scholarly journals Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South

Religions ◽  
2021 ◽  
Vol 12 (11) ◽  
pp. 1030
Author(s):  
Adeerya Johnson
Keyword(s):  
Black Women ◽  
Hip Hop ◽  
Southern Region ◽  
The South ◽  
Hip Hop Culture ◽  
Black Womanhood ◽  
History Of ◽  
Women And Girls ◽  
And Performance ◽  
Rap Lyrics

Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens?

Jefferson’s Paradox, or a Very Brief History of Black Women’s Sexuality, Hip-Hop, and American Culture

2017 ◽  
Author(s):  
T. Denean Sharpley-Whiting
Keyword(s):  
Black Women ◽  
Political Culture ◽  
Hip Hop ◽  
Rap Music ◽  
Women's Sexuality ◽  
Hip Hop Culture ◽  
The Public ◽  
Gangsta Rap ◽  
Women’S Sexuality ◽  
History Of

American representations of black women’s sexuality extend from the political culture of the eighteenth century to the public and popular culture of the twenty-first. Hip-hop culture may now be at the center of the phenomenon, and antiblack misogyny seems to emanate from gangsta rap music. However, Thomas Jefferson’s racial theses on blacks, and black women in particular, from his Notes on the State of Virginia helped form this perspective. Jefferson’s tradition of flattened-out, uncomplicated, and sexually and racially violent representations and understandings of black women and their sexuality continue in our contemporary moment, as does his biased aesthetic evaluations of them based on ideas of white superiority.

scholarly journals Exhibiting Music

Ethnologies ◽  
2017 ◽  
Vol 37 (1) ◽  
pp. 153-173
Author(s):  
Ameera Nimjee
Keyword(s):  
Case Studies ◽  
South Asian ◽  
Critical Inquiry ◽  
The South ◽  
Royal Ontario Museum ◽  
History Of ◽  
And Performance ◽  
Visual Engagement ◽  
Future Project

Museums have long been thought of as “quiet” spaces, in which visitors walk slowly through galleries to look at material cultures in glass cases. Music and sound have begun to pervade the quiet spaces of museums in the forms of aural installations and performance-based programs. They are no longer galleries for solely visual engagement, but loud spaces in which visitors and audiences listen to recordings, experience live performances, and participate by themselves singing and playing in workshops, classes, installations, and impromptu demonstrations. This article explores three case studies in exhibiting music. The first is the exhibition Ragamala: Garland of Melodies, which was on display at the Royal Ontario Museum and sought to demonstrate the fluidity between the South Asian arts. The second is an investigation of some of the formal and informal performance-based programming at the Aga Khan Museum. The last case study focuses on a future project, in which collectors of Indian audio cultures will submit contributions to help construct a history of sound in India. Each case study is motivated by a series of central questions: what constitutes “exhibiting music”? What are the broader implications of and consequences for exhibiting music in each case? How does exhibiting music in a museum impact a visitor’s experience? What kinds of new stories are told in exhibiting music and sound? The three case studies respond to these questions and provoke issues and possibilities for further critical inquiry. They show that museums are dynamic spaces with incredible potential to inspire multi-experiential engagement.

scholarly journals Formulating Black Womanhood: A Study on Beyoncé’s Hip-Hop Song Lyrics in Beyoncé Platinum Edition Album

2019 ◽  
Vol 3 (2) ◽  
pp. 12
Author(s):  
Ika Ayu Larasati
Keyword(s):  
Black Women ◽  
Hip Hop ◽  
Interdisciplinary Approach ◽  
Social Background ◽  
African American Culture ◽  
Black Womanhood ◽  
Mother And Daughter ◽  
Song Lyrics ◽  
Music Lyrics ◽  
The Relationship

