Susan Lindholm | Stockholm University (original) (raw)

Conference Presentations by Susan Lindholm

Att förhandla svenskhet inom en hiphop zon mellan Chile och Sverige, (Negotiating ”Swedishness” w... more Att förhandla svenskhet inom en hiphop zon mellan Chile och Sverige, (Negotiating ”Swedishness” within a Hip-hop zone in-betwen Chile and Sweden) presentation at the Svenska historikermötet (Swedish historical conference), Mittuniversitetet, Sundsvall, Sweden, 10-12/5/2017

Latinamerikansk hiphopfeminism, (Latin American Hip-hop Feminism) presentation at the network mee... more Latinamerikansk hiphopfeminism, (Latin American Hip-hop Feminism) presentation at the network meeting of Öresundsnetwork for gender studies, 5/5/2017

Remembering Chile. An Entangled History of Hip-hop in-between Sweden and Chile, presentation at t... more Remembering Chile. An Entangled History of Hip-hop in-between Sweden and Chile, presentation at the conference Peace, unity and complex issues in hip-hop culture, University of Gothenburg, 6-7/12/2016.

Hip-hop in Chile: negotiating a ”traumatic past”, presentation at the Sixth international Finnish... more Hip-hop in Chile: negotiating a ”traumatic past”, presentation at the Sixth international Finnish Oral History Network symposium, Fragile Memories: Doing Oral History with Vulnerable Narrators, Helsinki, Finland, 24-25/11/2016.

A cultural studies approach to migration: an entangled history of Hip-hop in-between Sweden and C... more A cultural studies approach to migration: an entangled history of Hip-hop in-between Sweden and Chile, presentation of my PhD thesis at the 2016 PhD Conference in History: Lund/ York / Bielefeld, University of Bielefeld, 22-25/05/2016

From Nueva Canción to Hip-hop in-between Chile and Sweden, presentation at the Hip-hop Studies No... more From Nueva Canción to Hip-hop in-between Chile and Sweden, presentation at the Hip-hop Studies North and South conference, Aalto University School of Business, Helsinki, 19-20/11/2015

Hip-hop in-between Chile and Sweden, presentation at the conference Concurrences of Postcolonial ... more Hip-hop in-between Chile and Sweden, presentation at the conference Concurrences of Postcolonial Research, Linnaeus University, Sweden, 20-22/08/2015

Hip-hop in-between Chile and Sweden, presentation at the “Nordiska kvinno- och genushistorikermöt... more Hip-hop in-between Chile and Sweden, presentation at the “Nordiska kvinno- och genushistorikermötet” (Nordic Women´s and Gender Studies Conference), Stockholm University, 19-21/08/2015

Becoming FreddeRico: a Translocational Phenomenology of Whiteness, presentation at the conference... more Becoming FreddeRico: a Translocational Phenomenology of Whiteness, presentation at the conference “Oral History i Sverige – Dåtid, Nutid, Framtid,” (oral history in Sweden – then, now, and in the future) at Stockholm University, 23-24/10/2014

Postmemories in Translation, presentation at the “Critical Hip-hop Studies Symposium,” Åbo Univer... more Postmemories in Translation, presentation at the “Critical Hip-hop Studies Symposium,” Åbo University, Finland, 16-17/10/2014

Translating “Chile” in the Hip-hop Zone presentation at the “Oslo International Graduate Students... more Translating “Chile” in the Hip-hop Zone presentation at the “Oslo International Graduate Students Conference: Space, Culture, and Religion: Considering Implications of the Spatial Turn”, at the University of Oslo, Norway, 19-21/05/2014

In Pursuit of Recognition: Translating “Chile” in the Hip-hop Zone presentation at the Svenska Hi... more In Pursuit of Recognition: Translating “Chile” in the Hip-hop Zone presentation at the Svenska Historikermötet (the conference for Swedish historians), Stockholm University, 08-10/05/2014

Hip-hop in Translation, presentation at the conference “Musik och Samhälle 4” (music and society)... more Hip-hop in Translation, presentation at the conference “Musik och Samhälle 4” (music and society) at Malmö University, 25-26/04/2013

Translocal perspectives on hip-hop: in-between Chile and Sweden presentation at the G12 conferenc... more Translocal perspectives on hip-hop: in-between Chile and Sweden presentation at the G12 conference (National Conference of Gender Studies), University of Gothenburg, 28-30/10/2012

