Intercultural Collaboration of Western and Eastern Urban Culture:

Study Case of 88rising’s Asian Hip-Hop Movement Through

Historical & Monumental Timeline of It’s Preceding Musical Acts

Khoirunnisa and Haidar Baqir Azhar

Faculty of Economics, Business and Social Science, Universitas 17 Agustus 1945 Jakarta, Indonesia

Keywords: Asian Hip-Hop, 88rising, Intercultural Collaboration, Cross-Cultural Communication.

Abstract: Within the rise of the globally celebrated musical sub-genre that shook the world back in the late 2010s, Asian

Hip-Hop predominantly swept up not only the American urban cultural scene but also loved universally along

with its innovation, and creatively more contemporary among its peers. Scratching the surface of eastern

culture with many mediums and content to be served through the rise of ICT-based new types of media

production & consumption, newly modelled business ventures and motifs, an early introduction to eastern

culture, and also shaping of what a cultural impact that has yet to come from 88rising camp. Seeing as much

multifaceted media we come across through multiple platforms that came from 88rising, they are actively

bridging the western and eastern culture to a whole new plateau, with many artistic acts. This research is

trying to see a study case in which the success of 88rising in using an intercultural collaboration to build a

bridge for a deeper understanding of both sub-cultural and cultural aspects as a whole, and by pulling the

related historical data of how it comes about to exist as a bigger part of the pop-culture in general.

1 INTRODUCTION

With new emerging technology on the rise, and its

ever-progressing development see towards no end in

sight for a lot of things in life that are in touch along

with it, giving birth to a new model of delivering

information, content production & consumption;

electronic-based technology that integrated with the

socio-economic, socio-cultural, ideas that can travel

and easily accessed throughout the globe, making the

creation of artistic endeavors seems to blur the border

between countries, internationally engaged in real-

time within each other, and even connects each other,

through the beauty of the internet.

88rising was born out of the internet culture and

the height of Hip-Hop stardom that swept the whole

world, by maximizing the utilization of the internet,

social media, virality aspects of it, and well also

trying to build a bridge between the eastern and

western cultures in Hip-Hop via its artists and other

creation towards it, has managed to break through the

western markets by doing so. Bearing the flag of

Asian Hip-Hop as a variant of lingo that the sub-genre

itself is represented by Asian as a cultural power that

has skyrocketed for long years through the Meiji

restoration in Japan, K-pop phenomenon, wellness

culture from the West & South East Asian, and many

more, has shown the cultural power that can be seen

as a contender against the popularly western-

influenced culture. But now the collaborative types of

dynamics come through Asian Hip-Hop via

88rising’s effort in bridging both cultures instead of

making it a contender for the western-influenced

culture.

1.1 Early 88rising’s Eventful Origins

A hybrid media company that went through a

transformation formerly known as

‘CXSHONLY’(Leonard, 2017), not only operates as

a record label but as a creative hub that gives a vessel

for the artist that ensconce inside the 88rising, and its

movement to bring about the cultural change in the

global landscape of things, to bring about their best

into the table, creatively, passionately and most

important of all act it all out within their lane.

Founded by Sean Miyashiro in 2015, after

successfully transforming VICE Media Inc. and

positioned as Executive Strategist with Recreation

Worldwide, by garnering music fans’ attention

116

Khoirunnisa, . and Azhar, H.

Intercultural Collaboration of Western and Eastern Urban Culture: Study Case of 88risingâ

Zs Asian Hip-Hop Movement Through Historical Monumental Timeline of Itâ

Zs Preceding

Musical Acts.

DOI: 10.5220/0011977000003582

In Proceedings of the 3rd International Seminar and Call for Paper (ISCP) UTA â

Z45 Jakarta (ISCP UTA’45 Jakarta 2022), pages 116-127

ISBN: 978-989-758-654-5; ISSN: 2828-853X

 2023 by SCITEPRESS – Science and Technology Publications, Lda. Under CC license (CC BY-NC-ND 4.0)

through ‘Thump’, a dedicated news channel that

mainly talks about EDM (Electronic Dance Music).

After he’s out of VICE Media Inc., newly venturing

into the entertainment business with ‘CXSHONLY’

as Sean and his team purposefully blend the eastern

cultural aspects in bits and pieces as an amalgamation

of Asian representation, and the western urban sub-

culture called Hip-Hop that contended as the next big

phenomenon after EDM (Zhang, 2018). As a result of

what EDM had done and created in the early 2010s,

Sean saw it as an opportunity that he can tap into more

and more as the mid-2010s, one of the biggest aspects

of a variant of Hip-Hop known as ‘Trap’, that

popularized from the southern part of the United

States of America, features a slow, heavy 808 drums,

fuzzy synthesizers, and even on the some of the

extremes is to distort the beats and the vocal part,

ended up calling it ‘chopped & screwed’ remix that

was popularized mainly in Texas. Trap and EDM had

been blended as a complimentary part of each other’s

musical point, with an element of Trap existing

within the sphere of the mid-2010s EDM music

scene, significantly affecting both Hip-Hop and

outside the scope of the genre itself in many musical

genres since then (Zhang, 2018). The stage that has

already been set by the rise of Trap-influenced music

in the major charts, including Asia, as an Asian-born

and American-bred, Sean saw the potential of Hip-

Hop as a vessel and main musical attraction that

CXSHONLY can use to reach a global audience was

finally triggered by the rise of Keith Ape, a South

Korean native that uses the same musical genre that

Sean predicted as Keith’s creative outlet in the

musical venture, quickly sign him into CXSHONLY

roster as one of the first Asian artists that officially

signed to the label.

