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    Dissatisfaction and dissent in the transmodal performances of hip-hop artists in Mongolia

    Access Status
    Fulltext not available
    Authors
    Dovchin, Sender
    Date
    2018
    Type
    Book Chapter
    
    Metadata
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    Citation
    Dovchin, S. 2018. Dissatisfaction and dissent in the transmodal performances of hip-hop artists in Mongolia. In The Sociolinguistics of Hip-hop as Critical Conscience: Dissatisfaction and Dissent, 191-211. Switzerland: Springer Nature.
    Source Title
    The Sociolinguistics of Hip-hop as Critical Conscience: Dissatisfaction and Dissent
    DOI
    10.1007/978-3-319-59244-2_8
    ISBN
    9783319592442
    School
    School of Education
    URI
    http://hdl.handle.net/20.500.11937/71095
    Collection
    • Curtin Research Publications
    Abstract

    © The Author(s) 2018. The sociolinguistic practices of hip-hop artists in Mongolia can be understood as "transmodal” due to the combination of varied linguistic resources with other multiple modes such as the traditional elements and nationalistic symbols. In so doing, Mongolian hip-hop artists utilize the vernacular of the genre as a means of expressing political dissatisfaction and dissent. They form patriotic identities by declaring their love and pride for their root and tradition. They are the harsh critics and the sarcastic satirists of social injustice and corruption of the political regime in Mongolia.

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