Sampling in a politicized cultural context: an instrument of identity or political resistance

Abstract

The article analyses sampling as an essential cultural as well as political musical practice of the present day which functions as an identity tool as well as an instrument of political dissent.This research analyses the evolution of sampling from a technical process into an expression of cultural heritage, historical lessons, and political protests by combining insights from sociology with musicology alongside cultural studies and political theory approaches, and qualitative methods. The research’s analysis of scholarly literature of musical examples across various geopolitical regions covering US hip-hop and Jamaican sound systems culture as well as Palestinian and Iranian music effectively demonstrates how music combines with cultural practices and political movements. Through the work of Tricia Rose who defines sampling through African American cultural memory retrieval and John Oswald who sees sampling as media industry commercialization opposition the article positions sampling as a central theme in current cultural property rights discussions. Vinícius Fernandes contributes his ideas about the disruptive quality of sampling to examine its ability to disrupt conventional media understanding and construct fragmented yet powerful narratives. The study demonstrates the deep cultural significance of sampling as a tool of resistance that continues to shape global musical expressions. This research outlines three directions future work should pursue which include analyzing artificial intelligence development in sampling and scrutinizing sampling- related legal situations and studying how sampling protects cultural heritage while promoting political activism.