As it snowballed into a bigger thing and more than

just a label for Sean and his team, the shift in business

model motifs, from a label to a hybrid company that

has its hands to many mediums more than just a hub

for the recording process for artists, it evolved quickly

acting as a spearhead for the amalgamation of Asian

culture in general, with a package of many forms of

content through YouTube, as a new media platform

and internet trend that making it all seems possible,

88rising was born. The inspiration for the name itself

was unknown prior to why 88 and an arrow were

placed as the logo, but according to the article that

tells the short history of the company itself (Hsu,

2018) 88 came from the Chinese characters “囍”

means “Double Happiness”, and the arrow “⬆”

indicates that this happiness will continue to rise and

grow (Hsu, 2018). After Keith Ape, 88rising

discovered many talents from Asia, namely: Rich

Brian (formerly known as Rich Chigga) a Vine

content creator now a Hip-Hop artist that came from

Jakarta, Indonesia; Higher Brothers a group of 4 Hip-

Hop artists who came from Chengdu, PRC; Joji or the

infamous shock jock that grew on YouTube and many

social media platform as Pink Guy formerly a

prevalent Comedy Rap now a multi-million R&B

artist hailing from Osaka, Japan; NIKI an R&B and

Pop singer from Jakarta, Indonesia; and many more

to be named as this research began, in seeing an in-

depth look towards what 88rising has done for the

intercultural studies, mainly on the landscape of

music, especially popular music.

2 LITERATURE REVIEW

2.1 A Study of ‘88rising’ and Their

YouTube Approach to Combine

Asian Culture with the West by

Haoran Zhang (2018)

This dissertation entitled ‘A Study of ‘88rising’ and

Their YouTube Approach to Combine Asian Culture

with The West’ by Haoran Zhang explicitly talks

about the historical side of 88rising from its humble

origin, to the rise of its company status to be proven

time and time again throughout only a span of 3 years

since its start. With the scope of digital media focus,

this research is a show of proof from the 88rising

camp as one of the most long-awaited sparks that can

trigger a whole lot of waves as ‘Hallyu’ is swept

across the whole world, Asian cultural power is

demonstrated through the most uplifting and exciting

ways possible, plus the internet communication

technology is on the rise, 88rising happens to be the

penultimate of globalization and internet trend culture

manage to produce. Namely, this research was found

to have common similarities with the current research

with so little difference, such as 1. The topics focus

solely on 88rising and the things surrounding them,

albeit its artists, content/product, etc.; 2. The

historical timeline of its company came about to rise,

and the profile of each artist that ensconces inside the

company will be foretold yet again in this research; 3.

The information and data gathering that will become

this research's main focus exist solely on the internet,

whether it will be in the form of video, online-

published articles, interviews, and even short movies;

and the differences that can be seen in this paper that

will entail more information regarding 88rising, such

as 1. The information that pertained and acquired

from the post-factum of the research ends in 2018 and

Intercultural Collaboration of Western and Eastern Urban Culture: Study Case of 88risingâ

Zs Asian Hip-Hop Movement Through

Historical Monumental Timeline of Itâ

Zs Preceding Musical Acts

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will continue to progress from 2019-2022 as 88rising

still making waves of contribution towards the grand

scale of things (culture, and sub-culture wise).

2.2 Commodification and Cultural

Universalism within Asian Hip-Hop

in the United States of America by

88rising by Defta Ananta Dasfriana

(2019)

This research entitled ‘Commodification and Cultural

Universalism within Asian Hip-Hop in the United

States of America by 88rising’ by Defta Ananta

Dasfriana is a reflection on how the commodification

process of western aspects of Hip-Hop is being used

within the universalism of Asian Hip-Hop in the

United States of America by 88rising, in which the

eastern culture is intermingled with the western

culture creating Asian Hip-Hop movement that is

used as a vessel as a celebratory act by culture, for

culture, and from culture, itself, undergo an

intercultural collaboration that resulted in an

acculturation product that increases the value of the

former culture in an overall sum of the input. Namely,

this research was found to have a common similarity

within the sphere of research that is now being

conducted, 1. Have the same analytical unit with the

previous research focus which is 88rising, its

historical mark on the culture globally, their overall

activity, etc.; 2. Have the same thread in explaining

the east meets west cultural value that undergoes an

intercultural collaboration, resulting in the

acculturation of both, giving life to Asian Hip-Hop;

and the differences that can be seen in this research

that will entail as more information comes up, in

regards to 88rising, such as 1. A historical component

of how east and west culture meets for the first time

not considering what 88rising has done to the culture

as an overall input of the grand scale of things (how

did it come about, how eastern and western

acculturation through intercultural collaboration

managed to give birth not only 88rising but many

aspects of Hip-Hop variant that is born far before

88rising is even a thing). 2. Historical focal point that

exists within the realm of this research paper not only

reflects on the 88rising Asian Hip-Hop variant but

also on the previous Asian acts in the Hip-Hop

movement that was previously not included or

recorded officially through the lens of the general

public; by using Intercultural communication theory

and cross-cultural communication within each

paradigm.

2.3 The Influence and Advantage of

American Hip-Hop to the Rising

Asian Rappers by Mayza Nisrin

Abielah (2020)

The academic article entitled ‘The Influence and

Advantage of American Hip-Hop to The Rising

Asian Rappers’ by Mayza Nisrin Abielah is seeing

the phenomenon of the rise of the Asian Hip-Hop sub-

genre through the lens of Tomlinson’s (2002) cultural

imperialism of western culture in abundantly forcing

the homogenization of cultural engagement globally,

and by the chance that has been given by the western

itself by the exposure of the cultural aspects such as

Hip-Hop is being used as a vessel to heightened the

Asian impact on pop-culture, and universally

accepted as the next frontier for Hip-Hop genre, and

it surrounding element of its culture. Namely, this

research was found to have a commonality with the

research that’s been conducted such as 1. The unit

analysis is more or less the same as the two previous

pieces of literature, with added few actors on the side

to narratively help to answer the research’s question;

2. Cultural aspects as its main phenomenon to be

discussed by using Tomlinson’s theory, this research

considers the impact of western culture and how it

brings an advantage given the rise of Asian Hip-Hop

in the late decades of the 2010s; the differences that

can be seen that differ from this research to the

research that is being conducted is 1. The aspects of

cultural imperialism are being used to see the

invasiveness of the cultural aspects of Hip-Hop in

affecting the rise of eastern pop culture, in this case,

the inter-cultural collaboration and usage of eastern

and western aspects are intermingling within both

cultures to be seen as a common denominator for both

variant that exists within the sphere of Hip-Hop

culture as a whole, by using cross-cultural

communication cast deeply in the grand scale of

things as seeing the integrated networks (sub-

culturally) in which is imaginary through the usage of

eastern inside the western cultural input & vice versa,

and also a real network that realized through the

existence of ICT and its development, persisting the

movement to bring it upon a new stage globally, and

culturally by seeing the mass trends that its produced

in both cultural aspects of the products as a whole.

