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Nesse estudo, a autora analisa a existência de um hip-hop feminista jovem, negro, soteropolitano, a partir da perspectiva das mulheres inseridas nesse movimento, e interessa-se por compreender quais são suas concepções acerca do feminismo investigando se há e de que forma influenciam as experiências dessas mulheres diante de um contexto que dialoga com a cultura política local vigente. Esta obra faz parte da Coleção Bahianas que, desde sua primeira edição, em 1997, mostrou-se desafiadora e mantem-se como espaço de socialização de estudos teóricos e empíricos. Esses estudos buscam questionar os estereótipos e as convenções e de gênero que inscrevem lugares e posições distintas para mulheres e homens.
Hip-hop feminism. --- Social sciences. --- Brazil
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Nesse estudo, a autora analisa a existência de um hip-hop feminista jovem, negro, soteropolitano, a partir da perspectiva das mulheres inseridas nesse movimento, e interessa-se por compreender quais são suas concepções acerca do feminismo investigando se há e de que forma influenciam as experiências dessas mulheres diante de um contexto que dialoga com a cultura política local vigente. Esta obra faz parte da Coleção Bahianas que, desde sua primeira edição, em 1997, mostrou-se desafiadora e mantem-se como espaço de socialização de estudos teóricos e empíricos. Esses estudos buscam questionar os estereótipos e as convenções e de gênero que inscrevem lugares e posições distintas para mulheres e homens.
Hip-hop feminism. --- Social sciences. --- Brazil
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Nesse estudo, a autora analisa a existência de um hip-hop feminista jovem, negro, soteropolitano, a partir da perspectiva das mulheres inseridas nesse movimento, e interessa-se por compreender quais são suas concepções acerca do feminismo investigando se há e de que forma influenciam as experiências dessas mulheres diante de um contexto que dialoga com a cultura política local vigente. Esta obra faz parte da Coleção Bahianas que, desde sua primeira edição, em 1997, mostrou-se desafiadora e mantem-se como espaço de socialização de estudos teóricos e empíricos. Esses estudos buscam questionar os estereótipos e as convenções e de gênero que inscrevem lugares e posições distintas para mulheres e homens.
Hip-hop feminism. --- Social sciences. --- Brazil
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De toutes les musiques populaires contemporaines, le rap est celle que l’on associe le plus communément à l’expression d’un discours misogyne. Mais si les rappeuses elles-mêmes décrivent souvent l’industrie du rap comme un environnement qui leur est hostile, cela fait plus de quarante ans qu’elles ont investi cet espace. Des premiers enregistrements, commercialisés en 1979, à aujourd’hui, de The Sequence à Megan Thee Stallion, en passant par Queen Latifah, Salt’N’Pepa, Lil’ Kim, Nicki Minaj et Cardi B, plusieurs générations se sont succédées, avec des temps forts et des moments de transition. Elles ont écoulé des centaines de millions de disques et participé de manière significative au développement artistique et commercial du rap, sans pour autant être reconnues à la hauteur de leur contribution. Par leurs morceaux ou leurs prises de position publique, elles ont permis d’ouvrir un espace de discussion sur des problématiques relatives à la condition des femmes noires des classes populaires et permis de faire évoluer les mentalités dans la culture hip-hop sur un certain nombre de sujets comme la sexualité ou les violences de genre.Prenant le parti de rendre compte tant des rapports de domination à l’œuvre que des formes de subjectivation rendues possibles pour celles qui évoluent dans l’industrie du rap, cet ouvrage s’intéresse à la façon dont les rappeuses états-uniennes ont négocié leur place dans une industrie dominée par des hommes et fait entendre un discours sur le genre, la race et la sexualité à rebours des représentations hégémoniques. Loin de l’image homogène qu’on lui prête parfois, il s’agit de rendre au rap enregistré par des femmes toute sa diversité et sa complexité.
