As a spatial phenomenon connected to migration, Swedish Hip-hop has often been described as a glocal culture that has created a form of spatial solidarity amongst immigrant youth (mainly) in the “förorten”, the suburbs of the three largest Swedish cities, Stockholm, Gothenburg and Malmö that can roughly be compared to the US American ghetto. It has therefore mainly been studied as a collective culture that has united youth in the “förorten” with a wide variety of immigration backgrounds behind a common goal – to challenge or negotiate constructions of difference that lead to economic, cultural, and social marginalization. My presentation will focus on those instances in which Hip-hop artists negotiate such constructions of difference within a transnational context in-between Chile and Sweden. It combines the concept of postmemory coined by literary scholar Marianne Hirsch with an oral history approach in order to discuss how transnational differences are negotiated within what will be called the Hip-hop zone in-between Chile and Sweden. It is based on an oral history interview with Hip-hop artist Rodrigo Rodde Bernal who, as a member of the Sweden-based group Hermanos Bernal, performs his raps solely in Spanish and primarily directs his music at Chile, the former home country of his parents.