Global Hiphopography

Jaspal Naveel Singh is a hip hop head, knowledge producer and soul searcher. He currently works as a Lectuer in Applied Linguistics and English Language at the Open University, UK. His first monograph Transcultural Voices: Narrating Hip Hop Culture in Complex Delhi (2022) develops a hiphopographic approach called global hip hop linguistics to study breakers, graffiti artists, musicians and rappers in the emergent scenes in urban India. Originally from Germany, he has lived and worked in India, Hong Kong and Wales. Quentin Williams is Director of the Centre for Multilingualism and Diversities Research and an Associate Professor of Sociolinguistics in the Linguistics Department at the University of the Western Cape, South Africa. His most recent books are Struggles for Multilingualism and Linguistic Citizenship with Tommaso Milani and Ana Deumert (2022) and NevaAgain: Hip Hop Art, Activism and Education in post-apartheid South Africa with Adam Haupt, H Samy Alim and Emile YX? (2019).

“Global hiphopography is a testament to Spady’s lasting legacy. … Williams & Singh pay tribute to Spady’s vision in their critical exploration of hiphopography—writing in and on Hip Hop culture—around the world. Multidisciplinary and multimodal in nature, Global hiphopography is a highly ambitious effort. … The book not only serves as a fitting elegy to Spady and his intellectual legacy, it also offers valuable critical reflections on hiphopography … .” (Steven Gilbers, Language in Society, May 17, 2024)

• INTRODUCTION:Hip Hop’s here, there… and everywhere: An introduction to Global Hiphopography.-PART I – NOW CHECK THE METHOD.-CHAPTER 1:Public Enemy, public scholarship: Hiphopography and the co-production of knowledge with Chuck D.-CHAPTER 2:Rappin’ for rap’s sake: Towards T.R.A.P. research for collective liberation.-CHAPTER 3:Recalculating…: Hiphopography and decentring scholarship.-CHAPTER 4:Relational hiphopography: Some notes on shared study .-CHAPTER 5:Homeboys: A photo essay on Delhi’s underground hip hop culture.PARTII – FEMININE ENERGY.-CHAPTER 6:Decolonizing African Studies approaches to research on African women in Hip-Hop.- CHAPTER 7:Sisters in the hood: Re-centring gender balance in HipHop by creating safe spaces for women.- PART III – MIND, BODY AND SOUL.-CHAPTER 8:How I know, be, move: Embodied Hip Hop Pedagogies as teaching, research, writing, and living praxis .-CHAPTER 9:Flipping the academic discourse: Reflections on corporeal knowledge and gender negotiations in breaking.-CHAPTER 10:Graffuturism: Hiphopographic futures for urban art.- PART IV – FEAR OF A BLACK PLANET.-CHAPTER 11:Translocal hip hop aesthetics: Contemporary performances in Brazilian hip hop.-CHAPTER 12:Racialization and strategic / normalized otherness: A hiphopography of Danish and Finnish rap scenes.- PART V – POLITRICKS.- CHAPTER 13:Real and hypocrisy: The “moral turn” in Chinese Hip Hop music.-CHAPTER 14:Transidiomatism in Da Billas’ Mafohlana rap song: The socio-cultural integration of Mozambican migrants in South Africa.- PART VI – THIS IS A JOURNEY INTO SOUND:CHAPTER 15:The mixtape as Hip Hop historiography: A systematic analysis of record releases of German 1980s Hip Hop.-CHAPTER 16:‘My space trips from Chimoio’: Notes about space and temporality in sampling.-CHAPTER 17:Black sound designs: Reflections on one Brazilian DJ’s approach to a profession