Abstract
This thesis examines how Xinjiang hip hop artists navigate the shifting line between underground and mainstream spaces in contemporary China. Focusing on three figures—After Journey, AThree, and Wolf Gang—I trace how each negotiates questions of authenticity, censorship, and regional identity through their music, language choices, and public appearances. Drawing from song lyrics, interviews, online comments, and live performances, I explore how these artists work within and against the structures of the Chinese music industry. After Journey uses his Xinjiang accent and local references to express cultural pride as a Han Chinese rapper raised in Korla. AThree, who began by rapping only in Uyghur, shifts into Chinese lyrics and reality TV appearances to reach broader audiences while still holding on to his underground roots. Wolf Gang blends drill and Afrobeat with muqam music formatting, performing for largely Han audiences while facing critiques from Xinjiang-based rappers for lacking cultural grounding. By highlighting both the lyrical content and musical structure of representative songs, I argue that Xinjiang hip hop is not only a form of personal and regional expression, but also a site of negotiation—between languages, audiences, political constraints, and industry demands. Ultimately, this thesis contributes to broader conversations on cultural hybridity, minority representation, and the global circulation of hip hop.