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2.4 Asian Hip-Hop Newly Emerged as

a Sub-Cultural Variant Derived

from the Universally Accepted

Culture as a Product of

Acculturation

As both research paper has completely shown that the

evolution of 88rising starts from its humble

beginnings of Sean’s ‘Thump’ era on VICE, into

signing acts like Keith Ape, Rich Brian, Joji, NIKI,

Higher Brothers, and many acts to come, headlining

their own festival, economic cooperation with many

platforms and business, etc., 88rising has already

produced many different acts, medium, program, that

did not only limited to its Hip-Hop culture and sub-

culture but other aspects of both cultures through the

lens of 88rising. But the only thing that differs that we

can find in this research is relating it back to the need

to explain its historical journey of how Asian Hip-

Hop comes about and emerged to the ground as the

world perceived it now. This research paper will trace

back the roots of Hip-Hop as a culture in general, the

evolution that it undergoes, and how eastern culture

starts to seep into western filled Hip-Hop culture

through its lifestyle, lingo, fashion, lyrics, etc., by

seeing the data that the researchers acquired through

the historical and monumental parts of many cultural

clash or amalgamation between the two (east and

west) through a different medium than music that has

been touched by Hip-Hop. With the rise of Chill-hop

phenomena from Nujabes and the Shibuya Kei

movement in the late 90s, the Wu-Tang Clan's usage

of Kung-fu samples, lingo, and musical

theme/concepts that derived from the eastern

teachings and culture; and many more aspects,

elements that complement each cultural convergence

and emergence to popularity.

By seeing the past literature, seeing the elements

that make up the past research, and seeing the

research that is being conducted now, the approach in

how this paper allows us as the researcher tries to put

the structure of the culture and other aspects that can

be taken from the experience in the data collection

process, intersubjectivity that exists within the

boundary of self in the findings of each data, and how

it correlates back to the theory that is being used in

see the dynamics of each component, exploratively

putting the data into a more narrative form of the

research, mainly use intercultural communication and

cross-cultural communication in seeing the grand

scale of things, with the help of the used theory,

concepts, preposition that exists within the data of the

past literature, to helps giving clarity of the overall

research, subjectively and the grand objective to

answering the research question.

3 METHODS

This research used qualitative research with

explorative nature (Stebbins, 2011), which used a

constructivist approach in doing so, to build a

constructed narrative that is explored with the aspects

of the flexibility of data and open-mindedness of

where the source came from (Creswell, 2018; &

Stebbins, 2011). The process of exploratory

qualitative research according to Stebbins (2011, p.5)

is to have a deeper understanding of where the data

lies, to build a connection among the data that is being

collected through the process of the research, and

because of the nature of its paradigms, the design of

the research was meant to answer the validity of the

phenomenon, to ask its main question of this research,

“Does Asian Hip-Hop through 88rising historically

the first act as a cultural bridge between East and

Western sub-culture (Hip-Hop) that resulted in an

intercultural collaboration & acculturation to bridge

both cultures?”, and “Does the 88rising rise to the

prominent stage as a globally accepted intercultural

collaboration in Asian culture/sub-culture recognition

affected by its preceding musical acts? is to reflect

back to the historical journey that the music has

created too, albeit the grand scale of the culture itself,

or its derivative form, sub-culture.

This research used a secondary research type with

a form of data collection that came from online-based

research, with a few literature reviews that indicate

the tonal of the research has already been done in a

socio-cultural landscape, although the range of the

topics itself, unit analysis, the grand theme, and the

research question differs and widening the experience

that this research has been given throughout the data

collection process. With the accumulated data that’s

being shown throughout this conducted research, by

pulling the secondary data research that came from

online-based data collection (news, article, journals,

book, videos, interviews, etc.), to find the correlation

between the determinant subject analysis (Asian Hip-

Hop, and musical acts that act as a complementary

factor towards 88rising rise to dominance in the late

2010s), and the grand object as to answer the

research’s question.

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Zs Asian Hip-Hop Movement Through

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4 RESULTS & DISCUSSION

4.1 Hip-Hop Origins, Its Development

and Impact through Globalization

Before the Asian Hip-Hop variant come to the

surface, looking back on its historical factors and

humble origins, Hip-Hop was always in the frontline

of the cultural expression for the minority of USA,

mainly Latinx, Caribbean descent, and most easily

recognizable of all came from the African-American

descent in the South Bronx, New York, the USA back

in the late 1970s. Introducing the sub-culture of four

main entries in the historical facet of Hip-Hop and

what it represents in each element that recurring in its

four aspects 1. DJing or Disc Jockeying, or the acts of

turntablism, or mixing a song with two turntables and

producing live music via the former, an added

personal technique of each DJ in that era derived

specifically from this genre; 2. MC-ing (emceeing or

rapping), in which the act of the Master of Ceremony

is to hype up the show whilst now shifting into an

artform within its self-contained genre on its own,

with it giving birth to Rap or Rhymes and Poetry, also

freestyling verses (slam poetry and many forms that

has close ties or influenced by or influencing Rap in

some kind of form), for any MC out there to

accompany the DJ along with it; 3. Breakdancing,

which is popularized within the forms of movement

spectrum that came from Hip-Hop, usually called

with the moniker of b-boy and b-girls, these dancers

show off moves that now more commonly fell into

the category of modern and contemporary dance or

simply Hip-Hop; 4. Lastly, we have the art of Tagging

or Graffiti, using aerosol paint in a can to create a

visual that closely ties to the streets, scene, and in

regards to the four elements of Hip-Hop, graffiti itself

evolve beyond the scope of Hip-Hop and bounces off

to become its own separate thing within the realm of

street art (Alridge, & Stewart, 2005).

