from
the regional dominant power or ideology in the past.
However, those influential reasons shown above somewhat disclose the “return
of Asia” (Iwabuchi 15), particularly as media industries propel the transnational
circulation of East Asian popular culture among the regions. Iwabuchi also
specifically points out the importance of transnational media market in East Asia:
East Asian media cultures are not just well-received domestically. They
have crossed the national boundaries as well, especially to other parts of
East Asia. This is suggestive of another trend of media globalization that
regional connections are enhanced in such a way as to bypass the command
of Euro-American media culture production and distribution. Furthermore,
inter-Asian promotion and co-production of media cultures has become
41
commonplace with the growing collaboration and close partnerships
among media culture industries in the region with the aim of pursuing
international marketing and joint ventures spanning transnational markets
(Iwabuchi 199, my italics).
From this perspective, the transitional collaborations indeed take a great part in
facilitating the cultural exchange and cluster the shared Asian value.
Similarly, Leo Ching discusses Japan’s regional identity on the basis of
Asianism over the transnational development. Ching mentions in the article
Globalizing the Regional, Regionalizing the Global: Mass Culture and Asianism in
the Age of Late Capital (2002) to indicate that Japan and Asia are mutually seeking a
more modern consumerism and also the shared popular culture:
Asianism no longer represents the kind of transcendental otherness required
to produce practical identity and tension between the East and the West.
Today, “Asia” itself is neither a misrepresentation of the Orientalist nor the
collective representation of the anti-imperialist. “Asia” has become a
market, and “Asianness” has become a commodity circulating globally
through late capitalism (Ching 306).
Ching then refers to the Japanese popular music producer, Komuro Tetsuya’s
viewpoint from an interview: “I want to create an entertainment complex for Asians.
It will be a place not just for Japanese or Chinese, but for Asians as a whole. I foresee
music as a way to hold the continent together” (Ching 306, my tialics). Tetsuya’s
statement here manifests that pop music in East Asia may carry out the possibility of
bringing the regions a new unification under the transnational cultural flow, which to
a certain extent echoes Iwabuchi’s concept that “inter-Asian media culture
consumption has brought about new kinds of cross-border relationships, mutual
understanding and self-reflexivity about people’s own society and culture on a large
42
scale that has never been observed before” (Iwabuchi 201).
As global hip hop music evolves throughout East Asia as one of many pivot
genres of popular music, Taiwan’s hip hop music has also been embraced by constant
interactions and cultural exchange from other East Asian regions and countries. In the
past twenty years, Taiwanese hip hop has been changed drastically in several phases
and received the recognition during the developmental stage. Hip hop music in
Taiwan first grows as imitation and appropriation of the music form directly
implanted from America, and later expands as one of the sub-cultures regarding local
identity and national recognition. However, as its tentacle spreads across East Asia,
hip hop music in Taiwan enters into the East-Asian realm that seems to discover a
new face differentiating from the past. In the following discussion, I would draw on
the development of Japanese and South Korean hip hop music and have a primary
analysis on how they could interconnect to Taiwanese hip hop music in different
periods.
Undeniably, due to Taiwan’s modern colonial history with cultural and
geographic proximity toward Japan, Japanese culture has a huge impact on the
development of Taiwanese local culture in myriad dimensions accordingly. Even
though Japanese pop music has widely influenced the music industry in Taiwan, it is
until late 1990s and late 2000s that Japanese hip hop is thus shown on the growth of
Taiwanese hip hop music. There are two reasons to explain the nearly a decade gap.
One is because hip hop in Japan, as Ian Condry describes, “grew from as a small,
underground scene in the eighties and early nineties, largely dismissed by Japan’s
major media companies, to become a mainstream pop culture phenomenon today”
(Condry 1). Meanwhile, hip hop in Taiwan then is still in its early experimental stage
with only a few attention received in the early 1990s. The other reason is that
Taiwanese hip hop music had once been demarcated by two diverse forces at the time,
43
that is to say, the battle between local Taiwanese and the ABC/ABT (American-born
Chinese/Taiwanese) rappers or hip hop artists to dispute the authenticity against
Taiwanese hip hop music. However, the influences regarding the J-R&B trend, the
performativity of Japanese rap and the succeeding Korean wave (i.e. Korean hip hop)
have indeed accelerated the spread of hip hop music and propelled it to the
mainstream, incorporated as one of the transnational music genres around East Asia
through transnational collaborations, inter-Asian media culture exchange,
communication, and consumption.
II. Japanese Hip Hop and R&B/Soul Trend
Japan is the country that opens her arms to hip hop culture in its early stage.
Japanese hip hop is first discovered in the early 1980s with a small group of people in
local clubs, where youngsters practice and battled their skills with remixing, sampling
and breakdancing before it grew mature and reached mainstream success. Ian Condry,
the author of Hip Hop Japan (2006), explicitly investigates and analyzes the history
of hip hop in Japan and how it has evolved and transformed the black (or African-
American) culture into Japanese. In Hip Hop Japan, Condry deals with various facets
of Japanese hip hop comprehensively. He begins from the early stages of the
underground Japanese hip hop in the 1980s, finding out the premier links between the
imitation of the music and dancing style to the later issue of mimicking the “black”
and how hip hop turns into Japanese forms under the flow of globalization.
Initially, the radicalized topic regarding the globalization of hip hop culture,
whether there is any connection of Japaneseness existing in the blackness: two
dialectic debates upon how Japanese hip hoppers reinforce and reproduce the black
style by themselves and how they seek to develop the unique and distinctive forms to
44
fight against in the other way. Condry then states that even if race issues does trigger
controversy in Japan, it is not as the same as that of the United States. For the reason,
he tends to clarify that
hip hop creates a space of questioning race and power by laying bare the
constructedness of racial identity. Japanese hip hoppers are not engaged
solely in transforming hip hop style into something pure indigenous, but
rather in reconfiguring the cultural politics of race such that the issues do
not revolve primarily around dichotomies of Japanese versus other. (46)
Moreover, Condry continues to explain the phenomenon in an alternative
account, eschewing from the local versus global debates, but more depending on the
new model of transnational cultural politic of difference. As Japanese rappers called
themselves “yellow B-boys”, it is a means to remind people that “race forms a
necessary part of hip hop consciousness than in asserting a pan-Asian racial identity”
(48).
Then, Condry also focuses on the language usage applied in Japanese rap. He
reckons that during early hip hop era, rap in Japanese language was considered an
impossible act because early Japanese rappers thought the Japanese language pattern
“simply would not ride the rhythm” (149). Yet, except for some bilingual rappers,
rapping in solely English language never actually occurs in J-rap. For the issue,
Condry goes to two explanations: first, as Japan confronted the high peak of bubble
economy, it was the political-economic factor that Japan attempted to resist the
Western economic power to thus build a healthier domestic music industry itself.
Second, Japanese rappers learned to innovate and exchange the Japanese language
pattern so as to meet the rhyme and to adopt new approach by mixing English and
Japanese or using Japanese vernacular to thus “liberate” the Japanese language in rap.