Translocal perspectives on hip-hop: in-between Chile and Sweden, presentation at the conference “... more Translocal perspectives on hip-hop: in-between Chile and Sweden, presentation at the conference “Narration and Narratives as Interdisciplinary Field of Studies”, Örebro University, 4-5/10/2012

The Negotiation of National Space in Swedish Hip-hop, presentation at the conference “Musik och S... more The Negotiation of National Space in Swedish Hip-hop, presentation at the conference “Musik och Samhälle 2” (music and society) at MU, 22/04/2010

Talks by Susan Lindholm

Ninna Mörner (ed.) CBEES State of the Region Report 2024, A World Order in Transformation?, A Comparative Study of Consequences of the War and Retions to these Changes in the Region. Center for Baltic and Eeast European Studies (CBEES) Södertörn university, 2024

This article studies popular culture, both as a platform that is used to negotiate questions of b... more This article studies popular culture, both as a platform that is used to negotiate questions of belonging, as well as a gendered space that activates questions of belonging. By discussing such issues of belonging in the work of Chilean artist Ana Tijoux, it sets out to make visible the continuing importance of both the nation, as well as transnational connections as frames of reference in popular culture. The article shows that Tijoux’s experience of exclusion and marginalization in France and Chile prompted her to become a hip-hop artist. In a national, that is, Chilean context, she claims belonging by creating a connection to a specific Chilean past, as well as to the nueva cancion movement, and by referring to a collective experience of marginalization and exclusion in her lyrics. Tijoux’s artist identity also draws on several established images and definitions. The article concludes by arguing that studies discussing popular music in connection to identity and belonging should f...

Alternation: Interdisciplinary Journal for the Study of the Arts and Humanities in Southern Africa, 2019

This article focuses on what will be called narratives of belonging created through hip-hop cultu... more This article focuses on what will be called narratives of belonging created through hip-hop culture by the children of Chilean refugees who came to Sweden during the 1970s and 1980s. Chile is especially interesting in this context, as Sweden accepted the largest number of Chilean political refugees in Europe after the 1973 military coup. The article argues that the work of Swedish hip-hop artists who actively address a Chilean background through their work can be read as narratives of belonging in a number of different ways. This specific negotiation of a Chilean identity becomes intelligible as a narrative of belonging in Sweden against the background of othering and segregation processes, and a form of multiculturalism that affirms both difference and equality. It creates belonging as a reaction to othering processes that are visible in both the persisting segregation in housing and labour markets along ethnic and racial lines, as well as the election of the Sweden Democrats, a right-wing, anti-immigration party into the Swedish national parliament in 2010, 2014, and most recently in 2018. It also creates belonging in the context of a multiculturalism debate that stresses difference as desirable, that is, as a means of inclusion into mainstream society. The article argues that, if being different means being part of a group, individuals will set out to define their specific difference, in this case by creating narratives of belonging that connect them to a specific (idealized) version of a Swedish past, in order to define their membership within that group.

Kulturstudier, 2015

Her research interests include constructions of self and other within and through historical and ... more Her research interests include constructions of self and other within and through historical and locational contexts. Her dissertation explores Hip-hop culture in-between Chile and Sweden.