Women rap musicians --- Rap (Music) --- Rap (Music) --- Hip-hop feminism --- Sex role in music
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Motherhood is an experience that is ever-present yet invisible in the global music genre of hip-hop. This aspect of wom- en’s experience has garnered little attention from journal- ists, writers and scholars of hip-hop culture. Nor do we have any understanding of how mothers who remain hip-hop cul- ture enthusiasts negotiate their relationship to the culture of hip-hop and its music with their children. Furthermore, what are the discursive spaces that motherhood occupies in hiphop? Are there ways of understanding mothering in hip-hop along a historical continuum? What are some of the ways that motherhood complicates the hyper-masculinity so dominant in hip-hop? What does empowered and feminist mothering in the context of hip-hop look like, and how might it chal- lenge the status quo? How are mothers engaging with hiphop, both locally and globally? Broad themes covered in this volume include: representations of motherhood in rap, femi- nist analyses of mothering in hip-hop, and experiential re- flections on mothering in the process of artistic production.
Motherhood in popular culture --- African American mothers --- Hip-hop feminism --- Rap (Music) --- Women rap musicians
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When Chickenheads Come Home to Roost is a decidedly intimate look into the life of the modern black woman: a complex world where feminists often have not-so-clandestine affairs with the most sexist of men; where women who treasure their independence often prefer men who pick up the tab; where the deluge of babymothers and babyfathers reminds black women, who long for marriage, that traditional nuclear families are a reality for less than 40 percent of the African-American population; and where black women are forced to make sense of a world where "truth is no longer black and white but subtle, intriguing shades of gray." Morgan ushers in a voice that, like hiphop - the cultural movement that defines her generation - samples and layers many voices, and injects its sensibilities into the old and flips it into something new, provocative, and powerful.
Music --- Relationships --- Sexism --- Black feminism --- Intersectionality --- United States of America --- African American women --- Feminists --- Hip-hop feminism --- Social conditions --- Civil rights --- Morgan, Joan,
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Since the dawn of Hip Hop graffiti writing on the streets of Philadelphia and New York City in the late 1960s, writers have anonymously inscribed their tag names on trains, buildings, and bridges. Passersby are left to imagine who the author might be, and, despite the artists' anonymity, graffiti subculture is seen as a boys club, where the presence of the graffiti girl is almost unimaginable. Jessica Nydia Pabon-Colon interrupts this stereotype and introduces us to the world of women graffiti artists. Drawing on the lives of over 100 women in 23 countries, Pabon-Colon argues that graffiti art is an unrecognized but crucial space for the performance of feminism. She demonstrates how it builds communities of artists, reconceptualizes the Hip Hop masculinity of these spaces, and rejects notions of girl power. 'Graffiti Grrlz' also unpacks the digital side of Hip Hop graffiti subculture and considers how it widens the presence of the woman graffiti artist and broadens her networks, which leads to the formation of all-girl graffiti crews or the organization of all-girl painting sessions.
Graffiti. --- Street art. --- Hip-hop. --- Graffiti artists. --- Women artists. --- Hip-hop feminism. --- Mural painting and decoration --- Mural painting and decoration. --- Graffito --- Hip-Hop --- Streetart --- Feminismus --- Frauenbewegung --- 1900-1999 --- Graffito. --- Streetart. --- Feminismus. --- Frauenkunst. --- Hip-Hop. --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Feminism --- Gender --- International --- Art --- Subcultures
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Pinar Tuzcu explores rapper Lady Bitch Ray's performance and particularly her use of the term Kanackin. She combines issues of popfeminism and postmigration through speculative methodology and invites us to forget prescriptive definitions by proposing paradoxicality as a source to diversify our concepts of feminism. By means of Situational Analysis, her study works through the contradictory forms of positioning that occurred in group discussions with Turkish-German university students about Lady Bitch Ray's music videos. In this book, Tuzcu argues that these contradictory forms of positioning bear traces of emergent discourses that reach beyond Western-centric descriptions of feminism in Germany. »Der Diskurs um postmigrantische Popkultur in Deutschland wird durch Pinars Buch um einen vielversprechenden Beitrag erweitert. Lady Bitch Ray als hybride Kunstfigur passt in diesen Diskurs gut rein.« Patricia Bonaudo, Missy Magazine, 06.09.2016 Besprochen in: IDA-NRW, 1 (2017)
Hip-hop feminism. --- Women rap musicians --- Rap musicians --- Women musicians --- Feminism --- Postmigration; Popfeminism; Decolonial Approaches; Feminist Art & Performance; Rap; Gender; Popular Culture; Postcolonialism; Gender Studies; Cultural Studies; Sociology --- Cultural Studies. --- Decolonial Approaches. --- Feminist Art & Performance. --- Gender Studies. --- Gender. --- Popfeminism. --- Popular Culture. --- Postcolonialism. --- Rap. --- Sociology.