To Condry, this is all about “finding a language that can crack the fissures of artificial
45
language, the standard Japanese, and in so doing, change society” (152). In this case,
Japanese rap lyrics construct its uniqueness by creating the new patterns of language
and using local slang to feel domestic. Consequently, the newly invented language
pattern of Japanese has conquered the language barrier of rap verses; in other words,
English then tends to be less adopted in the composition of Japanese rap music.
More importantly, Condry, who spends numerous years studying Japanese hip
hop, discovering and asserting that “genba” (generally referring “sites of
performance” or “sites of cultural production” in Japanese but the actual definition of
genba would vary, depending on the performative and social accounts regarding
Condy’s concept) can provide “a window on some cultural processes better than
others” (13). Genba, as the most indispensable factor in breeding the local Japanese
hip hop culture in performative and media contexts, which Condry believes “[genba]
was very useful for broadening our understanding of the mutual construction of
cultural forms (like hip hop) beyond ‘producers vs. consumers’ to include to other
actors (artists, record companies, media, fans, etc.) in dynamic feedback loops” (13).
For this reason, Genba is where Japanese underground and mainstream hip hop lies its
cornerstone and also the most essential cultural site that cradles, localizes and
diversifies the culture.
However, according to Condry, it is not until around 1994 and 1995 that
Japanese hip hop finally jumps up to the mainstream popular culture and wins the
commercial recognition not only by those underground artists but also by the
cooperation with the record companies and music producers. Yet, the key factor that
accelerates hip hop music to be widely spread in Japan is the combination of female
vocals and male rap by mainstream music production around late 1990s right after the
success of several female R&B artists. This new music style that comprises rap with
the arrangement of hip hop and urban R&B15 music has soon started to be noticed.
46
Condry specifically addresses the music form and explains how it has affected the
Japanese mainstream music industry,
[i]n the late 1990s, a Japanese R&B boom led by women singers helped to
bring (male) Japanese hip hop into mainstream consciousness. Sparkled by
female artists like Misia, Utada Hikaru, and groups like Double and Sugar
Soul, this ‘new R&B’ (nyū aru ando bii) was characterized by melodic and
attractive young women singers. The music tends to be bass heavy with an
emphasis on the rhythms and always with a token DJ scratch solo. As these
singers and groups produce hit songs, they often record remix versions with
Japanese rappers accompanying them. (171, original italics)
The “new R&B” trend is believed to have much to do with the rise of the female
artist, Utada Hikaru (宇多田 光), whose music creates a large space for J-R&B and
hip hop to be disseminated over Japanese mainstream as Condry concludes “it was the
new R&B boom that brought a variety of the underground hip hop artists into the
national spotlight” (Condry 171).” and “Utada defined the pinnacle of Japanese pop
music in the late 1990s with the style that drew on hip hop production methods of
sampled, bass-heavy music” (Condry 172). This new R&B style exalted by Utada’s
songs not only sheds light upon Japan’s hip hop music but also alters the
arrangements of hip hop, R&B and soul music in other East-Asian countries adjacent
to Japan since then. Although Condry argues that the J-R&B trend brought by Utada
__________________
15. According to the definition of the American credible website “AMG” (All Music Guide), urban
R&B is the subgenre that derived from the R&B/soul music of the 1980s and 1990s. However, music
producers, such as Jimmy Jam & Terry Lewis (Janet Jackson), Denzil Foster & Thomas McElroy (En
Vogue), and Antonio “L.A.” Reid & Babyface, who “dominated urban music at the turn of the decade,
with Babyface going on to a hugely successful singing career in his own right.” Accordingly,
“[u]rban R&B and hip-hop continued to cross-pollinate during the early '90s, eventually resulting in a
new hybrid tagged “hip-hop soul.” In the context of J-R&B, hip hop and R&B music are incorporated
as a novel music form, which combines Japanese (or English) rap, DJ scratching effects, soulful vocals
and the arrangement of syncopation and heavy rhythms.
Website link: http://www.allmusic.com/style/urban-ma0000011965
47
Hikaru formed a standard female language (as a comparatively vulnerable or
generalized feminine expression) use in her song lyrics to sound more “kawaii”
(cuteness or loveliness in Japanese) for the sake of marketing, which somewhat
contrasts and weakens the masculine image of the collaborated hip hop and rap artists,
and the language choices of women’s speech might also construct a notion of
Japaneseness that “women tend to be regarded as ‘more Japanese’ than men, at least
of their language use” (172-173). Nevertheless, around early 2000, more male J-R&B
and hip hop artists came into view, such as Ki-yo (清貴), Hirai Ken (平井 堅), and
the male duo CHEMISTRY. These “male” singers tend to collaborate with different
rappers so that there are not merely “female singers vs. male rappers” but more male
singers involved to break the image of female R&B singers being “kawaii” in the
music production. And along with music producer Kiyoshi Matsuo’s promotion on the
mass music production of R&B and hip hop in the market, the new R&B trend have
thus acquired the rank in Japanese pop music to embrace more audience.
Simultaneously, the popularity of the Japanese new R&B shone on the pop music
in Taiwan in early 2000 as well. Followed by tremendous inspiration of Utada Hikaru,
Hirai Ken, A.I. CHEMISTRY, and Misia, Taiwan’s music industry begins to notice
and produce hip hop and R&B music similar to that of Japan, initially adopting
female vocals with male rap vocals, e.g. Elva Hsiao and music producer Jae Chong’s
“Cappuccino” (1999), Jay Chou and Coco Lee’s collaboration “Daw Ma Dan (刀馬
旦)” (2001), and Will Pan and Jill Hsu’s “Tell me” (2003). This kind of music style
has thus formed a model for Taiwan’s R&B and hip hop music.
In fact, before the new J-R&B trend, the group Tokyo D once sweeps over
Taiwan’s pop music industry in the early 1990s, a music band constituted by eight
Japanese breaking dancers. They often present their stage performance with breaking
and new jazz dance and style with dreadlock hair and in saggy tops and jeans,
48
accompanying catchy candy pop songs or dynamic dance rhythm in both Mandarin
and Japanese language. Although the Tokyo D fad on Taiwanese pop music does not
seem to last long, even less than L.A. Boyz during the period, their influence, whether
on hip hop music or dance style, uncover a path to transnational collaboration by
introducing the new wave of hip hop into Taiwan’s mainstream popular music
industry at the time, in a rather Japanese fashion.
As a matter of fact, the other part of the rise of Taiwan’s hip hop and R&B music
(which will be discussed and elaborated in Chapter 3) also flourishes during the early
2000. It can often be traced respectively to the overwhelming success of Jay Chou and
David Tao, whose musical composition and arrangement contain the elements of
R&B, hip hop and soulful vocals. In addition, MC Hot Dog and Dwagie’s (aka 大支)
hardcore rap also generates a series of controversies because of the sharp rap lyrics
and the political ideology. Still, I would like to assert and conclude again that the J-
R&B and hip hop trend has been positively played an essential role in introducing a
novel form of R&B and hip hop music to Taiwan no matter in singing, composing or
performative style and until now, the influence of this kind of pan-Asian J-R&B style
still lasts in Taiwan’s pop music production.