Att tänka kring "svensk, vit maskulinitet" inom populärmusiken Januari 2010 publicerade Tidskrift... more Att tänka kring "svensk, vit maskulinitet" inom populärmusiken Januari 2010 publicerade Tidskrift för Genusvetenskap ett temanummer kring vithet. I detta temanummer reflekterade forskare från olika fält kring vikten av att "göra kritisk vithetsanalys till en ständigt närvarande del av genusforskningen som den borde vara" (Lindberg, Strollo & Björk 2010:3). Att göra en sådan analys är dock inte självklart eller enkelt (Hübinette & Mählck 2015). Farorna är många: att lyfta "ras" som ett analytiskt begrepp kan till exempel bidra till att föreställningen kring socialt konstruerade "rasskillnader" upprätthålls. Att dessutom, som jag i denna artikel föreslår, tänka kring "svensk, vit maskulinitet" innebär även risken att den "vita mannens" berättelse återigen får stå i fokus för historieskrivningen (Ahmed 2010). Genom att använda mig av kulturvetaren Stuart Halls diskussion kring olika former av skillnad, argumenterar jag i följande text för att ett sådant perspektiv ändå kan vara användbart när "svensk, vit maskulinitet" analyseras som en osynlig bakgrund för berättelsen om "den andre" inom den globala populärmusiken. Forskare i USA har länge påtalat och analyserat betydelsen av genus och etnicitet eller ras inom populärmusiken. Redan 1957 påpekade journalisten Norman Mailer att populärmusiken har blivit en arena där unga vita män förhandlar sin maskulinitet (Neal 2005:370). Kulturvetaren Mark Anthony Neal menar dessutom att sättet hur "vita" artister har använt sig av kulturella representationer skapade inom en "svart" kontext länge har varit en central fråga inom populärmusiken (Neal 2005:369). Dessa konstruktioner av "svart" och "vit" kan dock inte direkt översättas till en svensk kontext. I min doktorsavhandling analyserar jag hur framförallt Hip-hop artister skapar en "Latino" eller "Chilensk" identitet genom sin musik mellan Chile och Sverige. I detta arbete ingår en analys av hur Fredrik FreddeRico Ekelund, en svensk R&B-artist som inte har någon familjeanknytning till Latinamerika skapar en sådan "Latino" identitet som musiker. Baserat på en intervju med Fredrik ställer jag frågan hur denna identitet kan tolkas genom att analysera "svensk, vit maskulinitet" som en osynlig bakgrund för berättelsen om "den andre" (Lindholm 2015). "VI" MOT "DEM" Att prata om vithet blir enligt min mening intressant då "den andre" alltid definieras som annorlunda från någonting. Genom att definiera vem "de" är, definierar vi alltid även oss själva. "Den andre" är inte vilken andre som helst, utan vår specifika andre, vår "intimate NOTER 1. Quijano kallar detta fenomen för "the coloniality of power".

Begreppet hiphopfeminism myntades 1999 av kulturkritikern Joan Morgan. I sin bok When Chickenhead... more Begreppet hiphopfeminism myntades 1999 av kulturkritikern Joan Morgan. I sin bok When Chickenheads Come Home to Roost. My Life as a Hiphop Feminist beskriver hon begreppet som en vidareutveckling av black feminism och womanism skapad av och for (framforallt svarta) kvinnor i USA som tillhor den sa kallade hiphopgenerationen. Sedan dess har manga forskare som har anvant sig av ett genusperspektiv for att analysera hiphopkulturen bade tagit avstand fran och aktivt associerat sig med hiphopfeminismen som forskningsfalt. I denna artikel diskuterar jag framvaxten av detta falt mot bakgrund av bade hiphopkulturens och den akademiska hiphopforskningens uppkomst och utveckling i USA. For att synliggora den komplexa debatten kring kvinnors representation inom hiphopen lyfter jag sedan fram nagra centrala handelser i USA fran 2000-talet. Avslutningsvis problematiserar jag hiphopkulturen som politisk motstandsrorelse i en transnationell kontext och diskuterar kortfattat hiphopfeminismen i ett ...

Hip-hop artists are often perceived as societal critics who speak for, or represent a marginalize... more Hip-hop artists are often perceived as societal critics who speak for, or represent a marginalized other, while at the same time re-presenting or staging themselves as individual artists. This article sets out to provide a more detailed account of the representation of such a marginalized other in Swedish Hip-hop by tracing the ways in which representation – as both speaking for and staging – is connected to the marginalized other in the lyrics of the Malmö-based Hip-hop group Advance Patrol. In their lyrics, Advance Patrol not only stage themselves as artists who speak for a marginalized other and artists who distance themselves from such representations by creating an externalized other. Their lyrics also stage them as what will be called a transnational other in-between Chile and Sweden and thereby connect them with a migration history in-between Chile and Sweden. It argues that the representations in their lyrics between 2003 and 2006 shift – between criticizing the logic of ‘we...

Over 40 years have passed since the coup d’etat in Chile on September 11th 1973. Although Augusto... more Over 40 years have passed since the coup d’etat in Chile on September 11th 1973. Although Augusto Pinochet’s military regime officially came to an end in 1990, the political and societal consequences of the coup and 17 years of dictatorship live on to this day, both in and outside of Chile. In this article I discuss hip hop practice as a form of identity and memory work in, and in-between Chile and Sweden, the country that welcomed the highest number of Chilean refugees in Europe after the coup. I focus on those instances in which rappers in both Sweden and Chile refer to specific versions of the past in their lyrics, music, videos, biographies, and in TV programs. My analysis shows that artists in both countries use hip hop culture in order to create meaning and a sense of shared history by engaging in strategic and self-conscious identity and memory work.

