The Impact of Hip-Hop Music on Gender Identity

The society has always defined the concept of gender and assigned gender identity and responsibility. As the society changes, so do its definition of the gender identity. A clear representation and reflection of the norms being practiced in the society are stored in music. The definition and redefinition of a society changes over time and the changes can be tracked chronologically through the changing music genres. Scholars and experts in music have been publishing multiple findings which analyzes the content and presentation of a music video. Some theorists like those in black feminism, empowered sexuality and inter-sectionality provide a theoretical framework through which, they explain findings, conduct research, and review existing literature. Music is a powerful tool that defines and compels members of a society to conform to its definition of gender and gender roles. Such a case example is the presentation done by a female Hip-hop artist – Beyoncé in the halftime show at Super Bowl XLVII in 2013.[1]Her fans embraced the performance and displayed an electrified choreography full of energy and communicating a deep feminist message. Despite her being dressed in a hyper-sexual manner and showing crotch, only a handful of critiques felt that the performance was hyper-sexualized. Rather most of her fans applauded her and offered support for her exceptional performance. The example is a slight insight into the performance of gender by female artists in hip-hop. A significant contribution of hip-hop music includes inducing new social norms to define gender and empowering women. The focus of this paper will be centered on assessing the approach of musicologists in understanding the female gender in the hip-hop genre and using the artist Nicki Minaj examine how female musicians and their audience have confirmed to the hip-hop definition and presentation of gender.

The Musicologist’s Approached on Issues of Gender in Hip-Hop Music

The hip-hop genre of music is defining most people as the channel that tells about their daily struggle in life. The genre was born from the hip-hop culture famous in the 1970’s. Hip hop music follows a blaring bass vibration with its loud and unique beats being the definition aspects since it is characterized by a combination of rap lyrics and complimentary beats. According to Girls’ Game-Songs And Hip-Hop: Music Between The Sexes by Gaut (2012), the hip-hop is more than just a musical genre as its audience identifies with the music as a lifestyle[2]. Hip-hop has been observed to dictate trends in social behaviors, dressing, and norms. It has long provided the definition of what is ‘hot’ (the ‘in-thing’ in fashion). Hip-hop is a powerful tool through which youngsters define, perceive and identify themselves. On an extensive approach to the hip-hop culture (which hip-hop music greatly represents) has an international reach with all members identifying each other thorough hairstyles, dress codes and the use of hip-hop slang.

The article Hip-hop through gender eyes wrote by Brittany, argues that with such a wide impact on the society and an international reach, hip-hop has the power to construct gender[3].The ability to construct gender is increased even further because a considerable percentage of the youth population in most societies globally consumes hip-hop music. As such, lyrics, music and videos from the hip-hop genre make a significant contribution in creating and circulating negative representation of the female gender. Women and girls acquire their gender identity extensively from the hip-hop music and as such, the music often reinforces sexualization on mainstream media. The impact of hip-hop on gender identity is most evident among black women and the experience of black womanhood although the impact is also present among women of other races.

In the work The Hip‐Hop Club Scene: Gender, Grinding And Sex by Miguel, et al (2007), the concept of feminism in hip-hop revolves around unadulterated and raw concepts[4]. Further, the genre makes an attempt to explore grey concepts that traditional conduct and organization do not allow to be explored. Feminists here are committed to unravel studies and explain the ‘grey’ concepts. As Gaunt argues in his work Girls’ Game-Songs And Hip-Hop: Music Between The Sexes (2012),

it is important to examine and analyze the growing talents of female artists in hip-hop. However, to achieve the goal it is quite important that the researcher approaches to hip hop not just a musician but as a cultural movement[5]. A comprehensive approach would enable the researcher to identify and track the progression of gender identity and the role that music plays.

According to Hip Hop Through Gendered Eyes by Brittany, hip-hop is also a state of mind. In the article, the author examines earlier feminists’ studies in hip-hop culture[6]. The author examines different discussion initiated by feminists and activists who provided annoying discussions on gender issues, sexuality and other concepts in the society that hip-hop addresses. The article highlights different potential threats of assuming a ‘hip-hop state of mind’ because adopting such an approach redefines a person individuality, sexuality, socialization and gender identity.