III. The Korean Wave as K-pop of “The Localized Hip Hop” in South Korea
Aside from Japanese R&B and hip hop music, South Korean pop music has
also swept over East Asia for the past decade and still expands its power via the trend
of Korean Wave. In the definition of Korean Wave (2008) edited by The Korea
Herald, the term Korean Wave “refers to the phenomenon of Korean popular culture,
which is disseminated through the mass media and is enjoying the popularity outside
of Korea” (13-14). Korean Wave (also known as Hanliu 韓流 / 한류 hallyu) covers
49
a broad range of cultural and commercial consumption, from TV drama, movie,
reality show, fashion, to popular music to propagate Korea popular cultures, even to
endow the audience with the imagination concerning the country itself. In fact, South
Korea’s media liberation during the late 1980s to the mid-1990s is considered to be a
fairly crucial turning point for the rise of Korean Wave. Doobo Shim indicates that the
rapid increase in foreign television and the television channel expansion and the open
film policy toward Hollywood are two important factors awakening Koreans to pay
attention to their domestic industrial development in local culture (Shim 31). After the
first blockbuster Korean film Sopyonje (1993) topped the box-office chart, Korean
public and the government were excited to believe that the idea of culture could be an
industry, that the cultural industry had the potential to advance the national economy
(Shim 32). The initial rise of Korean Wave was the popularity of Korean TV drama,
which caught the East Asian (majorly among China, Japan and Taiwan) audience’s
eye in the late 1990s as Korean TV networks (KBS, MBC, and SBS) began to sell the
copyrights overseas (Hyejung Ju 75). With a great quantity of drama series export,
Korean TV drama, in this case, has been regarded as the outset of Korean cultural
product and the leading factor of Korean Wave, which has more or less dominated the
popular trend in many East Asian countries after 2000. Korean Wave then circulates
as an immense cultural phenomenon, in light of Sang-Yeon Sung’s elaboration:
[Korean Wave] Hanliu is a global flow of a national product which
circulates only within regional boundaries. Although it is not a new
trend, it should be recognized as a different type of global flow, one in
which “Asianness” is emphasized, and one that is affected by the
accelerated speed of the cultural movement through new technologies.
(Sung 57, my italics)
However, Korean Wave goes beyond the regional boundaries to other countries
50
outside Asia after 2009 such as USA, Iraq and Australia, continuing to broaden its
growing power. It is not extraordinary to mention how Korean Wave is spread under
the process of globalization, but what it actually signifies within such global flow is to
share its Asianness with other Asian countries, and how it has been rooted in other
cultures to thus transform or localize by different means matter substantially.
I would particularly emphasize the later prosperity of K-pop music, for it has
earned the reputation and success and has also been well-connected in both Asian and
global market. Furthermore, the K-pop music itself contains the very deep core from
hip hop and R&B elements to thus be cultivated as “the localized hip hop” in Korea.
Before the rise of Korean Wave, according to Shim, the Korean pop music scene is
under the basis of two categories: Korean ballads and ppongjjak. The Korean ballads
have been classified into love songs with melodic sound and romantic lyrics that are
similar to American folk music. Ppongjjak, which has often been onomatopoetically
called “the Japanese enka-influenced musical style by Koreans, is “[l]argely
associated with the pathos of the older generation” and “has experienced periodic ups
and downs” because the government would ban the hit songs with elements of
“morbid Japanese aesthetics” (Shim 35). Shim also mentions that before the 1990s,
either the Korean pop music or the entertainment industry was prosperous. In
addition, South Korea’s two public television networks, Korea Broadcasting System
(KBS) and Munhwa Broadcasting Company (MBC) control most of the music
distribution and the consumption of the music genre; that is to say, the television
medium mainly manipulate the taste of local pop music, judging which songs or
singers should be considered popular.
Shim indicates that the tremendous change of South Korea’s media emerges
after Seoul’s 1988 lifting restrictions on foreign travel and the considerable quantities
of people purchasing satellite dishes in the 1990s, so more and more musicians begin
51
to adopt different music styles into their works and fans are also eager to “have a
better grasp of global music trends and hunger for new tunes from local musicians”
(Shim 36). Against this backdrop, Western music is channeled as “an integral part of
this rapidly urbanizing world” and “[t]he seemingly homogenization of music in the
case of Korea…is replete with new innovations, both musical and societal” (Morelli
249).
Sarah Morelli, who focuses on Korean pop culture finds out that rap, hip hop and
R&B and dance music take large part of Korean pop music. She observes that “[i]n a
country where approximately half of the population is under age thirty…the sounds
and styles of rap and hip hop are now common place” (Morelli 248). However, what
even more marks the mix of globalization and indigenization is the appearance of
Korea’s shinsaedae 16. Shinsaedae’s voice, as Morelli drawing on Kim Byong-suk’s
definition, is “loosely identified as those in their twenties, with rap music and Seo
Taiji at the center” (Morelli 250).
Seo Taiji is regarded as the most powerful and influential popular singer during
the 1990s, who represents the threshold for “an introduction to the musical culture of
the shinsaedae” and the leading role of musical transformation in K-pop (Morelli
250). Seo Taiji’s group, Seo Taiji and boys, composed of one singer, and two rapper-
dancers, release their first single “I Know” in 1992, which is believed to be the first
rap track in Korean language. According to Morelli, Seo Taiji and the boy’s hybrid
music styles utilize numerous elements of contemporary Western music, such as rap,
hip hop, soul, rock, hardcore and dance music. Seo Taiji even sets the criterion on
creating the musical form which “employs rap only during the verses, singing
________________
16. Shinsaedae, or New generation in English, Kim Byong-suk refers to those who were
born after 1970, and “whose values and customs seem alien and irresponsible to their elders. These are
youth who cut holes in new jeans, prefer pizza to rice, and don’t believe that the old are necessarily
wise.” 1993. “Rap Setting New Beat in S. Korea” Chicago Sun-Times, 29 November
52
choruses in a pop style” (Morelli 250). Yet, as Seo Taiji’s career progresses, he tends
to express his thoughts through critical lyrics and he is later concerned about social
issues, e.g., miseducation, inequality and political corruption.
Shim considers that Seo Taiji’s music excites local listeners in Korea because
they have already been fed up with the ballads and pongjjak that lacks “dynamism and
musical experimentation” (Shim 36). Seo Taiji successfully creates a whole new
music style intermingling Western music, affects the composing and performing styles
for the succeeding artists and expands the scale of the local music market. Moreover,
as Morelli discovers, Seo Taiji and boys establish a group style based on hip hop
culture, and many of whom “not only use rap, R&B and other ‘black’ musical styles,
but also model their visual images after the b-boy styles of the USA” (Morelli 254).
Seo Taiji and boys’ overall impact could be very significant to the development
of Korean popular music and to the following trend of Korean Wave. The formation
of the group, one singer and two rappers/dancers influences the latter style of Korean
pop bands or groups; the adoption of hip hop, R&B and rap music in their musical
compositions serves as the standard model of K-pop music. Yet, they do not obey the
rules from television networks to sing only ballads or ppongjjak; instead, they turn to
political or social issues as the topics of their music works. The group’s success leads
to the expansion of record company and talent agencies as well. Even when Seo Taiji
and boys disband in 1996, one of the group members, Yang Hyun-suk continues to
produce hip hop music and founds his own company YG Entertainment in 1996. I
would conclude that hip hop music has been growing strong in Korea after Seo Taiji’s
achievement on the music transformation, and the K-pop inherits many of Seo Taiji’s
style of hip hop music. Hip hop is a fairly active music genre in Korea, and many
youngsters pursuit their success through the mode of Seo Taiji and boys.
