Second Culture, Good Vibrations, and Writings on the Wall: Hip-Hop in the GDR as a Case of Afro-Americanophilia

Leonard Schmieding

doi:10.5130/portal.v12i2.4397

Abstract

This essay examines Afro-Americanophilia in the German Democratic Republic by analyzing the cultural transfer of hip-hop between 1983 and 1990. It argues that the individuals who participated in this transfer from the United States into East Germany shared an appreciation of African Americans and Black culture and thus facilitated the import, growth, and dissemination of breakdance, graffiti, rap, and deejaying. Focusing on three individuals, it details the specific characteristics of their Afro-Americanophilia and scrutinizes their roles for the hip-hop scene in state socialism. While a cultural critic interpreted hip-hop as ‘second culture,’ which, according to Marxist-Leninist ideology, was to be endorsed as international working-class culture, a radio host from East Berlin spread information and music throughout the country, equipping the teenage audience with what they needed for their own practice of hip-hop. Finally, a look at a graffiti writer from Dresden shows how hip-hop artists imagined themselves into the community of hip-hop in New York City and fashioned themselves as Black youth living in the Bronx.

Highlights

As one of the last youth and pop cultures entering the world of socialism from the West, hip-hop found holes in the Iron Curtain and, starting in 1983, began to spread throughout the German Democratic Republic (GDR)
The cultural transfer of hip-hop was enabled by diverse strands of AfroAmericanophilia
‘Power from the East Side’ by being part of an Afro-Americanophile audience participating in the transnational culture of hip-hop; an audience capable of transcending the Iron Curtain by practicing breakdance, graffiti, deejaying and rap in East Germany

Summary

Introduction

As one of the last youth and pop cultures entering the world of socialism from the West, hip-hop found holes in the Iron Curtain and, starting in 1983, began to spread throughout the German Democratic Republic (GDR). In order to answer my question, I will, in the following, analyze three individuals’ love of African Americans and black culture: a cultural critic explaining hip-hop for cultural functionaries; a radio host running a black music program in East Berlin; and a young graffiti writer in Dresden.

Results

Conclusion