Moreover, battle emcees simultaneously used hand gestures to rebut their opponents' accusations or show respect to the rap community. Rappers also transformatively adapted lyrics and bodily movements from their opponents, demonstrating their ability to improvise and their superior lyricism over others. Results showed that in sequential cooperation, rappers accumulated the pre-existing end rhymes and created situated rhyming patterns in different rounds of battle performances, which helped them to outflow their opponents.
This paper conducts a microethnographic analysis of the sequential and simultaneous cooperation in Chinese rap battles from the national finals of Iron Mic. Rap battles are a growing phenomenon in China, but few studies have examined their interactional structure, especially from a multimodal perspective.
This conclusion suggests that it may be useful to conceptualize literacy as a particular perspective on com-municative forms rather than as an inherent quality of certain forms. Since such findings directly parallel those of numerous liter-acy studies of written and educational forms, they suggest that similar pro-cesses occur across modalities and domains. It finds that the practices and forms of the ciphers are tightly bound up with their creators' ideologies and that when holders of incompatible ideologies interact in rap, generic conflict results. The study explores a young inner-city rap crew's ciphers using the kind of ethnography and genre analysis typical of socioliteracy research. The present study supports the Multiliteracies definition by exploring an oral vernacular genre, the rap cipher-improvised round-robin rhyming- which fails both proposed delimiting criteria, as literacy. Whereas some theorists take the Multiliteracies view that all forms of communication can be considered literacy, others require involvement of written language or, alternatively, education-dependent genres. However, this shift has engendered disagree-ments about the meaning of literacy itself.
Socioliteracy, meaning concern with practices, genre, and ideologies, has arguably displaced decoding orthographic writing in the mainstream of literacy theory and research.
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