As Korean pop music starts to be promoted outside South Korea, along with the
53
Korean Wave, its distinguishing characteristics expressly catch the countries which
are sphered by its power. Suh-kyung Yoon, who once interviews Bernie Cho, the host
of Seoul Sonic on the music station Channel V, mentions in the article Swept Up on A
Wave (2001) to point out “Korean music, fashion and style has basically taken over J-
pops popularity” and he further agrees that “[t]houghtout Asia right now, people will
grab anything that reeks of kimchi” (Yoon 92).
In addition, the trend of Korean pop music in East Asia could be traced back
from the boom of Korean artists and groups like CLON, H.O.T. (Highfive of
Teenagers), NRG, Fly to the Sky and Baby V.O.X. around the mid-1990s. However,
as Yoon continues to analyze the reason that Korean pop music would overtake the
Asian market, he turns to hip hop as the possible answer. Yoon explains that Korean
pop music has been affected drastically by American hip hop culture on a whole:
For the past decade, hip hop—the music, the clothes, the attitude of
America’s black ghetto—has been the dominant genre in Korean pop music.
Brought to the country by Korean-Americans, the hard-core raps and harsh
beats have been toned down and adapted by groups like Seo Taiji, The Boys
and UpTown. Today, almost all the bands sport at least one Korean-
American, usually a rapper, who adds vital street cred. (Yoon 92-93)
Yoon specifically points out that Western hip hop culture has permeated into South
Korean’s popular culture, especially the music industry. However, Yoon also indicates
that “Korean hip hop gives the genre an Asia spin, making it more accessible to
teenagers growing up in China, Taiwan and Southeast Asia” (Yoon 93). Korean hip
hop’s influence on Asian mainstream popular music, as well as on Taiwanese pop
music has “increasingly obvious in Taiwan and among Asians living abroad” (Korean
Wave 13). Meanwhile, the fast dissemination of K-hip hop helps build up the
audience of R&B, funk and jazz music to a certain extent in Taiwan as well because
54
those music genres are often considered minor in the market.
In this chapter, I first address the notion of “Aaianism” in the past and present as
the main idea to discuss the cultural exchange and interaction occurred in East Asia
and how Asianness is employed and consumed through the dissemination of popular
culture under the transnational flow. I also pay close attention to the development of
Japanese and Korean hip hop music to further indicate the influence which later
generate on specific issues of Taiwanese hip hop music. I would continue analyzing
Taiwanese hip hop music’s trans-Asian experience in the next chapter to examine its
recent transformation.
55
Chapter Three
Hip Hop Music in Taiwan: History, Culture and Trans-Asian Experience
In the previous chapter, I examine hip hop music’s transnational experience in East
Asia, and how Japanese and South Korean hip hop and R&B music (K-pop in a way)
intermingle or assimilate with Taiwanese hip hop music. As a country willing to absorb
and digest new things from different cultures, Taiwanese hip hop music also encounters
its myriad changing phases, and still grows and varies from time to time. I began to
listen to hip hop and R&B music in the late-1990s when I was a teenager. At that time,
I only enjoyed the rhythm, beats and the melodies. Later, I started to realize that hip
hop culture contains more than what I had imagined; it could be a form of entertainment,
but it could also be a weapon to resist against social injustice. In this chapter, I would
first summarize the history and development of Taiwanese hip hop music to give a clear
picture of how Taiwan hip hop music is formed and how it is interconnected with East
Asian hip hop music on particular topics (Korean Wave and diaspora) to further discuss
their interrelationship among each other. I will later take Taiwanese hip hop group Da
Mouth (Da Zuiba 大嘴巴) and rapper Softlipa (Dan Bao 蛋堡) to be the cases,
discussing their image and music style to elaborate the East Asian collaborations of
Taiwanese hip hop music and the phenomena and effects they have brought about. I
would also address Nicky Lee (李玖哲 이철구), the former member of the Machi crew
and now leading vocal of the Asian band (as they name it), Aziatix, and also Jae Chong,
the famous Korean-American producer in East Asia, who has been responsible for the
music production in their albums and is the producer and rap vocal for many Taiwanese
singers. Through their trans-Asian collaboration, they tend to construct an image of
“Asian band” in their debut album. Then, I would seek to address the issue of the
possibility of transnational Taiwanese hip hop by arguing that there is no absolute
56
“authenticity” in global hip hop, because under the age of globalization, any claim of
any “authentic” cultural form would be comparatively dubious when it comes to
essentialism.
I. The Development of Hip Hop Music in Taiwan
Despite the complex historical and cultural factors that hip hop means to African
Americans of the young generation, the story of hip hop culture in Taiwan flips in an
ambivalent manner. Unlike some of other countries where hip hop comes as an
underground activity, its first formal appearance on the stage in the Taiwanese
mainstream culture is through public entertainment, namely, our pop-music industry.
First, according to Hao-li Lin’s field study on the development of hip hop culture
in Taiwan (2005), the emergence of Taiwanese hip hop culture does not resemble the
way as hip hop’s original root, disco. Lin asserts that because the discos in Taiwan
during the 1970s embrace lyrical ballads rather than disco, soul or funk music, lyrical
ballads have later taken over the place to be the hegemonic and the most popular music
form in Taiwanese pop music industry. And hip hop culture fails the specific era to
cultivate and stand firm in Taiwanese mainstream music industry. For this reason, the
latter development of hip hop culture in Taiwan would only focus on dance,
partying/clubbing or apparel or accessories (Lin 13). Furthermore, Taiwanese record
companies do not categorize hip hop as a music genre at the very beginning.
Chronologically, the singer Harlem Yu is the first one who mixes rap and the
syncopation in his hit single “Yes, sir! (Bao gao ban zhang 報告班長)” in 1987.
Although not mature enough and more like Chinese chants instead of rapping, the song
receives great success in the music market. It is the first step that music with hip hop
and rap elements has the potential to gain its popularity in Taiwan’s pop music industry.
57
However, not until L. A. Boyz publish their debut “Jump” in 1992 does hip hop music
confirm its visibility in Taiwan. The so-called “ABC” (American-born Chinese)
singers/artists at the moment not only inject new energies to our pop music industry but
also lead the American singing style to hit the market of Chinese ballads and rock music.
L. A. Boyz, whose members are all Taiwanese boys growing up in Los Angles, open
the market and bring in the popularity of hip hop in Taiwan. Their dancing style, apparel
and English-mixed Taiwanese rap all appeal the teenagers to imitate, thus causing a
trend. Afterward, Jutoupi (豬頭皮/朱約信) figures as one of the pioneers contributing
his works in Chinese rap and he later chooses to rap in Taiwanese in his music career.
