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...
- 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
- Rights
- License
- Derechos de autor 2021 Universidad Santo Tomás
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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 |
_version_ |
1782026289347035136 |