Det har kapitlet handlar om sista skedet av arbetsprocessen – det faktiska skrivandet av muntlig ... more Det har kapitlet handlar om sista skedet av arbetsprocessen – det faktiska skrivandet av muntlig historia till en sammanhangande akademisk text. Genom exempel fran bade svensk och internationell litteratur diskuteras har nagra huvudsakliga konsekvenser av val och formulering av en central forskningsfraga for den slutgiltiga texten. Exemplen ar uppdelade enligt deras betoning av vad den muntliga historikern Alessandro Portelli kallar for den muntliga historiens tre nivaer – handelsernas historia, minnets historia, och slutligen samspelet mellan dessa tva forsta nivaer. Fokus ligger pa textens overgripande tema, forskningsfraga, struktur samt hur forfattaren i fraga anvander sig av det muntliga materialet. Kapitlet reflekterar darigenom kring hur en text inom muntlig historia kan skrivas fram utifran en central forskningsfraga.

As a spatial phenomenon connected to migration, Swedish Hip-hop has often been described as a glo... more As a spatial phenomenon connected to migration, Swedish Hip-hop has often been described as a glocal culture that has created a form of spatial solidarity amongst immigrant youth (mainly) in the “f ...

Oslo International Graduate Students Conference: Space, Culture, and Religion: Considering Implic... more Oslo International Graduate Students Conference: Space, Culture, and Religion: Considering Implications of the Spatial Turn, Oslo universitet, 19-21 maj 2014.

Denna artikel kombinerar ett entangled history perspektiv med muntlig historia for att analysera ... more Denna artikel kombinerar ett entangled history perspektiv med muntlig historia for att analysera forhandlingar av identitetskonstruktioner genom hiphop mellan Sverige och Chile. Artikeln ar baserad pa intervjuer med hiphopartister i Chile och hiphopartister med chilensk bakgrund i Sverige som konstruerar, anvander och fyller olika identiteter med mening inom specifika historiska sammanhang. Artikeln bestar av fyra analysnivaer. Den forsta analysnivan lyfter den historiska kontexten inom vilken hiphopkulturen uppstod i bada lander fran 1980-talet fram till idag. Denna utveckling diskuteras aven mot bakgrund av hiphop som genre med historiska rotter i USA. Den andra analysnivan utgar fran en komparativ lasning av dessa historiska kontexter som bland annat tar hansyn till transnationella maktforhallanden mellan Sverige och Chile. Pa en tredje analysniva fokuserar artikeln pa influenser och kontakter som har haft en avgorande betydelse for hiphoppens utveckling, medan den fjarde och sis...

Husby, a suburban district of Stockholm made international headlines in the spring of 2013. The N... more Husby, a suburban district of Stockholm made international headlines in the spring of 2013. The New York Times observed that Swedes reacted with bewilderment and surprise to the 'spasm of destructive rage' that was unleashed during riots in the immigrant- dominated suburb (Higgins 2013). The nations 'reputation for tolerance', it read in The Telegraph, was being tested (Freeman 2013). The fact that such violence erupted in spite of an in comparison still well functioning welfare state was explained as a result of an increasing income inequality, unemploy- ment, discrimination and hidden racism. As Spiegel Online put it, a 'new urban under- class' felt 'well taken care of, but not needed' (Lupke-Narberhaus 2013). The emergence of such an 'urban underclass' can be traced back to the growth of a number of low-income, immigrant-dominated areas during the 1980s and 1990s. Youth living in these areas - most notably the suburbs of the countrys three ...

Johan A. Lundin (ed.). Intro: en antologi om musik och samhälle, 2012

Diacronie. Studi di Storia Contemporanea : Imagining North-Eastern Europe. Baltic and Scandinavian states in the eyes of local, regional, and global observers, 2022

Diritti: gli articoli di Diacronie. Studi di Storia Contemporanea sono pubblicati sotto licenza C... more Diritti: gli articoli di Diacronie. Studi di Storia Contemporanea sono pubblicati sotto licenza Creative Commons 4.0. Possono essere riprodotti e modificati a patto di indicare eventuali modifiche dei contenuti, di riconoscere la paternità dell'opera e di condividerla allo stesso modo. La citazione di estratti è comunque sempre autorizzata, nei limiti previsti dalla legge.