Billboard (1994) says Jutoupi has
combined Western rock and traditional Chinese songs, and has tackled
subjects in his lyrics that have gone against the grain of much of the country’s
pop music. Jutoupi is one of the first true Taiwanese rap artists. . . Jutoupi's
music, with its spirit of social criticism and personal expression, is closer in
style to American rap.” (Billboard vol. 106 1, my italics)
At the early age of the development of hip hop music in Taiwan, “hip hop” has not yet
been classified as a music genre, but is appropriated as composing elements or a
performing style to be presented to the audience. However, as what has been mentioned
above, hip hop culture (or its features during the period) is introduced into Taiwan’s
music scene through mainstream mass media. As he puts the popular culture in a
postmodern stance, Strinati asserts that postmodernism has brought the emergence of a
society in which the mass media and popular culture are to be the most “important and
powerful institutions.” And the media is to be a mirror to reflect the social reality, even
to include the economy in to the realm. “What we buy and what determines what we
buy—is increasingly influenced by popular culture because popular culture
increasingly determines consumption” (Strinati 205-06). The rise of hip hop music in
58
Taiwan is launched by mainstream popular music, which indicates that it needs and
depends on economic consumption as one of the channels to present its mobility. The
naked truth is that the “Western” hip hop culture imported from America has been
migrated into Taiwanese culture to be socio-economical phenomena.
For global interactions in music, the formation of Taiwanese hip hop music does
not happen accidentally. It connects with the mainstream popular music to be
distributed via media at first. Hip hop music in Taiwan later encounters the process of
its domestication. Initially, it imitates and copies the forms of American hip hop culture
and then attempts to create a style of its own after the L. A. Boyz fad. Yet, after the boy
group breaks up, the development of hip hop music in the Taiwanese mainstream music
industry seems to lose its visibility.
Another phenomenon that needs to be noticed is that hip hop music sneaks into
more underground activities around year 2000. It jumps from the mainstream music
industry to the underground. Some rappers turn to support local disco performances and
some turn to take hip hop music as an outlet for expressing political thoughts or
ideological inclination against the government. Originally, they speak out for the
underprivileged, reflect social issues, and present their personal thoughts via rap lyrics.
Their music works constitute a form of resistance and localization; on one hand, they
boost the localization of Taiwanese hip hop music; on the other hand, they communicate
hatred, misogyny, and racial discriminations. Evidently, this kind of composing style
inherits from American gangsta rap17, which often characterizes specific lyric contents
in violence, nihilism, street life and misogynistic themes. Although gangsta rap is
deemed as one of the most form of hip-hop in the late ‘80s and early ‘90s in America,
_________________
17. According to All Music Guide, gansta rap evolves out of hardcore rap and gangsta rap contains “an
edgy, noisy sound.” Gansta rap is lyrically as “abrasive, as the rappers spun profane, gritty tales about
urban crime. Sometimes the lyrics were an accurate reflection of reality.” See complete definition on:
http://www.allmusic.com/subgenre/gangsta-rap-ma0000002611
59
the direct appropriation of such provocative wording is normally attacked by
mainstream audience, and to some extent disconnects from most people’s daily life in
Taiwan.
Nevertheless, as more and more local Taiwanese artists (e.g. Dwagie, MC Hot
Dog and 拷秋勤/Kou Chou Ching) devote their life careers to hip hop music in the
popular music industry underground or mainstream, the situation changes again. They
successfully combine the oncoming “Tiker” (台客文化/ Taiwanese rooted culture)
culture with hip hop spirits/features to invent a distinct touch and fashion a new cultural
form. The term “Tiker” originates from the former military communities in which the
people live there are the military dependents from China; initially, the term usually
refers to the local Taiwanese people with the meaning of depreciation. However, as
Tiker culture is praised by some local artists and rappers, the meaning of “Tiker” turns
out to be a rather positive, and even a popular slang in popular culture, emphasizing on
the real Taiwaneseness. Ian Condry has explained the phenomenon in an article that “[a]
clear trend is that foreign styles are initially consumed as foreign, but gradually the
local appropriations come to dominate the market” (Condry 226).
The article “Hip Hop Culture in Taiwan: Reflections on the Commercialization
of Hip Hop Culture” says that Taiwan has long been intimate with the American culture,
so “the introduction of the hip hop culture has also imported the original, inexplicable
historical and socio-cultural phenomena of the hip hop ideology.” Yet, it is far from
enough to keep a culture alive by only mimicking its superficial part. In addition to
local appropriation, the government also adopts the major elements of hip hop culture
for propaganda in social activities to present parts of Taiwanese hybrid cultures, such
as Metro Street Dance Competition or Rap Battles for Teenage. However, in the
meanwhile, the sales of American hip hop records and singles thus drops off instead. It
could be deduced that the rise of Tiker culture, Korean Wave and J-R&B
60
simultaneously form another power, and all of which weaken the influence of the
American hip hop music.
As what I have mentioned in the previous chapter, Korean Wave and J-R&B have
drastically altered the development of Taiwanese hip hop music. The elements of
Korea’s “localized” hip hop music could be seen in numerous K-pop stars/groups’
music works, from CLON, H.OT. or BoA’s earlier albums to the latter Big Bang, Super
Junior, and 2NE1. Their music works contain many of the black music elements, such
as rap, soul, urban R&B and funk music. What is worth mentioning is that since Korean
hip hop has been prominent in both South Korea and East Asia, to some extent, their
music production has been considered mature and well-produced by music critics and
audience. The commercial success somewhat propels the popularity of hip hop music
from the underground scene to the mainstream market.
In addition, the popularity of early J-R&B in Taiwan neatly overlaps with the
Korean Wave in its early phase as they both partly stand for East Asian hip hop music.
Utada Hikaru and Hirai Ken’s soulful vocals with arrangements of urban R&B music
and rap lyrics obtain immense success and acceptance in Taiwan. Taiwan’s popular
music industry and its audience begin to embrace such music genre. However, in the
first instance, the fervor toward K-pop and Japan fever is seriously criticized by
Taiwanese local rappers who think Korean pop music and idols are shallow and
superficial. MC Hot Dog and Dwagie’s “The Invasion of the Korean/Cold Wave” (2001)
triggers the event by rapping the lyrics: when I turn on television, there is various hip
hop music which looks like Chinese but sounds like an-ya-ha-sa-ya [the
incomprehensible sound of Korean language]. Strange! Why do you buy Korean music
when it is just incomprehensible s**t (Yang 202). In “Rap(p)ing Korean Wave: National
Identity in Question” (2008), Fang-chin Yang indicates that Taiwanese rappers intend
to create a series of binaries, seeking to “take back their territory” by intentionally using
61
scatology as a weapon to convey their power, while she believes the employment of
scatology is yet powerless (Yang 203-04). Such viewpoint regarding cultural invasion,
discrimination of nationality and political incorrectness are often taken by local rappers
to fight against their identity and authority as Korean Wave and Japan fever initially
gain the recognition in Taiwan. Nevertheless, the pan-political rap lyrics are not
welcome by the mass audience because they consider the lyrics not appropriate to be
performed in the public. Moreover, as some of the independent rappers enter
mainstream music market, Taiwanese hip hop music also meets its transitional phase.
