The following passage is from an essay by a West African sociologist, written in 2002:
"When American hip-hop culture arrived in Senegal in the late 1980s, it was not received as a passive commodity of Western cultural imperialism. Senegalese youth did not simply copy American dress or slang; instead, they transformed rap into a vehicle for political activism and social critique, rooted in the traditional role of the *griot* (oral historian and storyteller). Performing in Wolof rather than English, local artists fused hip-hop beats with traditional Senegalese drumming and addressed local issues such as corruption, poverty, and structural adjustment programs. In doing so, they turned a global medium into a powerful expression of local culture and resistance."
—Souleymane Diallo, sociologist, *Urban Rhythms and Youth Identity*, 2002
The integration of American musical styles with West African oral traditions described in the passage is best understood as an example of which of the following cultural processes?
- The adaptation of global cultural media to articulate local agency and critique socio-economic realitiesCevap
- BThe global homogenization of culture resulting in the complete erasure of localized traditions and languages
- CThe passive adoption of Western consumer patterns by youth in developing countries
- DThe growth of state-sponsored cultural protectionism to limit foreign ideological influence