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Hip-hop feminism is loosely defined as young feminists born after 1964 who approach the political with a mixture of feminist and hip-hop sensibilities. It shares many similarities with black feminism and third wave feminism, but is a distinct self-identification that carries its own weight and creates its own political spaces. Hip-hop feminism was created by feminists who felt that black feminism was not equipped to consider the issues of women belonging to the hip-hop generation. The term Hip Hop Feminism was coined by the provocative cultural critic Joan Morgan in 1999 when she published the book "When Chickenheads Come Home to Roost: A Hip Hop Feminist Breaks it Down."〔Morgan, Joan ''When Chickenheads Come Home to Roost: A Hip Hop Feminist Breaks it Down'' New York: Simon & Schuster, 1999.〕 Hip hop feminism is based in a tradition of black feminism, which emphasizes that the personal is political because our race, class, gender, and sexuality determine how we are treated. An important idea that came out of early black feminism is that of intersectionality, which T. Hasan Johnson describes in his book ''You Must Learn! A Primer in the Study of Hip Hop Culture'' as “a term that argues that race, gender, sexuality, and class are interlinked and used to shape hierarchical relationships in American society”.〔Johnson Ph.D, T. Hasan. "Masculinity and Femininity in Hip-Hop." You Must Learn! A Primer in the Study of Hip-Hop Culture. . Preliminary. Dubuque, IA: Kendall Hunt Publishing Company, 2012. 67-80. Print.〕 Hip hop feminism is a different kind of feminism than “traditional” feminism; it is a way of thinking and living that is grounded in different lived experiences than the “traditional” feminism of the Women’s Liberation Movement, which was a mostly white movement and was more interested in advancing women’s rights than civil rights. Many female rappers, such as Queen Latifah, embody and convey feminism, yet she does not identify as a feminist because “it is considered too white, too middle class, and too hostile to black men. Some writers locate Latifah’s story in “Third Wave” feminism, as representing a race-conscious, sexually open feminism that rejects Second Wave white feminist elitism and racism, and also black sexism and homophobia”.〔Johnson, Leola. "The Spirit is Willing and So Is the Flesh: The Queen in Hip Hop Culture" Noise and Spirit: The Religious and Spiritual Sensibilities of Rap Music. Ed. Tony Pinn. New York University Press, 2003.〕 As many women and men involved in hip hop culture are not white, they will have a different way of viewing the world; a desire for intersectional change in the spheres of how both women and non-white people are treated in America. In the book ''Hip Hop’s Inheritance: From the Harlem Renaissance to the Hip Hop Feminist Movement'' Reiland Rabaka explains, "women in the hip hop generation have consistently deconstructed and reconstructed feminism and womanism to speak to the special needs of their life-worlds and life-struggles, their unique lived-experiences and lived-endurances. In the process they have produced an unprecedented form of feminism—a “functional feminism,” according to Morgan (1999), that is ‘committed to “keeping it real”’ with respect to the critique of interlocking and overlapping nature of sexism, racism, and capitalism in the lives of black and other nonwhite women’ (pp. 61–62). Seeming to simultaneously embrace and reject the fundamentals of feminism, the women of the hip hop generation, like the hip hop generation in general, have blurred the lines between the ‘personal’ and the ‘political’ by critically dialoguing with a culture that commonly renders them invisible or grossly misrepresents them when and where they are visible".〔Rabaka, Reiland. "The Personal Is Political! (Da Hip Hop Feminist ReMix): From the Black Women's Liberation and Feminist Art Movements to the Hip Hop Feminist Movement." Hip Hop's Inheritance: From the Harlem Renaissance to the Hip Hop Feminist Movement. New York: Lexington Books, 2011. 129-187.〕 Later in the chapter, Rabaka explains the connection between media, hip hop, feminism, and intersectionality: "Hip hop feminists critically comprehend that mass media interpretations of hip hop, as well as the mass media’s widely disseminated distorted stories about hip hop, are actually part and parcel of the ongoing social construction and maintenance of race, gender, class, sexuality, nationality, and other identities. All of this is to say, hip hop feminism is much more than feminism, and it focuses on more than feminist issues, misogyny, and patriarchy. Hip hop feminists use hip hop culture as one of their primary points of departure to highlight serious social issues and the need for political activism aimed at racism, sexism, capitalism, and heterosexism as overlapping and interlocking systems of oppression () hip hop feminists are simultaneously expanding the range and uses of intersectional theory and complicating what it means to be both a hip hopper and a feminist".〔 == Defining hip-hop feminism == In "Using (Hip-Hop ) Feminism: Redefining an Answer (to) Rap," Aisha Durham defines hip-hop feminism as "a socio-cultural, intellectual and political movement grounded in the situated knowledge of women of color from the post civil rights generation who recognize culture as a pivotal site for political intervention to challenge, resist, and mobilize collectives to dismantle systems of exploitation." She goes on to further expand on hip-hop feminism as a distinct movement aimed at examining and engaging with the effect culture has on shaping black female identity, sexuality, and feminisms. According to Durham, hip-hop feminism "acknowledges the way black womanhood is policed in popular culture . . ." and "recognize culture as a space for feminist intervention—especially when we do not wield power in traditional politics." "Hip-hop feminism is not a novelty act surfing atop the third wave of difference in the academy. It is not a pinup for postfeminism put forth by duped daughters who dig misogynistic rap music and the girl-power pussy politic of empowerment. Hip-hop gains its popularity from its oppositionality and from its complicity in reproducing dominant representations of black womanhood." Hip-hop feminism acknowledges the problematic, misogynist nature of culture and its formative effects on women (especially young black women) and empowers them by enabling participation, response, and owning self-identification. "For some, the term “hip-hop feminism” offers up quite the enigma. Critics position misogyny as hip-hop’s cardinal sin, which raises the obvious question: How do women actively participate in a culture that seems to hate them so vehemently? For self-described hip-hop feminists, attempting to answer that question is not their only task, since understanding what hip-hop feminism is and isn’t goes far beyond responding to women-bashing sentiment." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Hip-hop feminism」の詳細全文を読む スポンサード リンク
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