Hip-Hop, as it showed through the creation of

those four elements, has shifted into many tropes,

standards, stereotypes, and its own historical facts

built into its own world. For example, DJing in Hip-

Hop nowadays has shifted into a more tamed persona

and is culturally not as impactful as it used to be,

weird how we think that the culture can’t be sparked

without the first and most prominent element of its

creation. The progenitor of the cultural phenomenon

now known as Hip-Hop creates many techniques and

original sounds from audio sampling and mixing (DJ

Kool Herc, Grandmaster Flash, & Afrika Bambaataa,

etc.), the term that coined ‘breaks’ ‘beats’ ‘double-

back’, etc. can’t be easily popularized if it wasn’t for

the existence of the DJ itself, the shift happens as well

in the focus of Hip-Hop to only make the artform

solely rely upon the MC, as a figure/persona that

makes the music, credited producers mainly these

days works only for a few fans and/or Hip-Hop heads

as we like to call ourselves, in tandem to see only a

few of them are get the recognition that they deserved

unless it’s a really popular one (Metro Boomin’,

808mafia, DJ Khaled, etc.), as the commodification

process is done through the landscape of Hip-Hop as

a whole (Dasfriana, 2019), Hip-Hop itself becomes

the universally loved genre that encroach and has its

reach far & wide, giving further impacts toward the

genre position on its cultural landscape as well

(Brooks, & Conroy, 2010).

The issue which is coming out from Hip-Hop born

out of desperation towards voicing the voiceless, the

marginalized parts of the USA, and minority race that

doesn’t have a creative outlet to express themselves

are being given a stage to do so through Hip-Hop and

its four main elements; but from the perspective of

African-American for an instance, the same affection

in this case, that they have towards the genre as a part

of what not only culturally, but socially, politically,

and economically dispersed and the somewhat

unbalanced gap between each aspect of it, got it

contrast portrayals through Hip-Hop (Brooks, &

Conroy, 2010). Having close ties to the street, Hip-

Hop managed to travel around the globe despite its

upbringing and its origins ‘has led to its being

productively used in a new social and linguistics

environment’ (Androutsoutpolous, & Scholz, 2003,

p.463 via Motley, & Henderson, 2008), in contrary

the aspects of ‘connective marginalities’ that

resonance presented by the minority of Hip-Hop

creators, and progenitors, translated perfectly an

intangible energy that brings the unity within the

reach of the culture itself, without even considering

its border and impact for the music for the future

(Osumare, 2001 in Motley, & Henderson, 2008). The

amalgamation of its transformative era of Hip-Hop

for its transition that occurs through the 50 years since

its historical birth, from Europe to Japan, South

Korea, and even Indonesia, sharing these

commonalities presented by Hip-Hop and turn it into

not just a consumption that was limited and had to

went the process of gatekeeping so that the culture is

not undergoing certain aspects within the cultures to

not be commodified until the radio says otherwise,

and the power of the music itself brings about the

winds of change in the landscapes itself.

Nowadays Hip-Hop, in general, is belong

universally to the people that are in touch with the

culture, and the thing that Hip-Hop touches are not

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only limited to the fans' interaction and the moderate

amount of appropriation that comes along with it, but

giving it a new frontier of how Hip-Hop

revolutionized many musical genres for the years to

come (Affecting many musical elements of Pop,

R&B, even Rock and Heavy Metal genre throughout

the 90s - until now), fashion, art, body language, and

even colloquialism, only for it to be a short instance

of how Hip-Hop affecting the pop-culture (Motley, &

Henderson, 2008). Another part that is completely

predicted through this research paper was the

emergence of new artists, groups, and variants in Hip-

Hop sounds, or music that was heavily influenced by

Hip-Hop (Motley, & Henderson, 2008). The trends

that were born it’s a necessary part of raising the

question of the Asian Hip-Hop sub-genre through the

marketing efforts of 88rising historically has not been

done on the scale of this big and prolonged to be part

of the globalism movement of Hip-Hop.

4.2 When the West Meets East, a

Perspective of Eastern Teachings in

Hip-Hop

The first acculturation and adoption of Eastern and

Western values in Hip-Hop began with a yet eventful

‘Asiatic Black Men’ ideology that derives from the

teachings of The Five Percenters (Knight, 2007), with

its ‘supreme alphabet’ and ‘supreme mathematics’

teachings and ways of seeing their origin and

knowledge acquisition process was interlaced with

the slums of New York, and the casual acceptance of

expression in ‘against the powers that be’ further

extended the teachings to also be inserted in Hip-

Hop-sphere by not only the music, or attitude behind

it, but presented as an alternative of street lifestyle

(relating to gang culture, blaxploitation, crack

epidemic of the 80s, etc.) to exist within the same

paradigm and intermingle with each other as the other

face of the same coin (Knight, 2007), with the popular

rise of five percent nation artists such as Busta

Rhymes, Nas, Wu-Tang Clan, K.R.S ONE, Brand

Nubian, and Eric B. & Rakim, many more artist from

the mid 80s through the late 90s, is either wearing, or

using some kind of memorabilia that indicates them

as part of the five percenters. Among the many

musical acts that managed to pull off the teachings

from the five percenters and put it into their either

lyricism, musicality, samples of speech, or supreme

alphabetics in their name (K.R.S. ONE is an

abbreviation of Knowledge Reign Supreme, which is

part of the deeper understandings of supreme

alphabet teachings of five percenters), etc. the main

group that putting many elements of the streets,

creating their own understandings of middle-eastern

teaching of Islam (five percenters) and added an

eastern philosophy, culture, music samples, slang,

and many other sensibilities that culturally

appropriated and put it directly into use, was none

other than Wu-Tang Clan.

