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  1. 2 Kwartalnik Pedagogiczny

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  1. 2 Jawor A.

  2. 2 Zańko P.

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  1. 2 2016

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Słowiańska dusza w hiphopowym rytmie. O twórczości Donatana

100%
Zańko P., Jawor A.
Kwartalnik Pedagogiczny
|
2016
|
issue 1(239)
36-49
EN
In the times of liquidity, cultural globalization, and homogenization, there are more and more visible tendencies to emphasize and promote local cultures and identities. A good example of such tendency is Donatan’s work. This Polish producer of hip-hop music made some sociological experiment when he asked renowned Polish hip-hop artists to express their perception of Slavic culture and identity so as to create an album – “Równonoc. Słowiańska dusza” (“Equinox. The Slavic Soul”). One of the music videos called “My, Słowianie” (“We, the Slavs”) had been watched above 10 million times during its first week on You Tube, and five months later it had more than 40 million viewers! It stimulated many cover versions, parodies, and memes – not only in Polish media but also in several Western European countries. In this research we focus on the lyrics and videos to show how Polish hip-hop artists interpret and create the image of the Slavs and the Slavic culture. Do the “racy music videos” really mock stereotypes, as we could learn from the BBC reporter? Or maybe they preserve them? If in the past the Slavic culture was portrayed with the images showing piety, simplicity and a rural idyll, how it is done nowadays? And what comes from it?
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Słowiańska dusza w hiphopowym rytmie. O twórczości Donatana

100%
Zańko P., Jawor A.
Kwartalnik Pedagogiczny
|
2016
|
vol. 61(1 (239))
36-49
PL
In the times of liquidity, cultural globalization, and homogenization, there are more and more visible tendencies to emphasize and promote local cultures and identities. A good example of such tendency is Donatan’s work. This Polish producer of hip-hop music made some sociological experiment when he asked renowned Polish hip-hop artists to express their perception of Slavic culture and identity so as to create an album – “Równonoc. Słowiańska dusza” (“Equinox. The Slavic Soul”). One of the music videos called “My, Słowianie” (“We, the Slavs”) had been watched above 10 million times during its first week on You Tube, and five months later it had more than 40 million viewers! It stimulated many cover versions, parodies, and memes – not only in Polish media but also in several Western European countries. In this research we focus on the lyrics and videos to show how Polish hip-hop artists interpret and create the image of the Slavs and the Slavic culture. Do the “racy music videos” really mock stereotypes, as we could learn from the BBC reporter? Or maybe they preserve them? If in the past the Slavic culture was portrayed with the images showing piety, simplicity and a rural idyll, how it is done nowadays? And what comes from it?
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