Andrea Dankić. Foto: Henrik Persson

Andrea Dankic


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Works at Department of Ethnology, History of Religions and Gender Studies
Visiting address Universitetsvägen 10 E, plan 7
Room E742
Postal address 106 91 Stockholm 106 91 Stockholm

About me

My research interests include creativity, practice, knowledge, authenticity, intersectionality.


In my dissertation, entitled Making hip-hop. Musical practices and social positions (2019), I examine what it takes to earn recognition as a hip-hop practitioner. Hip-hop is commonly associated with ideas of authenticity, based both on how the music sounds and how it’s created, and the categorization of the practitioners, which is in turn comprised of gender, ethnicity, race, class and place. The dissertation focuses on the interplay between practical musicianship and these various social categories, and shows that both are equally important for the performers to relate to in their art.

Based mainly on interviews and field observations among club dj’s, the battle rap scene and at music camps for teenage girls, I examine creative processes in Swedish hip-hop during the first half of the 2010’s. In the dissertation I identify a social position that is named ideal-typical hip-hop position. Throughout the study, the performers relate to this position which can be described as a angry young man, racialized as non-white, who is from vulnerable urban area in Stockholm. This hip-hop position was sometimes criticized by the performers, and sometimes reproduced.

Other sources that are part of the study are web-based information from websites and social media accounts, as well as photos and song lyrics.

Publications not accessible in DiVA

- Peer-reviewed articles:

Dankić, Andrea (2013). Hanouneh style resistance. Becoming hip-hop authentic by balancing skills and painful lived experiences. CyberOrient, 7:2. Finns enbart tillgänglig online:

- Other scientific articles:

Dankić, Andrea (2013). A room moderately one’s own. The negotiation of place through stories of authenticity construction among an artist and her musical followers. Nätverket: en etnologisk tidskrift, Vol. 18. 7 s.

Dankić, Andrea (2012). Musikaliskt lego byggt på kunskap och färdighet. I: Lundin, Johan (ed.), Intro - en antologi om musik och samhälle. Kira: Malmö. 7 s.


A selection from Stockholm University publication database
  • Thesis (Doc) Att göra hiphop
    2019. Andrea Dankić (et al.).

    This dissertation explores music-making processes within the genre of Swedish hip-hop during the first half of the 2010s. Hip-hop is often associated with strong notions about authenticity based both on musical tradition regarding style and aesthetics, as well as social categories such as race, gender, class and place. While hip-hop scholarship has often focused on analyzing social categories as part of identity politics, the practical music-making aspect has often been neglected. The aim of this dissertation is to analyze how hip-hop musicking has been constituted by the combination of musical practices, skills, social positions, and knowledge. The prerequisites of Swedish hip-hop music are analyzed, with a particular focus on the intersection between practical music-making and gender, race, ethnicity, generation and place.

    The primary empirical material consists of qualitative interviews with and observations among club DJs, battle rappers, and hosts at battle rap events, as well as both the participants and the instructors at musical camps. Material from social media is also a part of the empirical material.

    The musicological concept of musicking with its understanding of music as a collection of social processes is an important theoretical foundation for this study. Thinking in terms of musicking instead of music enabled me to broaden the scope of possible social settings where the fieldwork was conducted, as well as the choice of study participants. In order to define the practices, knowledges, skills, and positions specific to the hip-hop context, I introduced the concept of hip-hop musicking. The term “hip-hop musicking” signifies the conceptual marriage of practical music-making and the identity formations within processes of hip-hop music-making. I argue that the concept of musicking benefits from an intersectional perspective, as social positions enable and shape musical practice.

    In the dissertation, the concept of an ideal–typical hip-hop position, inspired by Weber’s ideal type, is used to explore the processes behind music-making that are involved in hip-hop musicking. The ideal–typical individual is understood to be a young man racialized as non-white, is (often) angry, has a criminal record, and is from a vulnerable urban area in Stockholm. Throughout the empirical material, this hip-hop position appears in what is understood as the reproduction of stereotypical ideas of hip-hop music as a masculine and racialized coded sphere. However, it also appears in musicking where feminism is in focus.

    The results of the dissertation show that ideas about this ideal–typical social position strongly affect who is given recognition for their dedication to hip-hop musicking. This is relevant, as ideas about authenticity are important both for the empirical field and for hip-hop scholarship. At times, the study’s participants criticized this position, but at other times, they reproduced it. I argue that the ideal–typical hip-hop position can be understood as something constant that is also involved in change processes. Therefore, development is ongoing in terms of what is considered hip-hop musicking, while aspects of the ideal–typical position are allowed to remain the same. A part of the goal of musicking includes fighting with the ideal–typical and the normative. This, in turn, reproduces power relations while simultaneously involving possibilities for change.

Show all publications by Andrea Dankic at Stockholm University

Last updated: June 5, 2020

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