In my auto-ethnographic exploration of the diverse and intriguing Asian hip-hop/rap culture in the blog post; Everything Asia #1: Asian Rap Music I attempted to outline my personal bias, i.e. the lens I was consuming this media from. The ultimate goal was to understand and familiarise myself with this non-dominant media artefact.
“The radical, performance (auto)ethnographer functions as a cultural critic…His [her]…[autoethnography] becomes diagnosis, not just of him [her] self, but of a phase of history.”(Spender, 1984, p. ix) [Accessed here]
I believe my original blog post achieved my goal through Spender’s process of diagnoses of a phase of history; in this case being the emergence of this [sub]genre of Asian musical culture into the wider consciousness.
However in understanding the need for generalisability and integrity of my writing, in this post I will evaluate the following important aspects of creating an Asian autoethnography;
- Identifying and addressing the existence of orientalism
- Dissecting and explaining any East/West comparisons
- Reiterating any personal bias against or presumptions towards Asian culture
Ellis et. al (2011) place emphasis the eternal struggle of auto ethnography to appear ‘scientific whilst still being artful’. In other words; the author loses interest for the pursuit of the truth or presents an entertaining narrative with little factual basis.
I attempted to walk this line in my blog post by explaining my context in the beginning to set the tone for any possible imbalance in favour of subjective narrative. This combined with my initial skepticism formed a clearer framework to consume my writing and opinions.
As for East vs West, this is absolutely the most difficult part of this topic as the roots of Hip-Hop/Rap are embedded deeply in African-American culture since its conception in the 1980’s. An industry still heavily dominated by this demographic to examine rap as a cultural output is to examine ‘black’ culture. I made efforts to sidestep this tempting comparison by discussing the influence of U.S. imperialism and the effect it has had on all cultures particularly Asian, and not pitching modern U.S. rappers vs Asian rappers. Instead of imposing my perspective of the artists included, I simply embedded curated links for the audience to decide and explore. I did however, slip up and compared the flow of Rich Chigga’s “Glow like dat” to Cleveland rapper; Kid Cudi, an epiphany which I would welcome genuine disagreement on. Instead of allowing the East vs West comparisons to alienate listeners, I took the angle which asserts that many Asian rappers will struggle to break western markets into dominant media channels unless they alter their sound towards the current norm.
So what about orientalism?
Edward Said understood the concept of orientalism to be that ‘Middle Eastern and Asian cultures are undeveloped and static societies compared to the west. Implicit in this fabrication, writes Said, is the idea that Western society is developed, rational, flexible, and superior.’
Thus, to have the slightest sense of orientalism in one’s writing, involves the comparison of the east to a culturally-imperialist west. Although there is passing comment made in the initial blog it is hard to see even a faint sense of cultural inferiority/superiority.
I am glad I chose to research and represent this topic in my blog as I have now been listening to more and more of this music and am beginning to realise just how easily this cultural output transcends language barriers, i am hooked on the artistic fusion of many of the artists introduced to me by the 88rising record label.
**All references are in the form of hyperlinks**