Alternations, 2019

This article studies popular culture, both as a platform that is used to negotiate questions of b... more This article studies popular culture, both as a platform that is used to negotiate questions of belonging, as well as a gendered space that activates questions of belonging. By discussing such issues of belonging in the work of Chilean artist Ana Tijoux, it sets out to make visible the continuing importance of both the nation, as well as transnational connections as frames of reference in popular culture. The article shows that Tijoux’s experience of exclusion and marginalization in France and Chile prompted her to become a hip-hop artist. In a national, that is, Chilean context, she claims belonging by creating a connection to a specific Chilean past, as well as to the nueva canción movement, and by referring to a collective experience of marginalization and exclusion in her lyrics. Tijoux’s artist identity also draws on several established images and definitions. The article concludes by arguing that studies discussing popular music in connection to identity and belonging should focus on the way in which artists create their work in respect to, and within different transnational and national frameworks, as well as the highly gendered and commercial nature of popular culture that makes certain identities and belongings possible while excluding others.

Suomen antropologi, Journal of the Finnish Anthropological Society, 2017

Over 40 years have passed since the coup d’état in Chile on September 11th 1973. Although Augusto... more Over 40 years have passed since the coup d’état in Chile on September 11th 1973. Although Augusto Pinochet’s military regime officially came to an end in 1990, the political and societal consequences of the coup and 17 years of dictatorship live on to this day, both in and outside of Chile. In this article I discuss hip hop practice as a form of identity and memory work in, and in-between Chile and Sweden, the country that welcomed the highest number of Chilean refugees in Europe after the coup. I focus on those instances in which rappers in both Sweden and Chile refer to specific versions of the past in their lyrics, music, videos, biographies, and in TV programs. My analysis shows that artists in both countries use hip hop culture in order to create meaning and a sense of shared history by engaging in strategic and self-conscious identity and memory work.

Scandia, Tidskrift för historisk forskning, 2017

This article has used a combined framework of entangled history and oral history to analyze the c... more This article has used a combined framework of entangled history and oral history to analyze the creation and negotiation of a Chilean or Latino artist identity by Hip-hop artists in Chile, and Hip-hop artists with a Chilean background in Sweden. It discusses the way in which such artist identities are constructed, used, and filled with meaning within specific historical contexts. The article focuses on four levels of analysis. On the first level, it outlines the historical context within which Hip-hop emerged in each country from the 1980s until today based on interviews with the artists as well as earlier research on Hip-hop. This includes discussing Hip-hop in both countries as connected to Hip-hop as a genre with origins in the United States. On the second level, the article engages in a comparative reading of these historical contexts that, among others, takes into account the transnational relationship between Chile and Sweden. The third analytical level outlines influences and connections that have had a significant impact on the development of Hip-hop culture, above all in Chile, while a fourth and final analytical level focuses on the way in which the artists create continuity or discontinuity with the past. As a result, this article demonstrates that being Chilean or Latino acquires different meanings as individual artists change their understanding or interpretation of the past. Thereby, it demonstrates that identities are both based on specific narratives of the past, and imagined within and across national boundaries.

Oral History , 2015

This article uses an oral history approach to discuss the Chilean diasporisation process in Swede... more This article uses an oral history approach to discuss the Chilean diasporisation process in Sweden after 1973 by focusing on the relevance of a Chilean migration experience within Swedish Hip-hop. Based on an interview with Hip-hop artist Rodrigo 'Rodde' Bernal, a member of the Sweden-based group Hermanos Bernal, it outlines the complex ways in which he negotiates difference within what will be called the Hip-hop zone in-between Sweden and Chile. The article argues that strategies for mobilisation that stress Chileans as a group in Sweden become intelligible within the specific historical context of migration and diasporisation in-between Sweden and Chile as well as debates on multiculturalism that took hold in Sweden during the 1990s.

