Young soldiers, one day we will change Taiwan : masculinity politics in the Taiwan Rap Scene by Meredith Schweig

By:

Schweig, Meredith [author]

Material type: Text

TextSeries: Ethnomusicology ; Volume 60, number 3,Champaign, IL: University of Illinois Press; 2016Content type:

text

Media type:

unmediated

Carrier type:

volume

Subject(s):

Masculinity politics

Online resources:

Click here to access online

Summary: This article explores the gender practices of Taiwan’s male-dominated rap scene, with particular attention to the sonic, textual, and ritual reverberations of Confucian ideologies. In the context of shifting gender roles driven by dramatic sociopolitical and economic change over the course of the past two and a half decades, I argue that artists reimagine and refashion Confucian gender regimes and notions of intra-group hierarchy to create critical new spaces for male sociality, avenues for male self-empowerment, and opportunities for the articulation of masculine identities not otherwise audible in Taiwan’s popular music.

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Holdings
Item type	Current library	Call number	Vol info	Copy number	Status	Notes	Date due	Barcode
Journal Article	Main Library - Special Collections	ML128.E8 KOS (Browse shelf(Opens below))	Vol. 60, No.3 (pages 383-410)	SP26291	Not for loan	For in-house use only

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Previous	ML128.E8 KOS Ethnomusicology	ML128.E8 KOS Ethnomusicology	ML128.E8 KOS Ethnomusicology	ML128.E8 KOS Young soldiers, one day we will change Taiwan : masculinity politics in the Taiwan Rap Scene	ML128.E8 KOS Asian fury: a tale of race, rock and air guitar	ML128.E8 KOS Autotuned Belonging: coptic popular song and the politics of Neo-Pentecostal pedagogies	ML128.E8 KOS African musical hybridity in the colonial context: an analysis of Ephraim Amu's "Yen Ara Asase Ni"	Next

This article explores the gender practices of Taiwan’s male-dominated rap scene, with particular attention to the sonic, textual, and ritual reverberations of Confucian ideologies. In the context of shifting gender roles driven by dramatic sociopolitical and economic change over the course of the past two and a half decades, I argue that artists reimagine and refashion Confucian gender regimes and notions of intra-group hierarchy to create critical new spaces for male sociality, avenues for male self-empowerment, and opportunities for the articulation of masculine identities not otherwise audible in Taiwan’s popular music.

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