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Introduction: Savage And Savvy: Mapping Contemporary Hip Hop Feminism, Aria S. Halliday, Ashley N. Payne
Introduction: Savage And Savvy: Mapping Contemporary Hip Hop Feminism, Aria S. Halliday, Ashley N. Payne
Journal of Hip Hop Studies
Introduction to the special issue on Hip Hop Feminism entitled Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Comes of Age.
Letter To Jatavia Johnson And Caresha Brownlee (The City Girls), Kyra March
Letter To Jatavia Johnson And Caresha Brownlee (The City Girls), Kyra March
Journal of Hip Hop Studies
This letter to Jatavia Johnson and Caresha Brownlee (the City Girls) argues that the rap duo’s brand, music, and videos are prime examples of Hip Hop and percussive feminism. It also explains how their contributions to the rap industry as Black womxn have inspired other Black womxn to embrace their sexuality, live freely, and disregard politics of respectability. Personal experiences from the author are incorporated to display how the City Girls are empowering and inspiring a new generation of Black womxn and girls. Additionally, critiques from the media and double standards between white and Black womxn in the entertainment industry …
The Cardi B–Beyoncé Complex: Ratchet Respectability And Black Adolescent Girlhood, Ashley N. Payne
The Cardi B–Beyoncé Complex: Ratchet Respectability And Black Adolescent Girlhood, Ashley N. Payne
Journal of Hip Hop Studies
The identity of Black girls is constantly subject to scrutiny in various spaces, particularly within Hip Hop and education. Previous scholarship has noted that, as Black girls are compelled to navigate the margins of respectability politics, the images and messages of Hip Hop culture have always created a complicated and complex space for Black girls’ identity development. The purpose of this article is to explore how Black adolescent girls construct their identities, particularly as it relates to ratchet-respectability identity politics, a concept called the Cardi B–Beyoncé́ complex. In examining the Cardi B–Beyoncé́ complex, I look at the intersection of …
It’S Complicated: Black Hip Hop Feminist Art Commentary On Us Democracy, Camea Davis
It’S Complicated: Black Hip Hop Feminist Art Commentary On Us Democracy, Camea Davis
Journal of Hip Hop Studies
Part narrative reflection, part artistic installation, this work contemplates the tensions and the possibilities of Hip Hop culture, Black womanhood, and American democracy in the United States. The significance of this work is twofold: (1) The authors use Hip Hop feminism to develop a framework for Hip Hop activism as a public pedagogy on US politics, and (2) they provide commentary on US democracy from a Black Hip Hop feminist perspective through art. This article contributes an argument for a creative ontological space from which Black women can reimagine a justice-centered US democracy.
Hip Hop Feminism Starter Kit, M. Nicole Horsley
Hip Hop Feminism Starter Kit, M. Nicole Horsley
Journal of Hip Hop Studies
The inspiration to develop a Hip Hop Feminist workbook developed from a college course I teach: Hip Hop Feminism: Queen B*tch. An Introduction to the (im)Possibilities of Hip Hop Feminism. Using the syllabus, I have developed lessons and talks on college campuses that I have also delivered to community spaces with Black girls and women, secondary educators, parents, and student organizations. I teach resistance and anti-establishment readings of our bodies, lyrics, and live and mediated performances of Hoes With An Attitude (H.W.A.) Lil’ Kim, Missy ‘Misdemeanor’ Elliott, Cardi B, The City Girls; as well as topics related to Hip Hop …
“Yeah, I’M In My Bag, But I’M In His Too”: How Scamming Aesthetics Utilized By Black Women Rappers Undermine Existing Institutions Of Gender, Diana Khong
Journal of Hip Hop Studies
2018 was the year of the “scammer,” in which many Black women rappers took on “scamming” aesthetics in their lyrics and music video imagery. Typified by rappers such as City Girls and Cardi B, the scammer archetype is characterized by the desire for financial gain and material possessions and the emotional disregard of men. This paper investigates how Black women rappers, in employing these themes in their music, subvert existing expectations of gender by using the identity of the scammer as a restorative figure. The objectification of men in their music works in counterpoint to the dominant gender system and …
Black Rural Feminist Trap: Stylized And Gendered Performativity In Trap Music, Corey Miles
Black Rural Feminist Trap: Stylized And Gendered Performativity In Trap Music, Corey Miles
Journal of Hip Hop Studies
Hip Hop, particularly trap music, has been conceptualized as male-centered, despite Black women’s role in its inception. This paper engages with trap music as a structural template that is co-constructed and used as a site of articulation by Black women to engage in gendered performativity. Rather than engaging with trap lyrics as literal representations of artists’ desires and politics, I examine the types of gender constructions that are enabled when the aesthetic structure of trap music performativity is centered. I analyze this through ethnographic research in northeast North Carolina, situating trap music within a Hip Hop feminist framework. I contend …
Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Comes Of Age, Aria S. Halliday, Ashley N. Payne
Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Comes Of Age, Aria S. Halliday, Ashley N. Payne
Journal of Hip Hop Studies
This special issue is dedicated to the bad bitches. The ratchet women. The classy women. The hood feminists. The “feminism isn’t for everybody” feminists. Those women, femmes, and girls who continuously (re)present and (re)construct Black girl/womanhood. The creatives, the innovators, the women that are “often imitated, but never duplicated.” This issue is dedicated to you and the ways in which you challenge us to (re)define what it means to be Black girls/women in this world and what it means to reclaim power over your own representation and images. This issue is for you, defined by you, and inspired by you.