![]() In the context of global youth culture, hybrid identity can be explained as the space for negotiating power of nationalities, ethnicities, and social classes. In the field of culture, the ‘hybrid identity’ is constructed by the intercultural model (comparing with monocultural, multicultural and transcultural model), which encourages the culture exchange or dialogue and would potentially lead to conflicts (Rodrigo & Medina, 2016). ![]() The new generation appeared around the years post-2008 crisis, when the ‘reform and opening up’ program had been carried out for more than thirty years since 1978, which had shattered the barriers against other cultural influences coming from abroad (Drissel, 2009), because of the gradually materialized consumer-based economy.ĢAccording to Schwartz, Montgomery & Briones, identity is a “social construction that refers to self-meaning narratives and self-referential modes and from which narratives about otherness are also derived” (cited by Rodrigo & Medina, 2016). Among the research about global hip-hop, Rap music and young people’s identity expressed by it in mainland China are absent especially, little scholarly attention has been devoted to mainland Chinese rappers after the first three stages of development of Rap music, divided by the time points of 1980s, middle 1990s, and the year 2000 (Chen, 2013). The situation makes Rap music a normal way for expressions of topics about the changes, confusions, and crisis of identity among young people, in the face of global intercultural trend, by means of self-presentation, using multilingual lyrics and combination of local and global elements. According to Drissel, the globalization of hip-hop is described as ‘multicultural syncretism’ that results from “cross-cultural interaction synthesizing the global with the local” in a process of ‘glocalization’ (cited in Helland, 2017). 37), hip-hop culture (with four main components which are Rap music, DJing, Break-dancing, and Graffiti), has become a global youth culture.
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