Práctica del rap estilo libre en Argentina: antecedentes históricos

Improvisation as a subgenre of rap reached its peak during the 21st century, achieving that many groups of young people organized themselves cooperatively, on the one hand, and that the market incorporated it by supporting it with advertisements and organizing events at an international level, on th...

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Autores:
Biaggini, Martin
Tipo de recurso:
Fecha de publicación:
2021
Institución:
Universidad Santo Tomás
Repositorio:
Repositorio Institucional USTA
Idioma:
spa
OAI Identifier:
oai:repository.usta.edu.co:11634/39348
Acceso en línea:
https://revistas.usantotomas.edu.co/index.php/analisis/article/view/6419
http://hdl.handle.net/11634/39348
Palabra clave:
rap
estilo libre
batallas
hip-hop
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License
Derechos de autor 2021 Universidad Santo Tomás
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oai_identifier_str oai:repository.usta.edu.co:11634/39348
network_acronym_str SANTTOMAS2
network_name_str Repositorio Institucional USTA
repository_id_str
spelling Biaggini, Martin2022-01-18T15:59:51Z2022-01-18T15:59:51Z2021-07-23https://revistas.usantotomas.edu.co/index.php/analisis/article/view/641910.15332/21459169.6419http://hdl.handle.net/11634/39348Improvisation as a subgenre of rap reached its peak during the 21st century, achieving that many groups of young people organized themselves cooperatively, on the one hand, and that the market incorporated it by supporting it with advertisements and organizing events at an international level, on the other hand. In this article, I analyze the appropriation of the practice of improvisation or freestyle by rappers in Argentina and the emergence of improvisation battles organized in public and self-managed spaces, from a historical perspective. As a spatial and temporal framework, I will take the city of Buenos Aires and its suburbs, since the arrival of rap to the present day, to observe the social and aesthetic issues under the focus of Oral History. To do so, I analyze the practice of improvisation through the temporal classification of three generations proposed by the Universidad Nacional Arturo Jauretche: the old school, the first generation, and rappers 2.0. La improvisación como subgénero del rap llegó a su auge durante el siglo XXI, logrando que muchos grupos de jóvenes se organizaran cooperativamente, por un lado, y que el mercado la incorpore apoyando con publicidades y organizando eventos a nivel internacional, por el otro. En este artículo analizo la apropiación de la práctica de improvisación o estilo libre (freestyle) realizada por raperos en Argentina y el surgimiento de batallas de improvisación organizadas en espacios públicos y autogestivas, desde una perspectiva histórica. Como recorte espacial y temporal voy a tomar la ciudad de Buenos Aires y su conurbano, desde la llegada del rap hasta la actualidad, para observar cuestiones sociales y  estéticas bajo el enfoque de la Historia Oral. Para ello, analizo la práctica de la improvisación a través de la clasificación temporal de tres generaciones planteadas desde la Universidad Nacional Arturo Jauretche: la vieja escuela, la primera generación, y los raperos 2.0. application/pdfspaUniversidad Santo Tomás, Bogotá, Colombiahttps://revistas.usantotomas.edu.co/index.php/analisis/article/view/6419/6346Análisis; Vol. 53 Núm. 99 (2021): Los horizontes del Hip HopAnalisis; Vol. 53 No. 99 (2021): The horizons of Hip HopAnalisis; v. 53 n. 99 (2021): Los horizontes del Hip Hop2145-91690120-8454Derechos de autor 2021 Universidad Santo Tomáshttps://creativecommons.org/licenses/by-nc-sa/4.0http://purl.org/coar/access_right/c_abf2Práctica del rap estilo libre en Argentina: antecedentes históricosPractice of freestyle rap in Argentina: historical backgroundinfo:eu-repo/semantics/articlehttp://purl.org/coar/version/c_970fb48d4fbd8a85http://purl.org/coar/resource_type/c_2df8fbb1rapestilo librebatallaship-hop11634/39348oai:repository.usta.edu.co:11634/393482023-07-14 16:08:33.88metadata only accessRepositorio Universidad Santo Tomásnoreply@usta.edu.co
