Call for Contributions: Flip it and Reverse it: Hip Hop Worldwide


Hip hop started in the U.S. and its broad circulation has made it a global phenomenon. Decades after its birth, hip hop is and has been resonating in a diversity of national, political and social contexts, with youth continuously reinventing it for their specific purposes. Interested in all forms of hip hop culture and its elements, we invite you to submit essays, think pieces, interviews, translations and reviews relating to hip hop’s multiple dimensions across geographical areas and historical periods.


The section “Flip it and Reverse it: Hip Hop Worldwide” is a space for hip hop-focused research and content. It is open but not limited to topics and issues dealing with hip hop and identity, racial and gender politics, aesthetics and politics, activism, cultural representation, aesthetic experience, community building, space and place, cultural hybridization and cultural appropriation, Black studies, the African diaspora and other diasporic communities, globalization and circulation studies, media studies, sound and visual studies, music industry, music technology, language and poetics, oral history and historiography, institutionalization processes and hip hop in the academy, and the methodological issues relating to studying hip hop.


The section is open to scholars, students, journalists, activists, artists, archivists, and community organizers. We’d like to particularly encourage submissions from BIPOC individuals, LGBTQIA+ individuals, disabled individuals, and non-academically affiliated individuals.


Contributions should ideally be between 1500 and 3000 words, and take advantage of the online-digital format of the publication by making use of media content (pictures, videos, audio, etc.).


The section is the editorial space of the UCLA Hip Hop Studies Working Group. It is a new section of the Sounding Board of the peer-reviewed UCLA journal Ethnomusicology Review. The Sounding Board is an informal, yet academically-focused online platform.


If you wish to contribute or have any questions please reach out to:


H. Samy Alim (

Samuel Lamontagne (

Tabia Shawel (

"Sounding Board" is intended as a space for scholars to publish thoughts and observations about their current work. These postings are not peer reviewed and do not reflect the opinion of Ethnomusicology Review. We support the expression of controversial opinions, and welcome civil discussion about them. We do not, however, tolerate overt discrimination based on race, sex, gender, sexual orientation, or religion, and reserve the right to remove posts that we feel might offend our readers.