![]() We need to tell stories that our friends can relate to and enjoy.” In this sense, themes that are most often dealt with in Korean hip-hop music are everyday life, personal stories and social issues specific to Korean culture in the case of underground hip-hop, and love in the case of mainstream hip-hop. Bill Stax (formerly known as Vasco), a Korean rapper, explains, “While American hip-hop mainly dealt with themes of women, money, and drugs, there are no drugs in Korea. For example, in the early stages of Korean hip-hop music, many Korean rappers referenced Confucian values and idioms. ![]() Subject matter Īlthough Korean hip-hop adopted American hip-hop music, the difference in culture naturally led to the difference in lyrical content. Today, the movement has weakened as Korean rap is now believed to have fully established in terms of linguistic and rhythmic making using the Korean language. The word Garion, a Korean word referring to a mythical white horse with a black mane, also reflects the group's identity. Garion was widely known for only using the Korean language in their lyrics. In the late 1990s and early 2000s, there were debates on the authenticity of lyrics written in English, and some artists deliberately refrained from using English in their lyrics. English-speaking Korean diaspora artists such as Drunken Tiger, Epik High's Tablo, Swings, Jay Park, and San E have included English lyrics in their raps and attracted the interests of the young generation. The dominance of Korean-Americans in the Korean hip-hop scene also contributed to the use of mixed languages in Korean hip-hop. Īs early-stage Korean hip-hop was heavily influenced by African-American hip-hop, Korean hip-hop artists naturally started using AAVE in their lyrics. The bilingual aspect of this music is one distinguishing factor between Korean hip-hop and American hip-hop. Many Korean hip-hop songs boast syllabic similarities that could be interpreted in either language. The interplay between the Korean language and English has been used as a technical and aesthetic device in Korean hip-hop. Characteristics Linguistic hybridization The term "hip-hop" is largely recognized and understood as "rap" in Korea. While Korea's hip-hop culture includes various elements such as rap, graffiti, DJing, turntablism, and b-boying, rapping comprises a significant part of the culture. It is widely considered to have originated in the late 1980s and early 1990s, and has since become increasingly popular, both in Korea and abroad. Sociolinguistic Studies 6/2: 333-72.Korean hip-hop, also known as K-hip-hop or K-rap, is a subgenre of Korean popular music. "'I Am Not a Qualified Dialect Rapper': Constructing Hip Hop Authenticity in China". "UMC/UW, rakhiphapgwa-ui inteobyu - 3pyeon". "Raep reseun dakyumenteori-Rap Lesson in Seoul". Hanguk Hip Hop: Global Rap in South Korea. "P-TYPEi jikjeop seolmyeonghaneun gak-un noteu gonggae". Journal of Linguistic Anthropology 26/3: 278-93. "Rap as Korean Rhyme: Local Enregisterment of the Foreign". ![]() "Globalization and Japanese Creativity: Adaptations of Japanese Language to Rap". Conference presentation, 17 October 2019, University of California, Irvine. "Show Me the Monolingualism: Korean Hip Hop and the Discourse of Difference". "Globalization of African American Vernacular English in Popular Culture: Blinglish in Korean Hip Hop". Kim, Yongdae, Bong-Hyeon Kim, Chinyoung Kim, Ho-Jun Yoon, Il-dong Cho and Ji-ho Choi. "'Jeongnyeong'-gwa 'jeonhyeo'-ui cha-i: U Wonjae eui wa Binchen-ui reul tonghae ilgneun Hanguk-ui hiphapseong". "Becoming-Black: Exploring Korean Hip Hop in the Age of Hallyu". Daehanminguk jeongchaek beuriping: Munhwacheyukgwangwangbu, 22 March 2019. Daehanminguk jeongchaek beuriping: Munhwacheyukgwangwangbu, 25 January 2019. Deureongkeun Taigeo 'Neohuiga hiphabeul aneunya'". "Hangukhiphabui siljiljeok sijakeul allida: Hangukhiphabui gyeoljeongjeok noraedeul, 9. Daehanminguk jeongchaek beuriping: Munhwacheyukgwangwangbu, 30 November 2018. "Hangugeo raimui gibon teureul choechoro jesihada: Hanguhiphabui gyeoljeongjeok noraedeul, 5. Hangukipap ebollusyeon: Dyuseueseo Dokikkaji. "Saturi-ui nunmul: MC Meta-ga raeb-euro allyeojuneun uri naranmalssami gyeongsangdo saturi". "Keepin' It Real: Authenticity, Commercialization, and the Media in Korean Hip Hop". London: Routledge.Ĭha, Woojin and MC Meta. Spotlight: Bulhandang Crew Interview by HiphopLE. "On the Metrical Techniques of Flow in Rap Music".
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