Culture defines how a particular social group lives and makes sense out of their given conditions in life. It refers to practices, values, and ideas a specific group holds to draw meaning in their world. Culture can be constructed from a local or a global perspective (Baker, Robards, " Buttigieg, 2016, p. 366). For many youths, the Hip Hop culture is a way of connecting and interacting with global youth culture and has been regarded as a worldwide subculture. It is crucial to examine the role of the youths in subcultures such as the Hip Hop to understand how the public and the media view the culture (Alim, 2009, p. 113). The paper will address how the Australian Hip Hop youth culture has been represented in the media and or public domain.
Discussion about Hip Hop Culture
In Australia, the issue of Hip Hop youth culture has been widely discussed debated, problematised, and celebrated by the people. Arguments are based on aspects of globalisation, cultural gender balance, whether to include the culture in education and social change. The culture has spread among the young generation and is being used transculturally by all the teenagers across the world (O'Hanlon, 2006, p. 197). The users have been able to borrow worlds from different countries thus leading to globalisation. There is an excellent movement of ideas and hip-hop culture around the globe thus creating an aspect of globalisation. Many youths in Australia are using Hip Hop music and dance that has been borrowed from the United States (Mitchell, 1988, p. 5). The result is an improved culture that is integrated with different aspects and understanding of the world.
Again, there has been a discussion about whether the Hip Hop culture serves as a therapeutic tool for young people. The culture has been regarded as a style that most young people feel confident and comfortable with and thus can be used as a method of building rapport between a client and a therapist. The lyrical content and message of the hip-hop songs provides a platform for self-reflection and offers an atmosphere of relaxation (Kopycinski, 2016, p. 4). The themes found in the genre of hip-hop songs serve as an access pathway that enables the therapist to talk about the topics that would be hard to discuss with their client (Morgan " Bennett, 2011, p. 180). Thus the media and the public domain view the Australian Hip Hop Culture as a tool for providing and ensuring effective therapy when working with the young people.
Moreover, there has been a debate whether the hip-hop youth culture should be incorporated in education or not. For instance, in the Australian school setting, hip-hop has been found to be a positive tool that enables the students from the diverse backgrounds to connect with others to form a large community. Students can communicate with each other and understand their different cultures from an informal point of view. The teachers who support the use of hip-hop culture in the learning sectors can understand and bond well with their students (Stavrias, 2005, p. 6). Therefore, the teaching process becomes simplified and effective. Other people consider the hip-hop culture as made for the youths who are spoiled and thus disregard its use in the education sector (Alim, 2009, p. 121). It is evident that the Australians have different views concerning the use of hip-hop culture in education.
Besides, there has been a tiresome and a long debate about the accent that dominates the Australian hip-hop culture. Each group promotes the use of an Americanised accent and asserts that one does not have to sound like other artists while making hip-hop. However, both sides admit that rapping using an American accent does not make one the best artists. The use of an American accent in the Australian hip-hop is becoming a common practice, and thus the public view the method as a divisive one (Baker, Robards, " Buttigieg, 2016, p. 366). Some Australian hip-hop youths are convinced that the debate has ended, but it is unfortunate that it has intensified due to the adoption of the mainstream culture and the emergence of young talents. There is no answer as to whether a person should use an American accent despite being a non-American (Mitchell, 1988, p. 12). It is evident that the use of an Americanised accent for Australian hip-hop is still a contested issue.
Australian youth hip-hop culture has for decades been bundled with negative connotations that have rendered the subculture a problem. For instance, Bratton equates the hip-hop culture as one that is profane, violent, and in support of crime. Some people have labelled the hip-hop music, and lyrics as that contains criminal threats and has a bad influence on the children. The public views the lyrical content of hip-hop as confronting and in many instances in glorification of violence, gender discrimination, and drug abuse. It is considered a method of bad influence on the youths and thus many people do not accept it within the community (Morgan " Warren, 2011, p. 12). However, not all hip hop is problematised. Other cultures are built on values of justice, respect, community, and having fun and thus are celebrated by every member of the society. In this view, they are regarded as a therapeutic tool for the young generation.
The Australian youth hip-hop culture is celebrated by psychologists, social workers, and school counsellors because it serves as a tool for normalising the integration of the culture within mental health. The hip-hop pysch is being used to promote healing and the management of mentally-disturbed patients. The music therapy is being used among the teenagers to manage their mental disturbances. The public domain and the media are involved in the promotion of the hip-hop culture to ensure the management of the mental state of people. People may love the content of the hip-hop while others like the lyrical flow (Morgan " Bennett, 2011, p. 191). The combined hip-hop culture provides an understanding of self and creates social-consciousness.