This article aims at understanding the Black womanhood concept through Hip-Hop song lyrics, since song lyrics are not only a part of art but also a media to express people’s feelings, education, therapy and entertainment. This article also helps the readers to understand that sexuality portrayed in Hip-Hop song lyrics stands for something and has a function because music is related to the social background, message, function, and effect generated from the artwork.The qualitative method and interdisciplinary approach are used in conducting this article, which involves the literature, history, culture, sociology, and to enhance the understanding of multi-ethnic America, especially about Black womanhood. The article starts with introduction, a discussion about African American culture in general. To produce an up to date writing, the article choses the recent popular singer, Beyonce. In finding Black womanhood concepts in Beyonce’s lyrics. One thing that also needs to be highlighted is Black women’s sexuality.The findings are about Black womanhood from Beyonce’s standpoint, such as the Black woman’s self-definition, the sisterhood, the relationship between mother and daughter, and the relationship with Black men. In addition, since it highlights the Black woman’s sexuality in Hip-Hop that is based on Beyonce’s songs, it indicates that recently Black women began to realize that they have power over their own body.Keywords: Black womanhood, sexuality, Hip-Hop music, Lyrics

Geographies of Pain, Geographies of Pleasure

Walking Raddy ◽  
2018 ◽  
pp. 31-44
Author(s):  
LaKisha Michelle Simmons
Keyword(s):  
Black Women ◽  
New Orleans ◽  
Jim Crow ◽  
Racial Violence ◽  
Police Brutality ◽  
Black Womanhood ◽  
Performance Culture ◽  
Female Performance ◽  
Women And Girls ◽  
The City

In this chapter, LaKisha Simmons argues that the Jim Crow streets in New Orleans were sites of racial violence for black women and girls. By exploring cases of assault and police brutality on the city streets during segregation, the chapter contends that bodily vulnerability defined black womanhood. Yet despite the violence and trauma of Jim Crow life, black women went out on the streets in search of pleasure. Simmons contends that the Million Dollar Baby Dolls declared their humanity and reclaimed their bodies by seeking out pleasure. Simmons analyzes Ralston Crawford photographs of black women dancing and partying to better understand pleasure geographies and black female performance culture in New Orleans during segregation.

The Charleston Imperative: Why Feminism and Antiracism Must Be Linked

2016 ◽  
Vol 3 (1) ◽  
Author(s):  
African American Policy Forum
Keyword(s):  
United States ◽  
South Carolina ◽  
Black Women ◽  
Black Men ◽  
The United States ◽  
The South ◽  
Women And Girls ◽  
The Republic ◽  
White Womanhood

<p class="p1">As antiracists, we know that the struggle against racial terror is older than the Republic itself. In particular, we remember the work of Ida B. Wells, who risked everything to debunk the lies of lynchers over one hundred years ago. Today, we see that fierce determination in Bree Newsome, who scaled the thirty-foot flagpole at the South Carolina State Capitol and brought down the Confederate flag. As feminists, we recognize how racism has been—and is still—gendered. Patriarchy continues to be foundational to racial terrorism in the United States, both in specious claims that justify the torture of Black men in defense of white womanhood, and in its brutal treatment of Black women and girls. We also recognize that while patriarchy and racism are clearly intertwined, all too often our struggles against them are not.</p><p class="p2">If the reaction to the Charleston massacre is to be realized as something beyond a singular moment of redemptive mourning, then neither the intersectional dynamics of racism and patriarchy that produced this hateful crime nor the inept rhetorical politics that sustain the separation of feminism from antiracism can be allowed to continue. </p>

An Amalgamation of Power and Paint: Gajin Fujita, Los Angeles Street Art, and Images of Edo Japan

2019 ◽  
Vol 5 (3) ◽  
pp. 329-356
Author(s):  
Alison J. Miller
Keyword(s):  
Los Angeles ◽  
Hip Hop ◽  
Visual Language ◽  
First Century ◽  
Street Art ◽  
Artistic Practice ◽  
Hip Hop Culture ◽  
Twenty First Century ◽  
And Performance ◽  
Japanese Painting

The paintings of Gajin Fujita (b. 1972) express the urban Asian diasporic experience in vivid images filled with historic and contemporary cultural references. Creating an amalgamation of contemporary sports figures, hip-hop culture, historic Japanese painting conventions, street art, and the visual language of Edo Japan (1600–1868), Fujita reflects his diverse experiences as a citizen of twenty-first century Los Angeles in his paintings. This article introduces the artist and provides a nuanced examination of his works vis-à-vis an understanding of the larger issues addressed in both Edo artistic practice and contemporary street art culture. By specifying the agents of power and performance in Fujita’s works, a greater understanding of the hybrid world of his colourful graphic paintings can be found.

