Abstract

This article explores the burgeoning Nepalese hip-hop scene – commonly known as nep-hop – as a discursive intervention in the post-war politics of Nepal. Its core argument is that nep-hop oftentimes demonstrates an ethos of peacebuilding through popular culture. Indeed, many songs explicitly criticize violence, war, and the political leaders who recently brought the nation to a civil war. Yet, this political critique appears to often fall on deaf ears, due to the fact that nep-hop is commonly decoded as a radically ‘alien’ and ‘vulgar’ genre by audiences in mainstream Nepalese society. Importantly, however, this should not be read as a rejection of the ideological content of nep-hop, but rather as a negative evaluation of the aesthetic form of the genre, which bars many Nepalese citizens from engaging with its political messages in a meaningful manner.

Highlights

  • This article explores the burgeoning Nepalese hip-hop scene – commonly known as nep-hop – as a discursive intervention in the post-war politics of Nepal

  • In this article I have explored the political narratives contained in three contemporary nep-hop songs

  • These nep-hoppers openly criticize political leaders and other authorities such as the police, by highlighting their shortcomings when it comes to human rights, peacebuilding, and social welfare provision

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Summary

Introduction

My primary concern in this article is what nep-hop songs have to say about issues of war and peace, and how the genre is received by Nepalese audiences. This should not be read as a rejection of the ideological content of nep-hop, but rather as a negative evaluation of the aesthetic form of the genre, which bars many Nepalese citizens from engaging with its political messages in a meaningful manner.

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Conclusion

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