If re is a positive thing about scandal of Kollegah and Farid Bang and Panic-directed echo abolition, n this: re has been a serious discussion about German gangster rap and its anti-Semitic tendencies. The focus is on question of where limits of art and ir freedom go: can offend gangster rap, injure feelings, reproduce racist stereotypes and transport anti-Semitic content without being prosecuted?
Battle-Rap leads art critics into a paradoxical situation, because it transforms on a narrow line between staging and aunticity claim, reby constantly lifting its own rules. In concrete terms, rappers claim to be art figures. Her lines, her sexist pose, her gangster image is part of a large-scale staging. On or hand, this staging is constantly destabilized when rappers adorn mselves with threat of crime in real life in order to collect plus points on street Credibility scale.
The rules are undergoingEspecially artists around label Aggro Berlin are straining previous rules of border crossing – including associated harshness and violence rhetoric. At latest since label was founded in year 2001, not only textual struggle on stage is decisive, but also staging of violence in private life. "You must also be hard when beat is no longer running," rapped Fler and Bushido already 2003 on title track from Curb to skyline.
On stage, rules had been clearly defined by n: Rhetorical overstatements and desert exaggerations belonged to genre and were accepted and accepted by listeners like rappers, attackers as attacked. To this day, rap is that a line may be glorifying, hurtful, and provocative when directed at an opponent who can resist and respond similarly hard.
But se rules are becoming more and more undergoing. The once-valid criteria of battle rap, namely to duel in form of punch-lines fair, are increasingly broken and absurdly led: threats, conspiracy ories, attacks spread on Instagram become part of a strategic Overall staging. The precarious thing is that line between art and private figure is blurred not only for outside critics, but also for young people who listen to music. When a rapper states his fans with real criminal records, this is also relevant for perception and reality of his rap texts.
Neverless, some critics such as Thore barefoot and Dennis Sand vehemently advocate not to touch or question freedom of art in battle rap. Dennis Sand wrote in world that every rap listener understands that most rappers are not gangsters, but art figures. In an essay on Kollegah, music journalist writes: "No 14-year-old would come up with idea in year 2018 that a Kollegah is actually selling tons of cocaine and can buy women for mselves."
Is that so? Do teenagers really know so sharply between art figure and private person to separate? Behind argument is fear that public could completely question rap genre as an art form. An understandable reaction. In doing so, Dennis Sand himself knows that German gangster rap has a problem of violence and antisemitism: "Rap is a mirror of our society. A society in which re are parallel societies, clan structures, homophobia, misogyny and anti-Semitism. Rap reflects that. Criticism of parts of hip-hop culture by mainstream media is refore right and necessary. " And it is precisely se problems that rap scene has to discuss on its own and self-critical, if it wants to continue to claim its right to freedom of art.
Date Of Update: 27 April 2018, 12:02