Studies  done by different scholars Hip Hop's Amnesia: From Blues And The Black Women's Club Movement To Rap And The Hip Hop Movement (2012),

agree that women have always been present and played a critical role in the formation and evolution of the hip-hop culture[7]. The article reports that women have played active roles in hip-hop some of which include as deejays, rappers, co-founders of labels, and break dancers. These roles are to a large extent similar to the roles played by their male counterparts in hip-hop.6 It is also crucial to note that women were not incorporated into a developed hip-hop culture but rather, they played these roles form the very beginning when the culture and music were being introduced to the world. Hip Hop's Amnesia: From Blues And The Black Women's Club Movement To Rap And The Hip Hop Movement. (2012) notes that women, specifically black women agree to be objectified in a manner that promotes a negative stereotyping of femininity and womanhood. Further hip hop promotes a negative perspective on black women[8]. The negative stereotyping plays a significant role in the formation of gender identity and performing of gender roles. The music from this genre is widely propagated in the media and for some time, the society has assumed a pre-conceptualized view that hip-hop promotes demotion and humiliation of the woman. Further, in most videos and lyrics, the artists communicate a message that a woman can be equated to a money value. Women featured in such videos appear very appreciative of being noticed and rewarded for their femininity. Also, the hyper-sexualized imagery of women (particularly black women) promotes white supremacy and sexism among other issues.  The work Sex And The Spectacle Of Music Videos: An Examination Of The Portrayal Of Race And Sexuality In Music Videos (2010), argues gives a historical account that entails the construction of gender identity and gender role for the black woman in hip hop[9]. The presentation of the gender in hip-hop seems to promote conflicts for girls as they attempt to form a gender identity. The young girl is taught how to conform to being objectified and to be ashamed of her dignity as her achievement should be getting the approval of the male gender. Such a girl is expected to be sexually submissive and  ensure  that she is a sexual object that the man can desire.

In defining gender, hip-hop music uses various words that define femininity, shapes gender identity and defines the role that women should play in gender presentation. The music classifies women in various categories. Words like ‘ho’ refer to a highly promiscuous woman who cannot be trusted and is sexually uncontrollable. She is portrayed as willing to have sexual intercourse with any person in the music video as long as she is given some sort of acknowledgment. The words ‘bitch’ ‘clever bitch’ or ‘rich bitch’ refers to a woman in hip-hop who has worked her way through the life struggles, established herself and often depends on no man to provide for her. The image of this woman portrays power, often ruthless and equates her to a man for achieving and managing to be independent (often in terms of monetary value).

Hip-Hop Feminism

It is significant to consider understand hip hop feminism in an attempt to explore the contradicting aspects that arise from gender construction in hip-hop.  Hip hop feminism is part of the third wave of feminism which was most popular in the 1990s and ignorantly promoted activism. Hip-hop feminists argue that an individual’s experience is political with the justification that gender, sexuality, race and social class define the apprehension of an individual and the treatment they receive from the society. In this aspect, feminists use these factors to examine the experience of gender in reality. According to Gaunt in the article "Girls’ Game-Songs And Hip-Hop: Music Between The Sexes". (2012), hip hop feminists applaud women who invested in the culture and music[10]. However; they highlight the impact of hip-hop in gender construction, gender identity formation and its representation among women in the hip-hop culture. Gender construction is significantly influenced by race, historical developments, social class, homophobic lyrics/ videos and the patriarchy approaches adopted by the artists.

Objectification Theory

The objectivism theory agrees with concepts proposed by the hip-hop feminism and argues that focusing studies to understand more about the female artists in hip-hop informs researcher more about the construction and reconstruction of genre identity. Female artists are redefining women gender identity in hip-hop music and consequently in the larger society. Objectification theory argues that women in hip-hop music and culture are perceived as objects with their dignity defined using the physical characteristics and their worth is equitable to a monetary value. Further, the theory agrees that hip-hop music promotes the perception that women’s gender identity should be achieving a sexual attractiveness which their male counterpart should find irresistible and that for these women, their gender role is to provoke men sexually and fulfill their sexual desires.

Different scholars like the work of Richardson, Developing Critical Hip Hop Feminist Literacies: Centrality And Subversion Of Sexuality In The Lives Of Black Girls (2013), uses objectification theory to examine the role that female hip-hop artists have counter objected the hip-hop construction of female gender[11].

Female artists have utilized the platform to redefine gender and empower the female herself and the female audience.