Wu-Tang Clan prominently uses b-class dubbed

kung-fu films hailing from the pirated VHS market of

Staten Island, bringing the localized version of the

Chinese kung-fu cinema into the realm of Hip-Hop,

slang that only purely exist back then from the Wu-

Tang clique, a mixed of eastern philosophy, cultural

elements that are being appropriated for creative use

(Kung-fu, Samurai, Hong-Kong and Japanese b-class

cinema, etc.), even the name derived from the

fictionalized Wudang sect of martial arts, that

changed into the Americanization of the words into

Wu-Tang. Not only eastern teachings, but the basic

teachings of the five percenters (‘supreme

mathematics’, and ‘supreme alphabet’), seep and

exist lyrically, through the attitude, and even the

approach of each rapper artist that ensconces and

forms the Wu-Tang Clan. RZA, GZA, ‘Ol Dirty

Bastard, Method Man, Ghostface Killah, Inspectah

Deck, U-God, Masta Killa, and Raekwon are the first

9 original members of Wu-Tang Clan, with a lot of

additional and honorary members from time to time,

each embodies the teachings and rapping with a

vernacular that is pretty tricky in the Hip-Hop scene

back in the day; symbols, theme, and overarching

musical techniques whether it’s on the production

terms, or even lyrical and the packaging of the Hip-

Hop group that can independently go on another label

deal, which is unheard of back in the whole music

business, is a really rare sight to behold. The eastern

teachings that have happened in the dominant western

cultural value Hip-Hop, nowadays are used in many

parts or components for musicians to be used as a part

of their saga/story or overarching theme of it all

(music, samples, style, lyrical composition, etc.).

Like Kendrick Lamar’s use of ‘Kung-fu Kenny’

persona back in 2017, Denzel Curry’s recent single

called ‘Zatoichi’ where he used the character from the

all-time legendary in Japanese cinema that includes a

blind samurai went on his spiritual journey, mirroring

the music video for the song’s as well, the love of

Anime in many musical artists nowadays have

become the common norm that repeating itself or

being referenced through their lyrics or fashion.

The first meetings and bridging of western and

eastern cultures in Hip-Hop are somehow started

within the landscapes of Hip-Hop itself, by reaching

a larger audience and globally accepted in many

countries, giving birth to many artistic endeavours

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that are born from the commonality of Hip-Hop, or

even a sub-genre that influenced by Hip-Hop, either

directly or indirectly so.

4.3 East and West Juxtaposition of

Chill-Hop Era, Shibuya Kei, and

Glocalization of Hip-Hop

After the first meetings of two cultural giants in a

bridge between the two through Hip-Hop music, the

related parts of western cultural values have been nit-

picked and used as an appropriation for the newly

adopted values through the process of acculturation

that is not seen as a homogenization of a culture

through the use of cultural imperialism in a way that

one cultural power that imposed themselves and

enforces their ideals, values and other (forced

acculturation), in which the target population’s

culture was forcefully replaced by the invasive

ideas/cultures, and lifestyles (Abielah, 2020).

Hip-Hop is embraced globally by many, like

many other musical genres that nowadays factor in a

global consumption style of public goods, and that

also includes music in it, the genre itself shifting into

a realm of fusion that has never before seen in a rapid

and massive scale. The rise of the Shibuya Kei

movement in Japan was signalled by the previous era

of City-Pop by the likes of Tatsuhiro Yamashita, and

Mariya Takeuchi, who had a massive cult following

by the era of the mid-2010s and for the most part

Yellow Magic Orchestra, who managed bring Hip-

Hop, world music genre, Jazz, Electronic Music,

Ambient music, and more elevated jangle-sounds

sensibilities to the Japan music scene even more than

ever before has influenced not only Japan but the

world of music itself setting into a more flavourful

course of a path along the 1990s. By the likes of

United Future Organization, Kahimi Karie, Pizzicato

Five, Cornelius or commonly known as Keigo

Yamada, etc. Shibuya Kei was prominently topping

the charts in Japan throughout the 90s. With the mix

of Jazz, Soul, Bossa, Pop, and even the sensibilities

of Hip-Hop music, the elements of Shibuya-Kei that

juxtaposed the defining sound of the era have

solidified the appropriation of Japanese sub-culture

that breeds and nurtures creative expression through

the use of music (Sabukaru, n.d.).

Still from Japan, the charm and calming overall

thematic that sprang out to existence via Shibuya Kei

was nothing but a short of yet another warm welcome

to another part of Hip-Hop that has been infused with

the Eastern sensibilities, now come from the forms if

not a single man, but with many supports of other

artists besides him, his name is Jun Seba, or

commonly known as Nujabes, a Hip-Hop producer

that works spans around the world music type, with a

Jazz, Soul and many multi-faceted genres that he

produced, even manage to bring the first love letter of

Anime community for Hip-Hop by curating the

Samurai Champloo original soundtracks and score for

the Anime series. With the sad passing of Nujabes

back in 2010 by a car accident, his late recognition in

musical history, and the worldwide phenomenon by

the coined terms by the internet culture of the early

2010s, Chill-hop. Other than Nujabes, the most

prominent that has the same vibes, and tone is also

one of the legendary American Hip-Hop producers

who come from Detroit, name J Dilla, with whom

Nujabes share the same respect in retrospect of both.

Other than Japan and the creation of newly

assimilated parts of Hip-Hop musical variants. Other

than the big part of Nujabes bringing new vibes,

themes, and musicality to the table, notable artists

such as Teriyaki Boyz who brings the bling era and

car enthusiasm into the Japan Hip-Hop scene in early

2000 through its nod to the Fast & Furious franchise,

Shing02 whose notoriety was put alongside Nujabes

fandom was a long-time collaborator of the latter

even after Nujabes passing’s he helps to run his

record label alongside Jun’s family releasing his

unreleased track & scraps that can be used as singles,

KOHH who managed to be globally well known

acclaimed Japanese rapper that already linked up with

the likes of Keith Ape, and even Frank Ocean to name

a few, last but not least Awich & Jin Dogg that was

included in ‘Asian Rising: The Next Generation of

Hip-Hop’ documentary by Red Bull Music directed

personally by 88rising’s very own Sean Miyashiro,

that released in 2019, which bring an understanding

and the upbringing of many Eastern rappers try to

break the Hip-Hop music market globally.