In the past, Taiwanese hip hop music could be roughly divided into two groups:
the local Taiwanese rappers/artists vs. the ABC rappers/artists. The two conspicuous
groups constantly debate and contend against the authenticity over their positions in
Taiwanese hip hop music. Now, Taiwanese hip hop music has again transformed
through transnational crossover collaborations with East Asian hip hop artists to seek
lucky strikes. As the crossover of East Asian and Taiwanese hip hop music discloses a
transnational interrelationship on cultural transformation, Taiwanese hip hop music
thus differs from its former impression. The rise of Softlipa overturns the image of local
Taiwanese rappers; his close-to-life rap lyrics, urban jazz music style and the
collaboration with Japanese hip hop producer open a new page for the development of
Taiwanese hip hop music. Furthermore, the hip hop group Da Mouth provides an East-
Asian transbordering identity, which in a way destroys the long-term binary opposition
of local vs. Western in global hip hop music, but establishes another mobile form of a
new hip hop music expression in Taiwan. Also, Nicky Lee’s music and his personal
stardom reflect an East-Asian identity that constantly shifts from place to place.
Although the history of hip hop music does not seem long in Taiwan, its
plentiful performance on each stage offers varied looks in the development of cultural
bricolage, social and national identity, and global mobility of diaspora, etc. From the
62
early appropriation, the later localization to the present trans-Asian experience, it
unceasingly evolves and keeps bringing surprises.
II. Case Studies on Taiwanese Hip Hop Music’s Trans-Asian Experience
In recent development of Taiwanese hip hop music, transnational collaborations
among Taiwanese and East Asian hip hop artists become as an fresh act. New modes of
transnational collaborations point out the global mobility and the transnational links
which hip hop makes available across boundaries. Da Mouth, the first hip hop group in
Taiwan with members of different Asian ethnicity, is constituted by Huai-chiu Chang
(leading male vocal, Taiwanese-Korean of US citizen), Senda Aisa, (leading female
vocal and rapper, Japanese), Sakamoto Chun-wha (beat maker, Amis-Japanese raised
in both Taiwan and Japan), and MC40 (leading male rapper and composer, Taiwanese).
The trans-Asian experience of Da Mouth occurs on their mobile “transbordering”
nationalities through their music works to achieve East Asian cultural identity and
imagination. Shin Hyunjoon’s concept of “transbordering” borrows the
conceptualization from Arjun Appadurai’s ‘‘ethnoscapes’’ produced at the disjuncture
or border-crossing; more specifically, transbordering refers to the cultural flows
between Korea and Japan’s transnational musical interaction. Shin underlines that
“popular music is one of the most active cultural fields in which cultural flows cross
borders, but also because this aspect of cultural flow appears to be more striking in
popular music than in any other genre of popular culture (Shin 103, my italics). In spite
of the troubled history of Korea and Japan regarding political tensions, Shin asserts that
the cultural traffic between the relocation and shifting identities of Korean and Japanese
artists and their music would facilitate “a state of being both aesthetically cosmopolitan
and culturally Asian” (Shin 117). Here, I would like to adopt Shim’s idea to scrutinize
63
Da Mouth’s transbordering music experience. In Da Mouth’s case, Taiwan is the
original root where they start their music career. Yet, they successfully employ hip hop
music and their multi-ethnical background as the engaging medium to cross the border
to interconnect with East Asian audience. Among the members of Da Mouth, Senda
Aisa is believed to be the most significant figure that highlights the transnational
mobility of Da Mouth’s music works. Her unique identity as a “relocated” Japanese
rapper/artist in Taiwan also advances and strengthens Da Mouth’s transbordering
experience. As the former member of Japanese girl group, Sunday girls, Senda Aisa has
been running her music career in Taiwan for over fifteen years and Aisa has identified
herself in Men’s Uno’s interview, saying “whenever I work in Japan, I often tell the
working staff that I have taken myself as a Taiwanese” (Men’s Uno vol. 171 147).
Aisa’s bilingual capability of rapping in both Japanese and Chinese and her personal
image make local Taiwanese audience receptive to Da Mouth’s hip hop music. After
Da Mouth releases their first debut album in Japan, with the reinvented Japanese
version of the hit single “Jie Guo Le” (結果咧), Aisa’s bilingual female rapper image
and her transbordering identity also facilitate the success of transnational collaborations
of Da Mouth with other Japanese artists, e.g. Thelma Aoyama. Furthermore, Aisa’s
shifting transnational identity enables Da Mouth to have access to Japanese music
industry, and such cultural and musical interaction successfully promotes Taiwanese
hip hop music from a localized position to the East Asian realm.
If Da Mouth and Senda Aisa illustrate a transnational take on hip hop music, Nicky
Lee’s performance on his music career route would be a similar and yet more intricate
one in channeling the transbordering collaboration and Asian experience. Born in South
Korea but raised in L.A, Nicky Lee’s transnational identity shifts as he relocates himself
and his music career among Korea, Taiwan and America. His first appearance on the
boy group in Korea, VOICE, however, does not acquire much attention. Later, Nicky
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Lee joins the hip hop group, Machi. Around the early period of year 2000, Machi’s hip
hop music obtains great popularity among youngsters in Taiwan. The leader of Machi,
Jeffrey Huang, also the former member of L.A. Boyz, recruits Nicky Lee as the male
leading vocal and also one of the supporting rappers in Machi. When Nicky Lee releases
his debut Mandarin album in 2003, his mellow soulful voice and urban R&B music
style soon seize audience’s attention. Certainly, his Korean diasporic identity at the time
becomes as a notable mark through the fever of Korean Wave. Durng his individual
activities out of Machi, Nicky Lee also collaborates with Taiwanese artists such as
Vivian Hsu and Cindy Yuan to be a featuring male vocal or supporting rapper. His
success in Mandarin popular music industry soon appeals to Korean-American music
producer, Jae Chong, who now mainly devotes himself to hip hop music production in
East Asia. Jae Chong has been playing a crucial role in the context of the development
of Taiwanese hip hop and R&B music since the late 1990s. More importantly, Chong
has been involved in various artists’ albums in Taiwan and around East Asia by writing
or producing hip hop an R&B songs, for example, Coco Lee, A-Mei, Machi, Elva Hsiao,
Nicky Lee and Jolin Tsai in Taiwan, Sandy Lam in Hong Kong and BoA, JYJ and Park
Mi Kyung in Korea. To a certain extent, Jae Chong has established a mainstream hip
hop and R&B music form for Taiwanese popular music with syncopated beats, R&B
musical arrangement, and rap lyrics of less-hardcore content. Jae Chong seeks to form
an “Asian Band” across the border. As Jae Chong founds the hip hop/R&B group,
Aziatix in 2010, recruiting members of Nicky Lee, Eddie Shin and Flowsik (that all of
which formerly runs individual affairs separately in New York, Korea, and Taiwan).
Meanwhile, Nicky Lee is the spokesperson while they tour and promote their album in
Asia. The transnational group’s name “Aziatix” originates from the word “Asia,”
indicating that their music would stand for the Asian spirit, and they are constructing a
style of “Asian hip hop” on a transnational scale, which is “at once global and local”
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(Shin 103). Jamie Shinhee Lee reframes the concept on hip hop, asserting that “the
global and the local are not polarized opposite; rather, they intersect, each defined by
the other. Thus, the global becomes localized and the local globalized” (Lee 140).
