The article explores the burgeoning Nepalese hip-hop scene – commonly known as nep-hop – as a discursive intervention in the post-war politics of Nepal. Its core argument is that nep-hop oftentimes demonstrates an ethos of peacebuilding through popular culture. Indeed, many songs explicitly criticize violence, war, and the political leaders who recently brought the nation to a civil war. Yet, this political critique appears to often fall on deaf ears, due to the fact that nep-hop is commonly decoded as a radically ‘alien’ and ‘vulgar’ genre by audiences in mainstream Nepalese society. Importantly, however, this should not be read as a rejection of the ideological content of nep-hop, but rather as a negative evaluation of the aesthetic form of the genre, which bars many Nepalese citizens from engaging with its political messages in a meaningful manner.

本文探讨了新兴的尼泊尔嘻哈现场（通常被称为“街舞”），这是对尼泊尔战后政治的一种干预性干预。它的核心论点是，嘻哈音乐经常表现出通过大众文化建设和平的精神。确实，许多歌曲都明确批评暴力，战争以及最近使该国陷入内战的政治领导人。但是，由于尼泊尔主流社会的听众通常将“嘻哈音乐”理解为根本的“异类”和“粗俗”类型，因此这种政治评论似乎常常置若de闻。不过，重要的是，这不应被理解为对嘻哈思想内容的拒绝，而应被视为对该流派美学形式的负面评价，