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The Semiotics of Malcolm X from Harlem to Tahrir

Ackfeldt, Anders LU (2020) In Svensk Teologisk Kvartalskrift 96(1). p.47-61
Abstract
With no ambition to provide a complete inventory, this article introduces
the reader to the ways in which Malcolm X and his legacy have been used
within US hip-hop music. The central argument is that US hip-hop artists,
since the birth of hip-hop, have been participating in the processes of
reinventing Malcolm X and his legacy by not only casting him as a symbol
of local African American resistance against racial inequalities, but also
by fashioning him as a global Sunni Muslim revolutionary by creatively
name-, image-, or sound-dropping him in different sound and visual settings.
More extensive usages mainly involve key quotes of Malcolm X or
lengthy sound bites of classic speeches. The usage of certain... (More)
With no ambition to provide a complete inventory, this article introduces
the reader to the ways in which Malcolm X and his legacy have been used
within US hip-hop music. The central argument is that US hip-hop artists,
since the birth of hip-hop, have been participating in the processes of
reinventing Malcolm X and his legacy by not only casting him as a symbol
of local African American resistance against racial inequalities, but also
by fashioning him as a global Sunni Muslim revolutionary by creatively
name-, image-, or sound-dropping him in different sound and visual settings.
More extensive usages mainly involve key quotes of Malcolm X or
lengthy sound bites of classic speeches. The usage of certain iconic photos
is comparable to key quotes as these are clearly meant to trigger established
associations. It is important to stress that the legacy of Malcolm
X and his political theology within hip-hop culture goes beyond national
borders, religious beliefs, and political goals. (Less)
Please use this url to cite or link to this publication:
author
organization
publishing date
type
Contribution to journal
publication status
published
subject
in
Svensk Teologisk Kvartalskrift
volume
96
issue
1
article number
4
pages
15 pages
publisher
Gleerups Utbildning AB
external identifiers
  • scopus:85104463600
ISSN
0039-6761
language
Swedish
LU publication?
yes
id
e0a1708c-a4b1-48d3-bf74-44655556aec4
date added to LUP
2020-03-30 14:13:52
date last changed
2023-10-08 02:25:32
@article{e0a1708c-a4b1-48d3-bf74-44655556aec4,
  abstract     = {{With no ambition to provide a complete inventory, this article introduces<br/>the reader to the ways in which Malcolm X and his legacy have been used<br/>within US hip-hop music. The central argument is that US hip-hop artists,<br/>since the birth of hip-hop, have been participating in the processes of<br/>reinventing Malcolm X and his legacy by not only casting him as a symbol<br/>of local African American resistance against racial inequalities, but also<br/>by fashioning him as a global Sunni Muslim revolutionary by creatively<br/>name-, image-, or sound-dropping him in different sound and visual settings.<br/>More extensive usages mainly involve key quotes of Malcolm X or<br/>lengthy sound bites of classic speeches. The usage of certain iconic photos<br/>is comparable to key quotes as these are clearly meant to trigger established<br/>associations. It is important to stress that the legacy of Malcolm<br/>X and his political theology within hip-hop culture goes beyond national<br/>borders, religious beliefs, and political goals.}},
  author       = {{Ackfeldt, Anders}},
  issn         = {{0039-6761}},
  language     = {{swe}},
  month        = {{03}},
  number       = {{1}},
  pages        = {{47--61}},
  publisher    = {{Gleerups Utbildning AB}},
  series       = {{Svensk Teologisk Kvartalskrift}},
  title        = {{The Semiotics of Malcolm X from Harlem to Tahrir}},
  volume       = {{96}},
  year         = {{2020}},
}