Similarly, Nicky Lee’s trilingual capability (Mandarin, English and Korean) and his
diasporic Korean ethnicity endow him with an image connecting with what Shin has
suggested to be “cosmoAsians,” who “think beyond politics and nation(s)” (Shin 117).
His transbordering identity makes him accessible to shift transnationally via his music
works.
Apart from the cases of hip hop artists with shifting identities, I would also draw
on Softlipa as a local Taiwanese rapper on his pursuit of an alternative expression in
Taiwanese independent hip hop music. His trans-Asian crossover collaborations with
Japanese hip hop artists also reinvent a style of “Taiwanese jazz hip hop.” Initially,
Softlipa’s hip hop music route starts from the underground performance in Tainan. His
former group “Bamboo Gang” is formed with three students from Tainan First High
School. The music works of Bamboo Gang, not so much similar to other underground
rappers, whose works often containing dirty language, pan-political ideology or hatred
toward the society in the same period, are closer to youngsters’ everyday life. In this
regard, Bamboo Gang’s music style focuses on trivial matters in life, illustrating or
reflecting local young people’s state of mind. However, the later individual emergence
of Softlipa demonstrates a distinctive mode of hip hop style, injecting jazz beat, soul
music with a rather laidback rapping flow. During the interview of GQ Magazine,
Softlipa reveals that he once tried to imitate the style of gangsta rap, writing critical
stuff with a radical attitude. He tells GQ that “I always feel stuck when I seek to imitate
the Western style hip hop. After all, it is something that belongs to the Westerners.
Taiwanese don’t really identify with it. For a long period of time, I feel lost of myself
and cannot find a way out. Now, I love writing the trivial matters of life because they
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are part of my life.”
His Golden Melody Award-winning album Moonlight (2010) and the following
release Riding Bicycle (2011) are produced and collaborated by Japanese Jazz hip hop
producer, Shin-ski and Japanese urban jazz group, Jabberloop. Shin-ski, jazz hip hop
music producer in Japan, is renowned for his masterful talent in applying various kinds
of instruments to create amazing jazz music arrangement, along with the musical
elements of funk, soul and hip hop music. In fact, Japan could be seen as one of the
popular countries that embraces Jazz hip hop music, whereas this composing form is
not yet well-known in Taiwan. Instead of showing the “attitude” of hip hop, the features
of jazz hip hop mainly present on the instruments of the sound applications, namely,
the melody, rhythm, and beat. Therefore, the transnational collaboration of Softlipa,
Jabberloop and Shin-ski would be a fairly fresh combination, which to a large extent,
enriches Taiwanese hip hop music with a different performing manner. Softlipa also
participates in Japanese rapper, Kreva’s album Japanese Rap Star for Asia (2012),
collaborating the single “C’mon, Let’s Go.” Softlipa’s trans-Asian music experience
foresees the ongoing transformation of Taiwanese hip hop music as a local Taiwanese
rapper seeks to espouse another outlet differentiating from persisting on local roots and
reworking global dialogue and turns to adopt Japanese urban jazz hip hop to for a new
form in Taiwanese hip hop music.
III. Trans-Asian Taiwanese Hip Hop: A Reconciliation?
The authenticity of hip hop culture has long been a controversial issue after hip
hop reaches its multifaceted dimensions in the contemporary America popular culture.
In America, hip hop emerges in the mid-to late 1970s as “a form of cultural affirmation
and resistance” (Rose 425). According to Rose, hip hop represents multiculturalism that
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refers to “a process of incorporation of marginal groups’ contributions into a
mainstream or dominant culture” (424). Rose also emphasizes that the cultural and
musical traditions of Puerto Rican, Dominican, and Cuban immigrants all have strong
ties to the Afro-diaspora in the multicultural development of hip hop. Primary
contestation has thus been generated while some people enjoy its power on consumer
capitalism and some condemn it for “its complicity with commercialism” (Rose 426).
In the discussion concerning whether hip hop possesses authenticity or not toward the
blackness, Rose indicates that “[h]ip hop has always been articulated via commodities
and engaged in the revision of meanings attached to them” (439). Jeffrey O. G. Ogbar
also believes that authenticity will not be spoiled by the commercial purpose because
“hip hop is ‘real’ in any way” (Ogbar 1) because hip hop’s mutability has already taken
the culture itself away from the ghetto and it stands for more possibilities for the
younger generation who are working on the field (e.g. MCs, deejays, and B-boys and
B-girls) actually enjoy their livelihood and artistry. Yet, as hip hop enters its global
dimension, the pure black cultural expression, the politics of Black Nationalism and
Afrocentrism, and black diaspora are often addressed as “a form of strategic
essentialism” (Wise 99). Wise draws the account that
[o]n the one hand this move makes hip hop a form of great cultural power for
a disenfranchised group, but on the other hand it ignores the Puerto Ricans
and others involved in the early New York hip hop scene and Latino hip hop
artists in New York and Los Angles. (Wise 99)
Certainly, many of hip hop’s cultural characteristics could be challenged as they are
placed in different cultures. However, what is substantial is that it rarely remains as
mere imitation but incorporates local cultural, economic and political conditions.
In previous history of Taiwanese hip hop culture, underground hip hop rappers
tend to adopt rap lyrics as a form to fight against their authenticity over the “foreign”/
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“non-local” vs. “local”, “mainstream” vs. “underground” or “commercial” vs.
“independent” to strengthen their national and ethnical identity; e.g. Dwagie and MC
Hot Dog’s rap lyrics manifest their dislike regarding Korean Wave and J-R&B and their
rejection of Machi’s assertion as the original Taiwanese hip hop. During the period of
time, Taiwanese local hip hop rappers and devotees expect to search for their legitimate
position. They often regard “the street” as the actual site to operate the “authentic
Taiwanese hip hop” (Chuang 74) by attending independent music festivals, running
record and apparel stores, organizing online forums and publishing independent music
magazines to build the network and tend to frame cultural territorialization distant from
the mainstream to construct their hip hop legitimacy. Hsiso-hung Chang demonstrates
that there are multi-layered identities constructing the Taiwanese hip hop identity.
Chang’s annotation makes the shifting identities of glocalization, nationality, diaspora
and the authenticity of Taiwaneseness become more complex and obscure. In Fake
Globalization (2007), Chang parallels the images of “real Tiker” with “fake hip hoppers”
in Taiwan to analyze how these two different terms are represented, then destroyed
and rebuilt into an open definition. First, Chang points out that the contrary between
“Tiker” and “hip hop” culture is based on the binary opposition of the local culture vs.
the foreign culture. However, the later trend of “hip hop Tiker” (嘻哈台) creates a new
concept that links to the meaning of “neither/or” and “both-end” to overlap the two
opposites (Chang 231). “Tiker,” a rather politic term, combines with the images of hip
hop culture (e.g. baggy jeans and bling accessories) to trigger the process of re-citing
and re-siting Taiwaneseness in hip hop culture and the image of hip hop in Taiwanese
culture. Chang specifically indicates that the outfit of Tiker can passively refer to the
outdated fashion, but it can also positively represent the postmodern bricolage,
hybridity, copy and camp, which corresponds to the characteristics of hip hop culture:
“a postmodern art in that it shamelessly raids older form of pop culture—kung fu movie,
69
chitlin’ circuit comedy, ‘70’s funk and other equally disparate sources—and reshapes
the materials to fit the personality of an individual artist and the taste of a time” (George
10). Furthermore, Chang continues to take L.A. Boyz and Machi as the examples to
discuss the routes from a local “Taiwanese Tiker” to a “hip hop Tiker.” Chang claims
that L. A. Boyz can be considered as the representative of the “new” Taiwanese for they
stand for a Taiwanese-American diaspora culture and also the “re-citing” Taiwanese hip
hop culture (Chang 245). The image of L. A. Boyz as the “new” Taiwanese differs from
the former definition of Taiwanese, which refers to a more political, essential, and
national-inclined stance. Chang thus claims that L.A Boyz overturns the definition of
the real Taiwanese and breaks the binary opposition of the local Tiker and the foreign
hip hop culture when nothing is authentic, anything is possible.
