"There's a couple lines in our script/I think we should edit": Autofiction and the moment of "consciousness" in black-British conscious rap

“我们的剧本中有几行/我认为我们应该编辑”：自传小说和英国黑人意识说唱中的“意识”时刻

• 批准号: 2887037
• 金额: --
• 依托单位: University of Bristol
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2887037
• 关键词: There; couple; lines; our; script

Omar Shahid defines 'conscious' rap as "a new generation of homegrown artists who aren'tscared to deal in the explicitly political"1. Within politically charged albums, black-Britishrappers embark on longer narrative projects in which they straddle the boundary between the'conscious' and the performative, taking time to play with imagery of the capitalist spoils ofcelebrity and wealth, whilst also carving out spaces for introspection. These works are not onlybeing accepted by mainstream audiences, a far cry from the roots of black-British rap and grimein underground garage collectives, but are also constituting genuine political protest, with themusic leading the "rebellion against what black culture considers to be a hostile government"2.However, it remains unclear as to when the materialistic, single-producing black-British rapperexchanges boastfulness for didacticism. Michael Owuo Jr. (Stormzy), for example, gestures to thecompletion of his self-development upon reaching his third album, "This ain't the same man whosaid his head was heavy"3. And yet, one album prior, he remained uncomfortably between the"commercialized" and the "conscious": "They sayin' I'm the voice of the young black youth/Andthen I say "Yeah, cool" and then I bun my zoot"4. This gestures to a process of transitiontraversing his discography, with a definitive end in the site of his third work, but ambiguitysurrounding the point of origin. In order to understand the work itself better, as well as how thisevolution of conscious rap contributes to and diverges from the existing genre of black-Britishrap, it is critical to ask and answer: when does rap become 'conscious'?

奥马尔·沙希德（Omar Shahid）将“有意识的”说唱定义为“新一代的本土艺术家，他们不愿意从事明确的政治事务” 1。在政治上充斥的专辑中，黑人狂欢者开始了较长的叙事项目，在这些项目中，他们跨越了“意识”与表演效果之间的边界，花时间来播放资本主义战利品的图像和财富，同时也将空间散发出来。这些作品不仅是主流观众所接受的，而且与黑英国说唱和格林（Grimein）地下车库集体的根源相去甚远，而且还构成了真正的政治抗议，主义带领“叛逆黑人反对黑人文化是一种敌对的政府”，这是一个敌对的政府。教义主义。例如，小迈克尔·奥·奥沃（Michael Owuo Jr.）（Stormzy），在达到他的第三张专辑“这不是同一个人的头时，他的头很重” 3。然而，一张专辑先前，他在“商业化”和“有意识”之间仍然感到不舒服：“他们说'我是年轻的黑人青年的声音/我说“是的，很酷”，然后我把我的zoot'4。这是指转变他的唱片的过程，并在他的第三次工作的地点确定了结局，但模棱两可的原产地。为了更好地理解作品本身，以及这种有意识的说唱的进化如何促进并与黑人 - 布里希拉普的现有类型不同，问和回答至关重要：说唱何时成为“有意识”？