South Korea also had Hip-Hop playing a part in

giving a spotlight to more into contemporary dance

and b-boying in modern Hip-Hop, which also gives a

nod to their sense of fashion, with the element of

Hyper-Pop, Bubble-gum Pop, and mainly being

influenced by Hip-Hop, early K-Pop has successfully

established the main attraction to pull the crowd and

fans alike with their concept of beauty, fashion, and

music icon that completely transform the idea of the

standard that their set for the culture in years to come.

But other than K-Pop waves many prominent Hip-

Hop artists are born out of South Korea without being

put into categorically the same box of K-Pop itself,

musicians like Tablo, DPR Live, Epik High, and the

most well-known in both American and South

Korean scenes, Keith Ape, who eventually being

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pulled into 88rising’s roster as one of the first artists

inside their roster.

With the glocalization of Hip-Hop within the

reach of the global culture in accepting, adopting,

appropriating, and even the usage being recycled

through the means of acculturation and the long

process of settling the culture down into each

country’s sensibilities to bring about the sound, the

lyrical content, and the lifestyle that comes along with

it, glocalization of Hip-Hop that will be fully

discussed through this section will come from the

Indonesian Hip-Hop scene. In the early to late 1990s

Hip-Hop crazed was booming all over the country,

with many 60s & 70s born grew up and already

established the love of Hip-Hop that came from the

breakdance-fever that sparked by the existence of

movies such as ‘Gejolak Kawula Muda’ that also

helps triggered the boom for Hip-Hop scene to

mushroom over the globe, in this case including

Indonesia, the country itself is on the stage of entering

the new dawn, by the year of 1998, where

insurgencies and political awareness is on its ultimate

high. Took its sweet time in establishing the scene

and acts of the musical itself, starting from the youth

movement that the impact was felt in the underground

scene, affiliating themselves with Heavy metal and

Punk scenes of Jakarta and Bandung’s youth

alongside the mid-90s throughout the early 2000s,

with the acts such as Homicide, D'army, Iwa K, Boys

Got No Brain, Blakumuh, JHF (Jogja Hip-Hop

Foundation) and many prominent acts that few of

them rose to the ground and bloom, other remains

obscured by the blurry lines of the legendary

underground status of their own making, fully rooting

themselves on the scene, and builds the ships for the

next generation to come for the next thing that came

from the Indonesian Hip-Hop scene. JHF is one of the

acts that mainly mix the Javanese/Indonesian

language with Hip-Hop music that uses traditional

Central Java instruments, and samples to help saturate

the Indonesian flavor of Hip-Hop into the public, and

even expand themselves into a global status. With the

help of the internet culture and crate digging of the

old catalogue through YouTube, or even Soundcloud

and blogs with little to no good credibility of the

validity of the information, the continuum of the

unarchived history was almost lost, too are being

withheld by one of the MCs of Homicide, Morgue

Vanguard with the release of his book ‘Flip Da Skrip:

Kumpulan Catatan Seorang Rap Nerd Selama Satu

Dekade’ that’s being released by Elevation books in

2018, managed to reignite the insurrection of the old

spirit of Hip-Hop and bringing about the new passion

that comes along with it. Early into the mid-2010s,

Hip-Hop in Indonesia has seen its new life that has

given a new breath, by the likes of many major artists

in the musical sphere, and many minor &

underground artists that were more easily recognized,

by the likes of Tuan Tigabelas, Yacko, Ariel Nayaka,

D.P.M.B, Dzul, BasBoi, BAP, Krowbar, RandSlam,

Joe Million and many more Hip-Hop acts that help to

build a chance for Hip-Hop local scene to flourish

even more.

Glocalization, a fusion of musical genres, fashion

& styles, attitude, colloquialism, and many aspects

that bring about the act of blurring the border between

the Eastern and Western cultural wall within the

sphere of Hip-Hop in general, is fuelling the waves of

Asian Hip-Hop by giving the nod to the old elements

that help to bring about the rise in the late 2010s and

welcoming the change in the musical variety of Hip-

Hop as a whole. With 88rising and its musical artists,

the big part of how they manage to build a

concatenation of linked information, integrated

network of the imaginary landscape of musical acts,

and adopted/exchangeable cultural value that already

came from its predecessors (Eastern values lies in the

Western cultural/sub-cultural value and vice versa

inside the Hip-Hop landscapes).

4.4 88rising and the Rise of Asian

Hip-Hop

From CXSHONLY back in 2015, Sean Miyashiro

manages to build his own hybrid company of media,

and music label mogul that was born out of necessity

to bring about the inspiration for Asian expatriate,

diaspora, and even the countries that their music

touch as a part of a global movement which namely,

88rising. From Rich Brian ‘The Sailor’ who managed

to bring about his ideas of Indonesia into his own

musicality, visually & lyrically engaging, inspiring,

and hopeful despite his upbringing and all of the

things that happen inside his country of origin, bring

about the wind of change within him and 88rising too

as well, as they engage in a more meaningful and

socio-economic relationship with many businesses

later that year benefitting from the socio-cultural

exposure of the artists itself, by building the brand by

none other than the creative and selflessness that

being paved by the older generation of Hip-Hop and

new identity acceptance of post-materialism & neo-

liberalism ideas of how personal identity and profit is

a means that they received through the range of

ethnographical landscape and not always in the form

of funds and capital aside (Cheng, 2020); through the

means of the hybrid management company type, in

which define by its usage of cultural values as a

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means of the exchangeable token for the business

aside, while maintaining the profit and capital gain as

its secondary option to support the former, this newly

business model motifs that can only brought upon the

internet era and ICT evolution in a global scale,

interconnectivity, exchange of ideas, and mutual

understandings brings 88rising into the proper stage

of a newly invented idea and motifs into a working

reality (Battilana & Lee, 2014).