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Detroit, MIchigan, has long been recognized as a center of musical innovation and social change. Rebekah Farrugia and Kellie D. Hay draw on seven years of fieldwork to illuminate the important role that women have played in mobilizing a grassroots response to political and social pressures at the heart of Detroit’s ongoing renewal and development project. Focusing on the Foundation, a women-centered hip hop collective, Women Rapping Revolution argues that the hip hop underground is a crucial site where Black women shape subjectivity and claim self-care as a principle of community organizing. Through interviews and sustained critical engagement with artists and activists, this study also articulates the substantial role of cultural production in social, racial, and economic justice efforts.
African American women --- Hip-hop feminism --- Foundation of Women in Hip Hop. --- activism. --- african. --- art. --- black community. --- black lives matter. --- black women. --- blm. --- city renewal. --- collective action. --- community organizing. --- community. --- detroit. --- economic justice. --- foundation. --- gender studies. --- grassroots politics. --- hip hop. --- inner city. --- media studies. --- michigan. --- music. --- musicians. --- nonfiction. --- popular culture. --- poverty. --- protest. --- racial justice. --- resistance. --- self care. --- social change. --- social justice. --- sociology. --- structural inequality. --- subjectivity. --- women.
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Black women are at the forefront of some of this century's most important discussions about technology: trolling, online harassment, algorithmic bias, and influencer culture. But, Catherine Knight Steele argues that Black women's relationship to technology began long before the advent of Twitter or Instagram. To truly 'listen to Black women,' Steele points to the history of Black feminist technoculture in the United States and its ability to decentre white supremacy and patriarchy in a conversation about the future of technology. Using the virtual beauty shop as a metaphor, 'Digital Black Feminism' walks readers through the technical skill, communicative expertise, and entrepreneurial acumen of Black women's labour-born of survival strategies and economic necessity - both on and offline.
Internet and women --- African American women. --- Feminism --- Technology and blacks --- Black people and technology --- Black people --- Afro-American women --- Women, African American --- Women, Negro --- Women --- Women and the Internet --- #BlackGirlMagic. --- #BlackLivesMatter. --- Agency. --- Appropriation. --- Beauty shop. --- Black Feminism. --- Black feminism. --- Blogging. --- Blogs. --- Blogs/Bloggers. --- Braids. --- Branding. --- Capitalism. --- Coding. --- Critical Technocultural Discourse Analysis. --- Digital Culture. --- Digital ethics. --- Enclaves. --- Feminism. --- Gender (non) binary. --- Hashtags. --- Hip-Hop Feminism. --- Hip-Hop. --- Identity. --- Instagram. --- Intersectionality. --- Labor. --- Matrix of Domination. --- Misogynoir. --- Online harassment. --- Pedagogy. --- Platforms. --- Positionality. --- Praxis. --- Public scholarship. --- Publishing. --- Race Women. --- Respectability. --- Self-care. --- Selfies. --- Signifyin(g). --- Technology. --- Technophilia. --- Threads. --- Tools. --- Trans/Cis