Voices in the Debate
Several views have been raised concerning the Australian hip-hop youth culture. For example, a group of Indigenous Hip Hop Projects (IHHP) that contains talented artists has been working with the Indigenous communities in Australia since 2005. The team is specialized in carrying out weekly projects in music, film, dance, and culture (O'Hanlon, 2006, p. 200). They ensure a balance between male and female artists within the 55 Australian communities they work with. Their concern here is to ensure that the misconception that men than the women dominate the hip-hop culture is addressed. Again, their interest is to reach to the indigenous and local Australian youths living in the remote and urban areas (O'Hanlon, 2006, p. 205). Therefore, it is evident the public views the hip-hop culture as an issue that should be embraced by all youths despite their social and political backgrounds.
Other voices of the hip-hop culture in Australia are teachers, counsellors, and mental therapists. They view hip-hop music as a method of ensuring relaxation and mental health of the client. Some musical rhythms and lyrics are soothing and might reduce the stress levels of a person. In many instances, the culture has been used for mental health (Kopycinski, 2016, p. 5). The concern in this group is how the culture should be incorporated within the education sector and the consequences it may have on the student. The impacts should be considered before the full integration of the culture to the culture.
Moreover, the Shannon power voice has been heard concerning the Australian Hip Hop youth culture. The Shannon power seeks to diversify the ‘skip-hop’ problem in the culture. Less than ten female rappers have signed for rap music in Australia despite the many who feel belittled. Their concern is the underrepresentation of women in the culture, and thus they seek to create diversification and register many women in the industry (Alim, 2009, p. 122). The voice is concerned with the numbers and the influence the members will have on the subsequent generations. With the increased numbers, the cultural growth and diversity will be witnessed which is a major essential step to realising globalisation (O'Hanlon, 2006, p. 207). The diverse use of different themes in the hip-hop culture will reduce the issues that promote violence and social injustices.
Critical Analysis
It is evident that the hip-hop culture is dominated by themes that promote social discrimination and violence amongst other vices. For instance, the white boys would rap about beer and violence. Thus, the Australian authorities had to develop a logic that would conform to the expectations of the culture (Kopycinski, 2016, p. 6). For example, the use of themes that promote social injustices was forbidden and banned from use. Therefore, the hip-hop in Australia is open to diversity that can be based on the gender, race, style, and content and the artists must adhere and stick to the rules (Mitchell, 1988, p. 17). This will avoid the use of profane language that promotes social injustices within the community.
Again, the issue of underrepresentation by women in the hip-hop culture in Australia is wanting. Therefore, it is better for the women to stand in the forefront of growing the culture. Again, the radio presenters should ensure they play a song by a female rapper each show. The act will help in the diversification of women in the field of hip-hop culture. It is evident that art is considered gender irrelevant because every person must accomplish their dream (Stavrias, 2005, p. 8). Therefore, the women involved in the building of the hip-hop Australian youth culture should be the goal of artists and the supporters of hip-hop culture.
Furthermore, nowadays, people are listening to hip-hop music with their ears and eyes. They can visualise and listen to the many emerging styles of Australian as well as the global hip-hop culture. Many Australians are resistant to new things and prefer sticking to what they know. For example, if person music is not heard through a particular channel; then, the chances of succeeding in the market are minimal (Alim, 2009, p. 126). Many musicians have been forced to venture because they feel that the Australians are not likely to love and celebrate the hip-hop done on one of the cultures. The genre is slowly changing with many artists trying to borrow hip pop cultures from countries such as United States (Morgan " Bennett, 2011, p. 19). The integration of the different cultures will help address the problem without losing both cultures.
The women also need more representation in the hip-hop world. For example, their songs need to be played more, and their blogs discussed more often in the social media. This will ensure that their talents are not hidden and that they are utilised to bring the best out of them. Furthermore, it will minimise the saying that the women are less capable than men (Kopycinski, 2016, p. 6). With the open platform to ensure that all artists are given equal opportunity to express their thoughts and ideas are well represented and communicated within the society. Besides, it will provide an opportunity for growth and diversification of the women artists to attain a global perspective.
Conclusion
Australian Youth Hip Hop culture is a significant issue that has been debated and celebrated in history. Understanding the culture and the fundamental aspects connected to the concerns enables artists to understand the different methods of communicating a message to the intended audience. It is apprehended that the youths are categorised as a group that is at the forefront of growing the culture. The public and media view the culture as a viable tool that is the backbone of realising globalisation and understanding within different communities. The hip-hop culture has been celebrated by many people across Australia and the world and thus has been approved for use by the youths. However, the culture has been seen to promote issues of violence and social injustices despite its use. With the age of globalization, it is a subject that is yet to be explored fully as pertains how other cultures promote their values.
References
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