scholarly journals Od znaku „Polski Walczącej” po hasło „FaceBóg” – rola polskiego graffiti w latach 1942–2011

2019 ◽  
pp. 127-140
Author(s):  
Konrad Nowak-Kluczyński
Keyword(s):  
Hip Hop ◽  
Second World War ◽  
Street Art ◽  
Social Psychological ◽  
Hip Hop Culture ◽  
Polish Literature ◽  
History Of ◽  
The 1960S ◽  
Second World

Against the general opinion the history of graffiti goes back to the beginnings of civilization. There are numerous examples of graffiti, for instance the inscriptions hollowed with a chisel found on the ancient household artifacts or on the walls. The inscriptions had an informative function but they were also magical. The phenomenon of spray art was widespread in the 1960s and the beginning of the Polish taggers subculture was in the 1980s, although one can find street art during the Second World War. But it is usually neglected or disregarded in the Polish literature. The Anchor – the sign of “Fighting Poland”, was placed on pavements, walls, notice boards or train stops of the occupied country. It was the sign of the fight for freedom and independence. As the years passed, the Polish reality was changing and the role of graffiti also changed. Now, it expresses itself in slogans, appeals, messages, drawings, portraits or murals. The aim of the work is to show the role of the Polish graffiti between 1942 and 2011. The author analyses graffiti in a number of aspects and throughout many years. The author identifies Polish spray art with teenage rebellion, sense of humor, political engagement, commentary or the negation of reality. Moreover, the article focuses on social, psychological or urban aspects of the examined phenomenon and identifies it with widespread modern hip-hop culture.

Asian Americans in Hip-Hop

2020 ◽  
Author(s):  
Ninochka McTaggart ◽  
Oliver Wang
Keyword(s):  
Asian Americans ◽  
Hip Hop ◽  
Pacific Islander ◽  
Hip Hop Culture ◽  
Asian Pacific Islander ◽  
History Of ◽  
Pacific Islander Americans ◽  
Asian Pacific ◽  
Key Participants

This entry surveys the history of Asian Pacific Islander Americans participation and involvement in expressive forms of hip-hop culture. While acknowledging that hip-hop has its roots in Afro-diasporic traditions, the entry highlights the various ways in which Asian Pacific Islander Americans have been both key participants and innovators within that culture. Particular attention is paid to specific forms of hip-hop: graffiti writing, dancing, rapping/MCing and DJing/turntablis. Each of these include succinct historical summaries of their development. The participation of Asian Pacific Islander Americans are then discussed, ending with annotated lists of select, key figures within each form.

scholarly journals Whiteness and the Blackening of Italy: La guerra cafona, Extracommunitari and Provisional Street Justice

2008 ◽  
Vol 5 (2) ◽  
Author(s):  
Joseph Pugliese
Keyword(s):  
Hip Hop ◽  
Cultural Practices ◽  
Global South ◽  
Hip Hop Culture ◽  
Nationalist Movement ◽  
History Of ◽  
Historical Tradition ◽  
Italian Context ◽  
Historical Moment ◽  
Italian Unification

In this essay, I briefly revisit the historical moment of Italian unification, drawing attention to its violent colonial dimensions and the twenty years of insurgent southern brigandage that erupted immediately after unification, in order to begin to trace the survival of this southern insurrectionary and anti-nationalist movement in the contemporary Italian context. In the process of focusing on the manner in which a statue of the Italian national poet, Dante, has been graffitied by southern youth in a square in Naples, I transpose the historical tradition of southern brigandage, returning the term back to its insurgent political roots, in order to begin to establish lines of connection between seemingly disparate politico-cultural practices and genealogies; in particular, I examine contemporary southern hip hop culture, including graffiti and rap, in relation to the history of southern anti-unification and counter-nationalist movements, marking the transmediterranean-atlantic politico-cultural flows that inscribe southern hip hop culture. I conclude by bringing into contemporary focus this northern history of anti-southern discrimination and exploitation by drawing attention to the plight of recent immigrants from the Global South that constitute the underbelly of contemporary Italy’s economic prosperity. My focus here is on mapping points of polico-cultural connection between immigrants of the Global South and meridionali through the instantiation of such tactical cultural practices as establishing suks and transitory markets in Italy’s civic squares.

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