Moreover, the later emergence of Machi also subverts the image of Tiker. The
name “Machi” literally mingles with Taiwanese, English and Japanese to display the
hybridity of etymology. To a certain extent, Machi’s group image and music style react
against the political discourse of national identity and the ideologies of independence
to create an imaginary space for cultural bricolage and diversity. This assertion pretty
much takes Machi into the category of the new identified Taiwanese. In fact, the long-
time opposing situation between independent Taiwanese rappers and the mainstream
ABC/ABT artists has been reconciled during Dwagie’s mini concert in 2012. He invites
Jeff Huang to be his special guest on stage and they collaborate the hit song “Taiwan
Song” together, affirming that they are both real Taiwanese. In fact, the original rap
lyrics of “Taiwan Song” contain the hostile content: I only care about the place where
you were born. Ilha Formosa! Ilha Formosa! Ilha Formosa! Hey, mister, who do you
think you are? You speak English, huh? I doubt whether being an ABC is really cool
enough or not (my translation). From the revised version, Dwagie deletes the
controversial part, leaving only the lyrics that advocate the real Taiwaneseness.
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Meanwhile, the ruptures between such cultural bricolage and hybridity also occur
on transnational hip hop collaborations. J-R&B and Korean Wave pave a way for trans-
Asian hip hop to be actualized as Taiwan’s hip hop music departs from battling for the
authentic form in hip hop music and turns to embrace transnational collaborations to
seek a novel move.
The cases of Da Mouth, Softlipa and Nicky Lee all show the growing power and
possibility of trans-Asian hip hop music collaborations embodied via global mobility
of diaspora, transnationalism, cultural proximity and transbordering identities. Their
music style, personal images and identities transform the impression of the former
Taiwanse hip hop music and lead beyond the phase of simply imitating or copying its
American counterparts to find another outlet. In this chapter, I first start with the
development of hip hop music in Taiwan, indicating its different transitional stages. I
then go to the case studies on the transnational experience of Taiwanese hip hop music
to find out the possibilities of trans-Asian hip hop music. I argue that ever since
Taiwanese hip hop music has transcended from the local form, it reinvents its look
throughout the East-Asian regions.
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Conclusion
This is hip hop
It’s country, jazz and R&B in its pot
So ain't no way you stopping this
This is hip hop
Tech N9ne, “This is Hip Hop” (2011)
Hip hop music is close to my life history. To me, I could even recall the joy when
I first felt touched by Montell Jordan’s “This Is How We do It.” And this was how the
story begins. In the past, I always conceived hip hop belongs to the blacks. As a long-
time audience and devotee of hip hop music and culture, I was often perplexed about
whether I could relate myself to the culture or not as hip hop has been deemed an
American culture with the roots of Africans and other marginalized ethnicities. It was
until I started to introspect why and when I fell in love with hip hop did I have a little
understanding about this knowledge field. And this was also where the struggle
begins. In order to trace the roots of hip hop, I have witnessed the scene of street rap
battle in Philadelphia, and I have sought to discover the hip hop experience of my
own in South Bronx; however, I eventually realized that only being infatuated with
hip hop’s original history could not take me further to the culture’s deep core. Instead,
I ought to examine it on a global scale because “hip hop is culturally mobile” and
“[its] attendant notion of authenticity are constantly being ‘re-made’ as hip hop is
appropriated by different groups of young people around the world” (Bennet 133).
Moreover, I find out the development of Taiwanese hip hop music seems closer to
72
where I belong. Mm
mm During my project, I initially find out that hip hop employs its distinguished
characteristics to engage with the local culture from the styled apparel to the skilled
rap. Hip hop music also establishes diasporic dialogue, in which local culture can be
seen on a global take. The development of global hip hop pretty much draws the
account of Appadurai’s concept of “ethnoscapes” and “mediascapes” to explain the
cultural interaction, which “the movement of diasporic peoples and mediascapes
changes not only their music but the music of places they move to and through” (Wise
87). The musicians can carry the experience of displacement and engage with the
transnational cultural dissemination and the distribution of varied technical and media
agencies can render hip hop music with public attention to gain much more visibility.
Mm In Taiwan, hip hop music has encountered several transformed phases. It serves
as the forms of imitation and appropriation to be the first step; later, its mutability of
re-mixing the features with the domestication of local culture. Tony Mitchell adopts
Deleuze’s “rhizome” to interpret the quick application of hip hop culture as the
multilingual use of the languages can serve to emphasize “the glocalization of rap”
(Mitchell 3) and the use of vernaculars in rap music represents as a form of resistance
to preserve local culture. The radical nature of rap can help express the political and
socially conscious side of hip hop music. For long periods of time, local Taiwanese
hip hop artists and rappers tend to embrace this kind of composing style to vent their
anger toward the government or society and exalt their Taiwanese identity. The
struggles for subjectivity and authenticity between local Taiwanese artists/rappers and
that of the diasporic groups have quite formed a contest in Taiwanese hip hop culture.
Mm However, in recent development of Taiwanese hip hop culture, transnational
collaborations between Taiwanese artists/rappers and other hip hop artists from East-
Asian countries have become more and more frequently. The phenomenon not only
73
stands for a breakthrough for Taiwanese hip hop music but also encourages Taiwanese
hip hop artists/rappers to reconcile the previous battle in constructing their legitimate
position. Taiwanese hip hop music thus spreads out with more cultural diversities and
mobility. In this regard, I would like to assert that transnational Taiwanese hip hop
music in East Asia has come to possibility because the free market strategy of
Taiwan’s music industry helps Taiwanese hip hop music to ripen into maturity and
show its growing success in East Asian mass culture and pop music business; more
importantly, global mobility of diaspora, transnationalism and transbordering
identities facilitate its actualization. M
m Finally, I would like to confess that this short research is part of my life story
although it is far from perfect. I hope to leave a little something as an ode to my youth
hood. Famous scholar and hip hop music critic Michael Eric Dyson says: it’s almost
irrelevant to me whether or not you grew up there [ghetto]. It’s more important to
know if you’re able to scrutinize the possibilities, the positons, the moods, the
dispositions, the interests, the sentiments, and the morality that the environment
breeds (Dyson 11). I would also hope that hip hop music, my lifelong friend, can keep
its most lively forms and reinvent different performing and composing music style
based on its original philosophy: love, peace, and respect.Mm
mm To hip hop.
74
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