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This paper attempts to reveal the constituent features that form the poetics of a Javanese hiphop group, Jogja Hip Hop Foundation (JHF), to understand the process of its meaning productions and its identity politics. JHF rose to fame nationally after it was invited to perform in the US by the Center Stage US program in 2012. Although JHF is not a profit-oriented music group, during the pandemic era it has adopted a new strategy to perpetuate its idealism and existence. To adequately examine JHF’s positioning as a hybrid rappers’ group whose cultural and political views opt for the commoners, Paul Du Gay’s circuit of culture is used as the framework to explore how JHF’s creative products are represented, associated with, produced, consumed, and regulated. In addition to that, Bhabha’s theory of hybridity and Raymond Williams’ concept on residual culture are used to explain the complexities of JHF’s identity formation and meaning making. This paper looks into the lyrics of certain JHF’s songs as the primary data. This paper points out that social criticism and rapping have formed JHF’s poetics of resistance, while its identity politics is based on the hybrid space between Javanese language, Javanese chants, poems, and hiphop music genre.