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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.

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.

Die Musealisierung der DDR setzte bereits in den letzten Monaten ihres Bestehens ein. Am 10. Juni 1990, fast auf den Tag genau acht Monate nachdem sich Leipzig die erste Montagsdemonstration formiert hatte, eröffneten Mitglieder des Bürgerkomitees Leipzig am zentral gelegenen Sachsenplatz eine Ausstellung unter dem Titel "STASI - Macht und Banalität. Indizien eines Verbrechens". … Seit diesem ersten Versuch, die Tätigkeit des MfS in ihren Dimensionen und Auswirkungen zu dokumentieren und einer breiteren Öffentlichkeit zu präsentieren, sind annähernd zwei Jahrzehnte vergangen. Mittlerweile hat sich, besonders in den neuen Bundesländern, kaum jedoch auf dem Gebiet der "alten" Bundesrepublik, eine vielfältige Gedenkstätten- und Museumslandschaft zur DDR-Geschichte herausgebildet. Die inhaltlichen Schwerpunktsetzungen, die geschichtspolitischen Intentionen, die didaktischen und museumspädagogischen Ansätze, nicht zuletzt der Professionalisierungsgrad der unterschiedlichen Einrichtungen und Initiativen heben sich indessen deutlich voneinander ab. (DIPF/Orig.).

"During the twentieth century, Germans experienced a long series of major and often violent disruptions in their everyday lives. Such chronic instability and precipitous change made it difficult for them to make sense of their lives as coherent stories--and for scholars to reconstruct them in retrospect. Ruptures in the Everyday brings together an international team of twenty-six researchers from across German studies to craft such a narrative. This collectively authored work of integrative scholarship investigates Alltag through the lens of fragmentary anecdotes from everyday life in modern Germany. Across ten intellectually adventurous chapters, this book explores the self, society, families, objects, institutions, policies, violence, and authority in modern Germany neither from a top-down nor bottom-up perspective, but focused squarely on everyday dynamics at work "on the ground." "--Provided by publisher.