SAMPLING AS A FORM OF MARGINAL EXPERIMENTALISM: A RAP-SITUATED GAZE

Abstract

This article reflects on sampling as a form of counter-hegemonic practice, situating it both as an intellectual practice and an aesthetic-artistic expression. Despite other conceptions around the possibilities of resistance presented by music, looking specifically at this technique can help to confront established language, culture and imaginaries, and conquer spaces for historically marginalized cultural expressions. Thus, the path of ideas also contemplates an effort to confront a conception of dated, limited and Eurocentric theoretical production, strongly rooted in sociology, but which, over the last three decades, has received diverse and increasingly consistent criticism.