This article discusses how Fredrik Ekelund – who, as R&B artist FreddeRico, had a huge success ... more This article discusses how Fredrik Ekelund – who, as R&B artist FreddeRico, had a huge success with his song ”Don’t Go” on the Latin American market in 2013 – can pass as ”Latino” artist in the context of what Mark Anthony Neal calls “black” pop music. Drawing on Sara Ahmed’s concept of a phenomenology of whiteness, it traces his orientations, both within the context of “black” pop music, and the transnational context in-between Sweden and Latin America, by discussing those instances in which he “can do things”, and those in which he is “stopped”, against the backdrop of a stereotype of white Swedish masculinity. It argues that Fredrik/FreddeRico’s orientations not only highlight the way in which pop culture works effectively to render invisible the work of history; they also show how heterosexual masculinity can work to overcome the imaginary boundaries of race and nation, both within and outside of “black” pop music, against the backdrop of a very specific form of whiteness. The article thus uses Sara Ahmed’s phenomenology of whiteness to further understand the power mechanisms that are at work in global pop music, and to make visible the historical contexts that are rendered invisible through its commodification.

Holgersson, Ulrika & Tolvhed, Helena (red.), Plats för makt: en vänbok till Monika Edgren, Makadam, Göteborg, 2018, 2018

Begreppet hiphopfeminism myntades 1999 av kulturkritikern Joan Morgan. I sin bok When Chickenhead... more Begreppet hiphopfeminism myntades 1999 av kulturkritikern Joan Morgan. I sin bok When Chickenheads Come Home to Roost. My Life as a Hiphop Feminist beskriver hon begreppet som en vidareutveckling av black feminism och womanism skapad av och för (framförallt svarta) kvinnor i USA som tillhör den så kallade hiphopgenerationen. Sedan dess har många forskare som har använt sig av ett genusperspektiv för att analysera hiphopkulturen både tagit avstånd från och aktivt associerat sig med hiphopfeminismen som forskningsfält. I denna artikel diskuterar jag framväxten av detta fält mot bakgrund av både hiphopkulturens och den akademiska hiphopforskningens uppkomst och utveckling i USA. För att synliggöra den komplexa debatten kring kvinnors representation inom hiphopkulturen lyfter jag sedan fram några centrala händelser i USA från 2000-talet. Avslutningsvis problematiserar jag hiphopkulturen som politisk motståndsrörelse i en transnationell kontext och diskuterar kortfattat hiphopfeminismen i ett svenskt sammanhang. Begreppen rapmusik och hiphop används i denna text som synonymer.

This study focuses on the intersection of Hip-hop culture and the Chilean diaspora in Sweden afte... more This study focuses on the intersection of Hip-hop culture and the Chilean diaspora in Sweden after 1973. Based on a close reading of the lyrics and oral testimonies of Hip-hop artists in both countries, it uses an entangled history approach to trace the way in which these artists construct and negotiate their identities by positioning themselves, and in turn being positioned in different historical narratives in, and in-between Sweden and Chile. In terms of remembering a Swedish past, it discusses these negotiations in connection to a narrative based on inclusion – the narrative of the good Sweden (det goda Sverige) – and a narrative based on exclusion – the narrative of the old Sweden (det gamla Sverige). In terms of remembering a Chilean past on the other hand, it discusses them in connection to narratives based on either remembering or forgetting the atrocities committed by the Pinochet regime. By using an entangled history approach, it claims that the creation and negotiation of cultural identities in this case serves to create belonging in situ. Thereby, this dissertation adds both an explicitly historical, cultural and transnational perspective to study of the connection between Chile and the Chilean diasporization process in Sweden after 1973. It is based on the following four articles:
The first article, Representing the marginalized other: the Swedish Hip-hop group Advance Patrol, uses Gayatri Chakravorty Spivak’s notion of the double meaning of representation and the other to analyze the lyrics of the Swedish Hip-hop group Advance Patrol between 2003 and 2007.
The second article, Negotiating difference in the Hip-hop zone in-between Chile and Sweden, uses Nira Yuval-Davis’ definition of intersectionality to analyze Swedish Hip-hop artist Rodrigo Rodde Bernal´s negotiation of difference in-between Chile and Sweden.
The third article, Creating a ‘Latino’ artist identity in-between Sweden and Latin America - a comparative approach, uses the theoretical concept of white Swedish masculinity to engage in a close comparative reading of the creation of a ‘Latino’ artist identity by Hip-hop artist Rodrigo Rodde Bernal and Swedish R&B artist Fredrik FreddeRico Ekelund.
The fourth and final article, From Nueva Canción to Hip-hop: an Entangled History of Hip-hop in-between Chile and Sweden, explicitly combines oral history with an entangled history approach to analyze oral testimonies by Hip-hop artists in both Sweden and Chile.