1) Fifteen Years on from “Slingshot Hip Hop”: Palestinian Rap Today

Kaoru YAMAMOTO（Keio University）

It has been 15 years since the production of the documentary film “Slingshot Hip Hop”, which depicts the exchanges through music between Palestinian rappers in Israel, the West Bank and the Gaza Strip. Focusing on DAM, who has continued to lead the scene, we present the development of Palestinian rap over this period, as well as its current status.

2) Ukrainian Hip Hop in a Time of War

Mitsuharu AKAO（National Museum of Ethnology）

Due to the escalation of the conflict with Russia following the Maidan Revolution of 2014, there has been a switch from Russian to Ukrainian in hip hop and other popular music. Ukrainian folklore and historical motifs have also come to the fore. These trends became entrenched with the invasion of Ukraine, and hip hop established its own unique style – particularly in the form of fusion with Ukrainian folk songs – as a means of expressing the hardships endured by people during the war and resistance to Russia. Presenting some of the key tracks that were created through this process of conflict with Russia, this presentation provides an overview of how hip hop has been received in Ukrainian society and traces how its unique style became established. It also considers how hip hop has contributed to the construction of a new Ukrainian identity.

3) Special Lecture: From an Encounter with Mongolia to Wadaiko Rap

HUNGER (GAGLE)（Rapper）

4) The Multilingual, Multicultural Hip Hop of the Tibetan Diaspora

Gouyu SATOU（Independent Researcher）

Authentic hip hop did not become accepted among Tibetans until the beginning of the 2010s. There is an external factor for this in that Tibetans are expected to play the role of good refugees and devout Buddhists, but also internal factors; Tibetan society has aspects of cultural and linguistic nationalism and ethno-centralism. It has been pointed out that even Tibetans who moved to the West did not really take to hip hop culture. Against this backdrop, we focus on the emergence of rappers with multilingual and multicultural abilities who are using their voices to define the identity of Tibetan refugees living a new kind of “here and now”. These networks of musicians can be found in the refugee camps of North India's Dharamsala and Southern India, and concentrated in Majnu Katilla on the outskirts of Delhi in alleyways crowded with Tibetan refugees – an environment far removed from the Himalayas.