Hip-hop feminism

[2] Hip-hop feminism acknowledges the problematic, misogynist nature of culture and its formative effects on young black women and empowers them by enabling participation, response, and owning self-identification.

[2] In Growing Up Where 'No One Looked Like Me': Gender, Race, Hip Hop and Identity in Vancouver, Gillian Creese uses interviews from second generation African-Canadian men and women in their analysis of how the sociocultural understanding of blackness and hip hop influence the experiences of African-Canadian youth growing up in communities where they are one of the few Black/African children within the community.

[8] In If You Look in My Life: Love, Hip-Hop Soul, and Contemporary African American Womanhood,[8] author Treva B. Lindsey documents Blige's diverse musical influences and claims that, "...these diverse influences sparked a sonic innovation that generated a unique space for African American women's storytelling and narrative (re)articulations of love and contemporary black womanhood.

Artists such as Latifah and Hill mimicked the hip hop rhetoric of males in the scene and generated a massive amount of attention.

Missy Elliot was often seen dressed similar to male hip-hop artists and utilized the same body language and aggressive delivery of her lyrics as a means of protest, while still preserving her femininity.

Aisha Durham writes that hip hop aided in creating a style icon out of the female black body.

She stated, "[Hip hop feminists] are moving and mobilizing and rescuing ourselves from virtual action blocks ... Hip-hop feminism is the answer (to) rap.

Given Rihanna's past, the hip-hop feminist scene looked to her as a role model to stand up for domestic violence against the black female body.

[15][16] Seth Cosimini's analysis of the performativity and self-presentation of Nicki Minaj articulates how women in hip-hop culture may simultaneously challenge and conform to stereotypical representations of femininity.

Through an analysis of Melyssa Ford's music video career, Balaji highlights how it is possible for women in hip-hop to harness their sexuality as a form of political resistance.

[21] Saunders places emphasis on the importance of including hemispheric, non-English, equally marginalized (with varying struggles), black activists into American hip-hop feminist conversations.

[21] She also stresses that without a transnational outreach that breaches language and geopolitical barriers, American hip-hop feminist praxis will, in fact, be limited.

[21] Saunders also uses the word "artivism," which merges "artist" and "activist," in an argument stating that feminists in nations such as Cuba and Brazil, where hip-hop feminism is present, are not given enough credit for the agency and resistance that emerges from their art.

[23] Another intervention Jefferies make is his claim that hip hop feminists must acknowledge inconsistencies concerning labeling various (often male) hip hop rappers as being either "socially conscious" and/or "commercial" based on the subject matter within their music given how "socially conscious" rappers are still capable of reproducing sexist or problematic societal behaviors within their music.

[24] Aisha Durham refers to the work of communication scholars when discussing the role of the black woman's body in hip-hop culture.

Rather than conforming to this hyper-sexualized, and powerless image these women used their music videos to challenge these heteronormative and patriarchal motifs, by asserting their independence and strength.

[29] The lyrical and visual objectification of women within hip hop may be a means for men to cope with a lack of normative indicators of heterosexual masculine power and the presence of insecurities associated with self-worth, racial discrimination, and access to various types of resources.

"[31] Schloss points to the rigidity of gender in hip-hop and production, and this idea that women must masculinize themselves in order to find entrance and success in producing.

Along with the masculine presence in hip-hop, women rarely find a chance to hone their production skills in the typical intimate house settings men usually engage because they don't feel "comfortable spending such extended time in a male neighbor's home.".

Women get mixed reactions about this form of art, a woman from the female crew Full Circle spoke about how when a man lost to her in a battle, he said that it was because it was hard to focus because he was attracted to her because she was a girl.

It involves using the medium of hip-hop music and culture as a platform to address gender issues, challenge stereotypes, and advocate for women's rights.

This movement has gained momentum as artists incorporate feminist perspectives into their lyrics, challenging societal norms and fostering conversations about gender equality.

Through their lyrics, African hip-hop feminists address a wide range of societal issues affecting women, including gender-based violence, discrimination, unequal opportunities, and limited representation.

Many African hip-hop feminists infuse their music with cultural authenticity, incorporating local languages, traditional beats, and indigenous storytelling techniques.

African hip-hop feminism recognizes the intersectionality of identity, acknowledging that women's experiences are shaped by various factors such as race, class, and sexuality.

African hip-hop feminism has influenced popular culture by challenging the status quo and reshaping societal perceptions of gender.

Some notable African hip-hop feminist artists include Dope Saint Jude (South Africa), Muthoni Drummer Queen (Kenya), and Moonaya (Senegal), among others.