women. --- Tweet/Twitter. --- Typing. --- Viral content. --- affordances. --- prototypes. --- technoculture. --- Sociology of environment --- Community organization --- United States --- United States. --- AB --- ABSh --- Ameerika Ühendriigid --- America (Republic) --- Amerika Birlăshmish Shtatlary --- Amerika Birlăşmi Ştatları --- Amerika Birlăşmiş Ştatları --- Amerika ka Kelenyalen Jamanaw --- Amerika Qūrama Shtattary --- Amerika Qŭshma Shtatlari --- Amerika Qushma Shtattary --- Amerika (Republic) --- Amerikai Egyesült Államok --- Amerikanʹ Veĭtʹsėndi͡avks Shtattn --- Amerikări Pĕrleshu̇llĕ Shtatsem --- Amerikas Forenede Stater --- Amerikayi Miatsʻyal Nahangner --- Ameriketako Estatu Batuak --- Amirika Carékat --- AQSh --- Ar. ha-B. --- Arhab --- Artsot ha-Berit --- Artzois Ha'bris --- Bí-kok --- Ē.P.A. --- EE.UU. --- Egyesült Államok --- ĒPA --- Estados Unidos --- Estados Unidos da América do Norte --- Estados Unidos de América --- Estaos Xuníos --- Estaos Xuníos d'América --- Estatos Unitos --- Estatos Unitos d'America --- Estats Units d'Amèrica --- Ètats-Unis d'Amèrica --- États-Unis d'Amérique --- Fareyniḳṭe Shṭaṭn --- Feriene Steaten --- Feriene Steaten fan Amearika --- Forente stater --- FS --- Hēnomenai Politeiai Amerikēs --- Hēnōmenes Politeies tēs Amerikēs --- Hiwsisayin Amerikayi Miatsʻeal Tērutʻiwnkʻ --- Istadus Unidus --- Jungtinės Amerikos valstybės --- Mei guo --- Mei-kuo --- Meiguo --- Mî-koet --- Miatsʻyal Nahangner --- Miguk --- Na Stàitean Aonaichte --- NSA --- S.U.A. --- SAD --- Saharat ʻAmērik --- SASht --- Severo-Amerikanskie Shtaty --- Severo-Amerikanskie Soedinennye Shtaty --- Si͡evero-Amerikanskīe Soedinennye Shtaty --- Sjedinjene Američke Države --- Soedinennye Shtaty Ameriki --- Soedinennye Shtaty Severnoĭ Ameriki --- Soedinennye Shtaty Si͡evernoĭ Ameriki --- Spojené obce severoamerick --- Spojené staty americk --- SShA --- Stadoù-Unanet Amerika --- Stáit Aontaithe Mheirice --- Stany Zjednoczone --- Stati Uniti --- Stati Uniti d'America --- Stâts Unîts --- Stâts Unîts di Americhe --- Steatyn Unnaneysit --- Steatyn Unnaneysit America --- SUA --- Sŭedineni amerikanski shtati --- Sŭedinenite shtati --- Tetã peteĩ reko Amérikagua --- U.S. --- U.S.A. --- United States of America --- Unol Daleithiau --- Unol Daleithiau America --- Unuiĝintaj Ŝtatoj de Ameriko --- US --- USA --- Usono --- Vaeinigte Staatn --- Vaeinigte Staatn vo Amerika --- Vereinigte Staaten --- Vereinigte Staaten von Amerika --- Verenigde State van Amerika --- Verenigde Staten --- VS --- VSA --- Wááshindoon Bikéyah Ałhidadiidzooígí --- Wilāyāt al-Muttaḥidah --- Wilāyāt al-Muttaḥidah al-Amirīkīyah --- Wilāyāt al-Muttaḥidah al-Amrīkīyah --- Yhdysvallat --- Yunaeted Stet --- Yunaeted Stet blong Amerika --- ZDA --- Združene države Amerike --- Zʹi͡ednani Derz͡havy Ameryky --- Zjadnośone staty Ameriki --- Zluchanyi͡a Shtaty Ameryki --- Zlucheni Derz͡havy --- ZSA --- Technology and women --- Women and technology --- ABŞ --- Amerikanʹ Veĭtʹsėndi͡avks Shtattnė --- É.-U. --- ÉU --- Saharat ʻAmērikā --- Spojené obce severoamerické --- Spojené staty americké --- Stáit Aontaithe Mheiriceá --- Wááshindoon Bikéyah Ałhidadiidzooígíí --- Technology and Black people --- Social media --- Patriarchy --- Technology --- Whiteness --- Blackness --- Black feminism --- Internet --- Book --- Activism
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