The identity of the self is always in fluctuation, the way in which it seems stable is through the repeated performance of language. Humans echo familiar language in a tessellation to project a holistic impression of the self to other people, who are able to relate to our identity through the shared use of these patterns and symbols of speech. Furthermore, language is sometimes performed in defiance of the normative language varieties, to reform the identity of the self. This is because it is possible to negotiate and stylise language itself, as both language and identity are fluid discursive constructions, which is evident by the fact that there are varieties of a single language that show the locality of the agent. We perform language to
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This means that English possesses a plurality, referred to as “Global Englishes” (Pennycook, 2003: 518-521) that reflects the idea that “there is no fixed structure to language. Rather, speakers borrow heavily from previous experiences of communication” (Hopper, 1998) to linguistically negotiate their identity. The idea of performativity is that it is in the doing that we construct ourselves and our world, that we do not possess an innate identity. From this idea of linguistic heterogeneity, binaries are constructed that make it possible for individuals to try “styling the Other” or “crossing” to another identity (Rampton, 421). This is relevant to the modern world, to note the “ways in which members use language and dialect in discursive practice to appropriate, explore, reproduce or challenge influential images and stereotypes that they don’t themselves belong to” (Rampton, 421). It is through the idea of crossing that people are able to use their performance to challenge power structures and normativity in the heterogenic hierarchy. Essentialist theories of language that do not state that language is performed, is contradicted by modern varieties of language such as Global Englishes, which can be formed without the presence of a community …show more content…
This is not to say that in reflecting an identity, the identity possesses an innateness, rather that identity is multifaceted by building on already formed performance rituals (Pennycook, 528). This is evident in the study of Japanese Raplish. Since the idea of “Global Englishes” is not a means to construct new identities to replace former performed identities, performativity is able to reflect its performer, rather than language being imposed on the identity as a prescriptive structure. Pennycook explores how at first glance, the Japanese hip hop group “Rip Slyme” performs English in a way that seems like token consumerism aimed at indexing the American rap music community (Pennycook, 191). The music, however, isn’t necessarily intended to appeal to Western audiences nor Japanese audiences with an orientation towards Western pop culture (Pennycook, 196). Elements from the Japanese language and English language are refracted into an entirely different medium of language. Rip Slyme possesses a power over the language, rather than allowing himself to be subjugated by singing in a politicised foreign language that has a history of colonialism. This is achieved through a faux-patois and use of covert, appropriated meanings (Pennycook, 191). He performs language in an impressionistic style to appeal to emotions, so that one can still gain a perception of the performed identity without
This means that English possesses a plurality, referred to as “Global Englishes” (Pennycook, 2003: 518-521) that reflects the idea that “there is no fixed structure to language. Rather, speakers borrow heavily from previous experiences of communication” (Hopper, 1998) to linguistically negotiate their identity. The idea of performativity is that it is in the doing that we construct ourselves and our world, that we do not possess an innate identity. From this idea of linguistic heterogeneity, binaries are constructed that make it possible for individuals to try “styling the Other” or “crossing” to another identity (Rampton, 421). This is relevant to the modern world, to note the “ways in which members use language and dialect in discursive practice to appropriate, explore, reproduce or challenge influential images and stereotypes that they don’t themselves belong to” (Rampton, 421). It is through the idea of crossing that people are able to use their performance to challenge power structures and normativity in the heterogenic hierarchy. Essentialist theories of language that do not state that language is performed, is contradicted by modern varieties of language such as Global Englishes, which can be formed without the presence of a community …show more content…
This is not to say that in reflecting an identity, the identity possesses an innateness, rather that identity is multifaceted by building on already formed performance rituals (Pennycook, 528). This is evident in the study of Japanese Raplish. Since the idea of “Global Englishes” is not a means to construct new identities to replace former performed identities, performativity is able to reflect its performer, rather than language being imposed on the identity as a prescriptive structure. Pennycook explores how at first glance, the Japanese hip hop group “Rip Slyme” performs English in a way that seems like token consumerism aimed at indexing the American rap music community (Pennycook, 191). The music, however, isn’t necessarily intended to appeal to Western audiences nor Japanese audiences with an orientation towards Western pop culture (Pennycook, 196). Elements from the Japanese language and English language are refracted into an entirely different medium of language. Rip Slyme possesses a power over the language, rather than allowing himself to be subjugated by singing in a politicised foreign language that has a history of colonialism. This is achieved through a faux-patois and use of covert, appropriated meanings (Pennycook, 191). He performs language in an impressionistic style to appeal to emotions, so that one can still gain a perception of the performed identity without