Blood, Fear and Hip-Hop in Xinjiang

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  1. Ray

    Ray The Chairman Defence Professionals Moderator

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    Blood, Fear and Hip-Hop in Xinjiang

    At ChinaFile, James Palmer mounts a wide-ranging exploration of tensions between China’s Han majority and the Uighur inhabitants of Xinjiang. He discusses the deadly 2009 riots and subsequent outbreaks of violence, competing narratives pushed by Chinese state and Uighur exiles, and the historical, cultural and other roots of mutual distrust and resentment.

    Palmer also focuses on music, “one of the very few areas where Uighur have a positive reputation in wider Chinese culture,” but one which for the most part fails to narrow the gap. Uighur songs popular among Han audiences are derided as neutered and stolen, while “the Uighur refusal to participate in popular Chinese culture is near-absolute”: the disaffected masculinity of many young Uighur men instead fuels an affinity for imported hip-hop. But Sameer Farooq, director of music documentary The Silk Road of Pop, tells ChinaFile’s Nick Holdstock that some metal and hip-hop acts and audiences do manage to bridge the divide:

    Blood, Fear and Hip-Hop in Xinjiang - China Digital Times (CDT)
     
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