Other than Rich Brian, Higher Brothers with its

Mandarin and English language-based lyrics in a

bouncing trap beat with southern drawl delivery made

it possible for many fans globally in having fun

alongside the group, which is sonically appropriated,

with their own flavour of Chinese oriental-esque beat,

‘Made in China’ is one of the means to show the

success and fluidity of Hip-Hop by seeing it being

abridged by Higher Brothers. The lyrical content took

a jab and comedic stereotyping of Chinese people in

the global context, mixed with pride in their own

culture largely from the accumulation of 5.000 years

of civilization. Joji that hailed from Japan, and who

was infamously known as the mega internet persona

and even had a cult following, called Filthy Frank,

and his other persona wearing a pink skin-tight suit

‘Pinkguy’, had a massive transformation throughout

2016-2017 via his musical venture, Joji. With his ‘sad

boi’ trope as his identifier of 88rising emo singer with

R&B sensibilities, he managed to top the chart for the

R&B genre in 2018 with his debut album Ballads 1

(Billboard, 2018).

The maintenance of Hip-Hop influence is stark

and astonishingly flourished inside the 88rising

camp; musical acts like Keith Ape help brings global

engagement towards the genre that revolutionized

itself only in a span of 2-3 years since its boom from

the mid-2010s. Through intercultural communication

(Knapp, 1987 in Foss et al., 2009) of each member of

88rising, their cultural differences have brought

about the discussion of its dimension in an academic

sense of things. Through the conceptualization of it,

we can see four core dimensions that can explain

88risings through its communication dynamics in a

sense, such as 1. Individualism-Collectivism; 2.

Power Distance; 3. Uncertainty Avoidance; and last,

4. Femininity-Masculinity (Hofstede, 1990, 1991, &

2001 in Foss et al. et al., 2009), through all of these

range of dimensions we can see clearly how the

communication differs inside this intercultural

collaboration between east and western dynamics of

cultural differences resulting in their penultimate

success as the bridge between west and the eastern

culture.

The common value that binds the 88rising musical

acts, which is a cultural value that brings about the

differences, to be broken down by its overall social

dynamics; Individualism-Collectivism dimension can

be seen as how the dynamics of communication

enforce the idea of purposefully being used to bring

into the forefront of things in what the group tries to

accomplish, is it an individuality presence that was on

the front and center or is it a collective movement that

idealizes the group identity rather in favoring the

former. By seeing the dynamics of what we already

see from the previous discussion, 88rising is not

trying to maintain the identity of only one individual

to act as a spearhead for the whole representation of

88rising, but rather to push the whole identity of the

group as a whole for it partly introducing Asian Hip-

Hop movement to the world.

Power distance is a term that is defined as a power

upon which the group dynamics relied, a hierarchal

inside the intercultural dynamics of the group in

which the distribution of power was one-sided, or

horizontal power distribution (Hofstede, 1990, 1991,

& 2001 in Foss et al., 2009), which is 88rising as

executively distributed power through egalitarian

relationships inside the 88rising camp (hybrid

company), collectively not to be seen as the ultimate

decision maker but Sean Miyashiro the acting CEO

of 88rising still holds most of the executive decisions

as to how he communicates it back to the person

involved, the business acumen of Sean Miyashiro in

regards to the new media, internet culture, the culture

of collaboration instead of competition and his

savviness of putting a cutting edge product and by-

product that comes from 88rising was mainly, and

solely for the good of 88rising in general, but as to

how he maintains the communication, by seeing the

particular theme/concept that birthed out by the artists

themselves and through the lens of markets, and how

we ourselves as consumers enjoying the act of

consuming the products, is through the process of

connection within each party or entity that supports

the market itself, and 88rising act as that bridge for

the markets from the artists itself, the brand-building,

brand-awareness and also fans interactions are on the

full capacity being supported through the company,

and part of their best interests in mind; power distance

exists within the dynamics of the 88rising, but not as

a thing that is bring the company itself into a territory

where the artists itself feels like they being invaded

into their own creative spaces, 88rising exists only as

a company/creative-hub for the artists to rely upon.

Uncertainty Avoidance or UA is a term that exists

within the paradigm of intercultural communication

that is defined as an instinct of a natural being to tend

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to avoid the uncertainty factors in life; if the scale of

the UA is high on the dynamics of an intergroup, the

bigger the level of stress that increases as the

uncertainty factor was always singled out by not

taking risks, innovate, and only follow the norms as

the dynamics go, so the lower the UA factors

included, the more gambling factors that deciding the

method reach the group overall goals (Hofstede,

1990, 1991, & 2001 in Foss et al., 2009). Seeing

88rising dynamics to innovate, create, and establish

their waves of the cultural introduction of eastern

values (fashion, norms, architecture, tourism, cuisine,

etc.) their approach to how they manage their

creativity through their media platforms, is seen via

their YouTube programs (‘RICEBALLERS’ ‘Save

My Seoul’, ‘Eighty Ate’, ‘Japan’s Great Bartender’,

etc.) and collaboration with other potential markets

(88risingXGUESS, 88rising and Samsung

Collaboration, 88rising and BEKRAF back in 2019

through ICINC.ID, etc.) 88rising is considered as a

risk-takers and gambling when it comes to their

decisions at best, their motifs and enactment of their

business principles are fully encouraging their

creative outlets as part of introducing the eastern

culture to the world. Take a good example from one

of 88rising’s YouTube programs namely, ‘Japan’s

Great Bartender’ where the content that is presented

is an ASMR Japan’s mixology culture, to exhibit a

Japanese alcohol culture, with modern sensibilities of

an ASMR presentation, this type of program existed

inside the plethora of what 88rising has to offer, there

are also a cuisine culture of Eastern and South-

Eastern Asian came from 88rising’s YouTube

channel, and also tourism.

Lastly, the dynamics of Femininity-Masculinity,

which are defined as how dominant the tropes of the

communication style of the inter-group itself, where

masculinity is defined to be more assertive,

encouraging competitiveness, indicates material

success; meanwhile the Femininity style that

indicates a harmonious dynamics of communication

style, nurturing, and also show the sign of

collaboration within each member of the inter-group

(Hofstede, 1990, 1991, & 2001 in Foss et al., 2009).

