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Representation of black women in hip hop
In the hip-hop subculture and industry, the role of women is represented in different entities that are both controversial and powerful. The over-sexualized image is constructed in society to feed into to the dominance demand of the male gaze. According to scholars Pough, Richardson, and Durham (2007), "Many of hip-hop's 'woman problems' come in the monolithic and repetitious representation of hip-hop as simply a sexist male rapper surrounded by an entourage of nameless and faceless gyrating bodies in video after video". The representation of women of color in hip hop surrounds a culture that is wrapped into Misogyny and other forms of oppression. Misogyny is a cultural force that normalizes sexism towards women in different aspects of hip-hop. These images are displayed in male rappers videos such as Nelly, Snoop Dogg, 50 Cent and more. The normalizing aspect is perpetuated when the phrase "fuck bitches, get money" becomes a societal norm with hip-hop subculture to classify women as "bitches". In hip hop, women in the industry in some cases try to speak out against the misogynistic frame work of the industry; however, due to the capital power of mainstream hip hop, they are forced to function within it in order to survive.〔
== "Hip-hop feminist", Joan Morgan ==
Feminist scholar Joan Morgan argues the need to redefine black feminist to use the progression of modern day society, which means becoming unified and organize with a black feminist movement. The black women throughout the civil rights era have fought alongside the black men in order to obtain equal rights for him, placing her rights a side. According to Morgan: "At the heart of our generation's ambivalence about the f-word is black women's historic tendency to blindly defend any black man who seems to be under attack from white folk." Black women continue to protect their male counterparts, therefore the term ''ride-or-die chick'' was coined to define the strong loyalty a woman has towards her man. The representation of the ride-or-die chick is seen throughout hip hop in music videos and the lyrics of artist songs. Some popular songs that exemplify this notion is Jay-Z ft. Beyoncé in their song "'03 Bonnie & Clyde" and Ja Rule ft. Charlie Baltimore's "Down Ass Bitch". The independence of the black woman is not seen frequently in the industry; she is typically credited as "featured" by a male rapper who deems her acceptable to function within a certain role defined by him as the lead artist. The black woman's identity is thus paired with and made subordinate to her male counterpart. Therefore, in the industry she is not deemed competition in comparison to males; the thug image is only reserved for the heterosexual male. Women who identify themselves outside of the over-sexualized image, such as Missy Elliott, Queen Latifah, and many more artists who fit within this framework, tend to be more subjected to questions pertaining to their sexuality (i.e., an implication that they are lesbians, as some sort of "explanation" for taking on what is predominantly seen as a masculine role within this subculture).
Exceptions to Morgan's males-featuring-females outline of hip-hop music production have long been common, especially along the pop-music fringe of the genre, e.g. "Mine" by Beyoncé ft. Drake, "212" by Azealia Banks ft. Lazy Jay, and "Yo Gotti" by Rihanna ft. Young Thug. Women in hip hop also feature each other frequently on tracks, such as Beyoncé ft. Nicki Minaj on "Flawless".
In a feminist journal paper on "strategic queerness", Shange (2014) hip-hop artist Nicki Minaj, suggesting that her "complex assemblage of public personae functions as a sort of 'straight' or 'queer', while upon closer examination, she refuses to be legible as either". Although this challenge is criticized as a capital agenda to interest the public, it is still a challenge that gives women a voice to not claim an identity in terms of sexuality. Shange acknowledges the points Morgan made regarding patriarchy and normative social forces in the subculture. Morgan: "I didn't want to have to talk about 'brothers,' 'male domination' or 'patriarchy.' I wanted a feminism that would allow me to explore who we are as women not victims. One that claimed the powerful richness and delicious complexities inherent in being black girls – no, sistas – of the post-Civil Rights, post-feminist, post-soul, hip-hop generation".〔 However, the reality is that black women in hip-hop are represented in different ways that connect to the foundation of how black people were recognized in society; therefore it is difficult to look out of another lens where black males are not present.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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