Chinese Hip-Hop Music and Z Generation Fan Groups on Social Media
Abstract
combined with indigenous language and culture. With the development of the Internet and streaming music platforms, Chinese hip-hop music
has gradually integrated with mainstream pop culture and become popular among young people. This essay focuses on Chinese hip-hop fans
in Z generation and mainly analyses the user behaviors and social interactions of this fan group on Weibo. The purpose of this research is to
explore the relationship between social media, Chinese hip-hop culture, and its fan base. Through conducting an in-depth interview with a
Chinese hip-hop fan who uses Weibo frequently and combining it with the Actor-Network Theory, this paper investigates how does the Gen Z
hip-hop fans disseminate Chinese hip-hop culture, construct community and identity, as well as promote the exchange and communication of
Chinese hip-hop music in the worldwide through social media from the perspective of sociology and culture.
Keywords
Full Text:
PDFReferences
[1] Barrett, C. (2012). Hip-hopping across China: Intercultural formulations of local identities. Journal of Language, Identity & Education,
11(4), 247-260. https://doi.org/10.1080/15348458.2012.706172
[2] Elhami, A., & Khoshnevisan, B. (2022). Conducting an Interview in Qualitative Research: The Modus Operandi. Mextesol Journal,
46 (1), 1-7.
[3] Fossey, E., Harvey, C., McDermott, F., & Davidson, L. (2002). Understanding and evaluating qualitative research. Australian & New
Zealand journal of psychiatry, 36(6), 717-732. https://doi.org/10.1046/j.1440-1614.2002.01100.x
[4] Lin, Z., & Zhao, Y. (2022). Localization and mainstream emergence of hip-hop music in China: a critical transculturalism perspective.
Media, Culture & Society, 44(3), 407-427. https://doi.org/10.1177/01634437221077160
[5] Latour, B. (1996). On actor-network theory: A few clarifications. Soziale welt, 369-381.
[6] Luppicini, R. (2014). Illuminating the Dark Side of the Internet with Actor-Network Theory: An Integrative Review of Current Cybercrime Research. Global Media Journal: Canadian Edition, 7(1).
[7] Luo, M., & Ming, W. (2020). From underground to mainstream and then what? Empowerment and censorship in Chinas hip-hop music.
Critical Arts, 34(6), 1-12. https://doi.org/10.1080/02560046.2020.1830141
[8] Mosley, D. V., Abreu, R. L., Ruderman, A., & Crowell, C. (2017). Hashtags and hip-hop: exploring the online performances of hip-hop
identified youth using Instagram. Feminist Media Studies, 17(2), 135-152. https://doi.org/10.1080/14680777.2016.1197293
[9] Porfilio, B. J., Roychoudhury, D., & Gardner, L. (2013). Ending the'War Against Youth:'Social Media and Hip-Hop Culture as Sites of
Resistance, Transformation and (Re) Conceptualization. Journal for Critical Education Policy Studies (JCEPS), 11(4).
[10] Patton, D. U., Eschmann, R. D., & Butler, D. A. (2013). Internet banging: New trends in social media, gang violence, masculinity and
hip hop. Computers in Human Behavior, 29(5), A54-A59. https://doi.org/10.1016/j.chb.2012.12.035
[11] Tan, H., & Maneewattana, C. (2022). Cultural Identities of Urban Adolescents in Chinese Hip-hop Song: A Case Study of Changsha,
Chongqing, and Chengdu Cities. Turkish Online Journal of Qualitative Inquiry, 13(1).
[12] Wang, Y. (2024). Musical taste preferences in Chinese hip-hop: Between cultural openness and the rejection of vulgarity. Sociology
Compass, 18(1), e13168. https://doi.org/10.1111/soc4.13168
DOI: http://dx.doi.org/10.70711/rcha.v3i3.7048
Refbacks
- There are currently no refbacks.