The dynamics between the two ideas and reflecting it

to 88rising, femininity is more or likely symbolizes

the dynamic of their communication styles, as seen by

the creation of Heads in The Clouds festival, early

promotions of 88rising’s artists, and a lot of

collaborative acts with many untapped markets that

might broaden their expanses of connection between

each element or entity that helps & supports the whole

88rising movement.

Through the creation of Asian Hip-Hop itself, this

research tries to trace it back to the familiar territory

of historical and monumental marks that the culture

had created for itself, by itself, and from itself towards

the evolution of the genre/sub-genre to the grander

scale of the spreads of Hip-Hop worldwide. Seeing it

through the lens of cross-cultural communication lens

which will be focusing on two aspects that came from

two analytical units only, from the analytical unit of

the cultural level, which will discuss the mass trends,

and from the analytical unit of the sub-cultural itself,

integrated meshworks (Kulich, 2007 in Foss et al.,

2009).

The cultural standpoint of cross-cultural

communication will focus on the mass trends as

creating a culture (Gudykunst & Lee, 1977 in Foss et

al., 2009), in which the Asian Hip-Hop that was so

popular and enabling the communication process

creating yet another segmented parts of culture that

are commodified increased value in parts to help the

production of new content and its transition from

traditional to new media, and surplus value that will

attract other markets to be a part of the

ventures/commodified products as well (Mosco,

2009). Cross-cultural communication helps excel in

propelling cultural values and ideas toward the global

audience, and by creating mass trends with virality

and many supporting aspects the dynamics of the

cross-cultural aspects that previously can be seen

through the forms of K-Pop, 88rising in turns made

that same sense and ideology from it cultural

appropriation and turn it into a mirroring action that

had the same effect from the market standpoint, being

the same culture that born from the reach of internet

culture (Zhang, 2018).

The second and final aspect of cross-cultural

communication in a dimension of its sub-cultural

discussion, integrated meshworks exists within its

paradigm. Integrated meshworks can be generated to

explain communication between people from

different cultures (Gudykunst & Lee, 1977 in Foss et

al., 2009), are defined as integrated networks that

exist as a conceptual thread of communication link,

between each subject that is discussed within the

dynamics of cross-cultural communication in

reaching mutual understanding, whether it’s an

imaginary network (as/a cultural similarities,

values/ideas that’s been shared, etc.) or real networks

within the communication process (networks of

people that conducting the communication process

and giving birth a web of connectivity between each

entity). By seeing the definition itself, the trace of the

historical standpoint of each value and idea

exchanged between east and west, through the Hip-

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Hop landscapes, has managed to bring about the

imaginary link and web of connectivity, that is

untranslated by the intangible aspects of the culture

(sentiment feelings that sparked through the music

that has eastern aspects in the western part of the

culture, vice versa, and the utilization of many aspects

that depicting the bridge between the two), which

now can be translated perfectly by the lens of cross-

cultural communication in seeing the sub-cultural

dimension of Asian Hip-Hop creation. Starts from the

teachings of the Five Percent Nation (Knight, 2007),

eastern philosophy in Wu-Tang Clan’s art; and back

to the east where the culture of the west had already

overspread to many countries of East & South-East

Asia and moulding into their urban youth culture,

being adopted, appropriated, and accepted into parts

of their daily life (colloquialism, style/fashion, etc.),

giving birth to Shibuya Kei movement, glocalization

of many Asian country styles in approaching Hip-

Hop (JHF in using gamelan or Javanese instruments

in their Hip-Hop soundscapes), and also the creation

of Chill-hop genre that is popularized by the Japanese

musical artists that coincide with the American sound

of the same generation, these imaginary networks

turn into a real network that bridging the east and west

even more, by seeing artists like KOHH had a feature

tracks in Frank Ocean album, Higher Brothers linked

up with the likes of Denzel Curry, and J.I.D for their

singles, Rich Brian even giving a nod for what RZA’s

done for the culture by having him as a feature on his

sophomore album, even Ghostface Killah are part of

Rich Brian’s “Dat $tick” remix back in 2017.

88rising manages to create a collectively active

clique in every part that it indulges in, creating an

intercultural collaboration, that uniquely only exists

within the hemisphere of the larger part of Hip-Hop

(Ho, 2009) in turns of the help that came from the new

media that creates a chance to reach a worldwide

status for putting the content of east meets west

abridged by the internet culture lifestyle that makes

the information, cultural value exchange and other

forms of the content production & consumption way

easier to access in this day and age (Earnshaw, 2018).

And by that notion, manage to give Asian Hip-Hop

out of its shell and bubble of a niche market to reach

a wider audience and market potential to be

discovered for years to come, as 88rising and other

aspects that support their creation are only at the end

of their beginning in the story that has yet to be done.

5 CONCLUSIONS

This research is trying to build a coalescence of Asian

Hip-Hop both unexpected reported historical facts &

data with the imaginary interconnectivity between the

east and west values & ideas through the

amalgamation of the culture itself. The process of the

historical facts being removed in discussion for the

cultural impact of the grand or bigger scale of the

topics that ranging span from the early 90s until the

early 2010s is somehow fascinating as to how the

Hip-Hop appropriation through Asian Hip-Hop sub-

genre, is already a fated love letter that was meant to

be born out of the continuum of acts, musical

gestures, lyrics, content, and many more aspects that

clashes between the two. The affection was

welcoming for both cultural powers as they continue

to grow exponentially into a massive segmented

market and niche of music fans on their bubble, and

the popularity of Asian Hip-Hop itself couldn’t have

been able to be this massively popular without its

predecessors and preceding acts of each country it

represents, in turn 88rising itself can’t be as big as

know known phenomenon in the global landscape of

pop-culture as a bigger part that transcends now far

from the reach of only nations into trans-nation even

trans-societal aspects of things, which now have been

accomplished by the hype and the virality of what

they have created, albeit their market and segment of

curated content that specifically tailored for its niche

and market.

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