dc.title.spa.fl_str_mv Práctica del rap estilo libre en Argentina: antecedentes históricos
dc.title.alternative.eng.fl_str_mv Practice of freestyle rap in Argentina: historical background
title Práctica del rap estilo libre en Argentina: antecedentes históricos
spellingShingle Práctica del rap estilo libre en Argentina: antecedentes históricos
rap
estilo libre
batallas
hip-hop
title_short Práctica del rap estilo libre en Argentina: antecedentes históricos
title_full Práctica del rap estilo libre en Argentina: antecedentes históricos
title_fullStr Práctica del rap estilo libre en Argentina: antecedentes históricos
title_full_unstemmed Práctica del rap estilo libre en Argentina: antecedentes históricos
title_sort Práctica del rap estilo libre en Argentina: antecedentes históricos
dc.creator.fl_str_mv Biaggini, Martin
dc.contributor.author.none.fl_str_mv Biaggini, Martin
dc.subject.proposal.spa.fl_str_mv rap
estilo libre
batallas
hip-hop
topic rap
estilo libre
batallas
hip-hop
description Improvisation as a subgenre of rap reached its peak during the 21st century, achieving that many groups of young people organized themselves cooperatively, on the one hand, and that the market incorporated it by supporting it with advertisements and organizing events at an international level, on the other hand. In this article, I analyze the appropriation of the practice of improvisation or freestyle by rappers in Argentina and the emergence of improvisation battles organized in public and self-managed spaces, from a historical perspective. As a spatial and temporal framework, I will take the city of Buenos Aires and its suburbs, since the arrival of rap to the present day, to observe the social and aesthetic issues under the focus of Oral History. To do so, I analyze the practice of improvisation through the temporal classification of three generations proposed by the Universidad Nacional Arturo Jauretche: the old school, the first generation, and rappers 2.0. 
publishDate 2021
dc.date.issued.none.fl_str_mv 2021-07-23
dc.date.accessioned.none.fl_str_mv 2022-01-18T15:59:51Z
dc.date.available.none.fl_str_mv 2022-01-18T15:59:51Z
dc.type.coarversion.fl_str_mv http://purl.org/coar/version/c_970fb48d4fbd8a85
dc.type.coar.fl_str_mv http://purl.org/coar/resource_type/c_2df8fbb1
dc.type.drive.none.fl_str_mv info:eu-repo/semantics/article
dc.identifier.none.fl_str_mv https://revistas.usantotomas.edu.co/index.php/analisis/article/view/6419
10.15332/21459169.6419
dc.identifier.uri.none.fl_str_mv http://hdl.handle.net/11634/39348
url https://revistas.usantotomas.edu.co/index.php/analisis/article/view/6419
http://hdl.handle.net/11634/39348
identifier_str_mv 10.15332/21459169.6419
dc.language.iso.none.fl_str_mv spa
language spa
dc.relation.none.fl_str_mv https://revistas.usantotomas.edu.co/index.php/analisis/article/view/6419/6346
dc.relation.citationissue.spa.fl_str_mv Análisis; Vol. 53 Núm. 99 (2021): Los horizontes del Hip Hop
dc.relation.citationissue.eng.fl_str_mv Analisis; Vol. 53 No. 99 (2021): The horizons of Hip Hop
dc.relation.citationissue.por.fl_str_mv Analisis; v. 53 n. 99 (2021): Los horizontes del Hip Hop
dc.relation.citationissue.none.fl_str_mv 2145-9169
0120-8454
dc.rights.spa.fl_str_mv Derechos de autor 2021 Universidad Santo Tomás
dc.rights.coar.fl_str_mv http://purl.org/coar/access_right/c_abf2
dc.rights.uri.spa.fl_str_mv https://creativecommons.org/licenses/by-nc-sa/4.0
rights_invalid_str_mv Derechos de autor 2021 Universidad Santo Tomás
https://creativecommons.org/licenses/by-nc-sa/4.0
http://purl.org/coar/access_right/c_abf2
dc.format.mimetype.none.fl_str_mv application/pdf
dc.publisher.spa.fl_str_mv Universidad Santo Tomás, Bogotá, Colombia
institution Universidad Santo Tomás
repository.name.fl_str_mv Repositorio Universidad Santo Tomás
repository.mail.fl_str_mv noreply@usta.edu.co
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