2002 年 47 巻 2 号 p. 88-88,176
This article explores local practices of Japanese rap, a musical genre originated in devastated U.S. inner-city communities. For a long time, globalization has been understood as processes of invasion, as posited by the "cultural imperialism" thesis. In recent years, however, many scholars have begun to argue that globalization and localization are not so much as opposed as interrelated. Their argument suggests that mutual interaction can be found not only in the political or economic fields, but also in the cultural fields, including that of popular music. Rap music spreads throughout the world as it is distributed by the record industries and has gradually been localized into various parts of the globe, including Japan. As this occurs, localization has aroused the desire to construct "Japanese" rap, -not an "imitation" of U.S. rap but an "original" form. In this article, I will explore and examine the desire through a discussion of the practices that constitute the main dimensions of rap: "sound", "language" and "ideology". In doing so, I shall also focus on the desire to localize rap, and pay particular attention to rap's global / local context.