Ideally, the public conceptualization of hip-hop music is as a male-dominated field where women can only play a smaller role in supporting or reinforcing the ‘real’ musicians who are ideally male. However, women have been an important contributing group in the cultivation of the style, influence trends in fashion and enhancing the richness of the culture. A television series known as Empire features a hip-hop artist- Lucious who starts from scratch and builds music empire. However, the series showcases the efforts of his wife -Cookie who abides by her husband throughout. When Lucious is starting out as an artist, his wife- Cookie is his producer and mentor. Later she is arrested for drugs, convicted and jailed for seventeen years. She serves her sentence and protects her husband and his career. The female character-Cookie is a representation of the role that women have played in the hip-hop music and culture, although she is not an artist herself. Even later in the series, it is breathtaking to watch the depths that Cookie is willing to get to help her sons create a career as hip-hop artists. According to Thug Life: Race, Gender, And The Meaning Of Hip-Hop (2011), the changing times and practices in the society introduced critical differences in the core elements of hip-hop. Along with the changes came the evolving image of the woman in culture[12]. External factors like capitalism, changing audience and the influence of record labels over artists introduced permanent changes in presentation and message conveyed by hip-hop music.

According to Thug Life: Race, Gender, And The Meaning Of Hip-Hop (2011), hip-hop music in the 21st century gives female artists an opportunity to communicates powerful lyrics on subjects that have long been considered as taboos, advocating for gender equality, empowering women and entertain[13]. Hip-hop music has undergone a long process of transformation (which is still happening) and currently, the genre can be argued to communicate self-love, reinforce self-esteem among young girls and give these girls power to control their bodies and environments. As the essay will describe later, the message in hip-hop music citing the example of Nicki Minaj discourages the view of women as objects, curses their dehumanization and significantly changes the gender construction and identity for women.

Evaluating the Female Artists Nicki Minaj

It is undeniable that women are still perceived as sexual objects for the desires of the male members of the society. Although the hip-hop community and particularly female artists have made impactful efforts to change the perception, the perception is yet to disappear completely. However, the representation of women in hip-hop music is not of a single approach. Not all music promotes a negative stereotype in the society[14]. The current state is a blend of a percentage of hip-hop genres that promotes and defines femininity in a negative perspective and a portion of artists who seek to redefine gender identity for women. In some cases, for instance, in examining Nicki Minaj, she comes across as a blend of the two groups and making efforts to promote gender reconstruction for women.

Nicki Minaj’s background information reflects a woman who grew up witnessing drug abuse, oppression, and crime in her neighborhood. She was born to a Jamaican mother and a Puerto Rican father. Her earlier life conditioned her to be dynamic, blunt and somewhat bitter. She expresses the message in her lyrics. Her first mix tape ‘Beem Me Up’ showcases a raw lyricist with creative and outstanding flows. She grew her artist career under the male artists Lil Wayne.

Her music pays acute attention to gender identity and performance. Her life as an artist and as a woman is often questioned by most people arguing that she is gay given her toughness which is a clear reflection of masculinity. The conception of the society expresses gender constraints that hip-hop music imposes on the female. Ideally being independent and courageous are masculine characteristics. Nicki expresses a notion that she embraces her sexuality and, in her video, and lyrics. At the same time, she embraces her sexuality exhibit explicit reveals of her body and portraying her body sexually. However, her approach assumes that of a strong and independent woman who does not conform to the traditional identity of her gender. She communicates that she is in control of her body, sexuality and that she has no obligation whatsoever to conform to gender rules or fulfill the expected the gender responsibility.

When she is questioned about her sexual orientation, she does not give a reply. The silence provokes the question whether she is gay or if she chooses not to perform expected gender roles. The confusion is fastened since the artist raps about being sexually attracted to the female gender. She has also rapped about an encounter she had with a woman and praises the attraction. At the same time, she acknowledges that she is a ‘tomboy’ – a woman who has male-like behaviors and preferences and she claims that she would rather dress in male-like attire.

It is notable how Nicki chooses her words, constructs her lyrics and raps in her music. She is straightforward and has no issue expressing love, hatred, pity, revenge, and pain. In one of her songs, she portrays herself as strong and powerful stating that if she had  a penis she would use it to urinate on ‘those’ people who keep hating on her. She also uses a combination of stereotypical words for both genders i.e. ‘sons’ and ‘bitches’ to subjugate those who hate her. In the video for the music, she is dressed up in feminine attire with a tight jump that defines her curves. The video presents her as an anomaly[15].

Another interesting aspect is that her lyrics and performance sometimes contradict.  When listening to her lyrics only, it is likely to get the idea that she is degrading to women. However, she is notably among the few female artists who really embrace their femininity during a performance and in videos. In most of her music, Nicki refers or implies that she is ‘The Queen’. She is fond of alluding to her sexuality.

However, she seems to conform to the definition given by objectification theory when she signs breasts of  her female fans. The action is similar to the objectification of female bodies an action that is popular among male artists. Further, despite being attracted to male attire Nicki Minaj performs and records music video dressed in extreme feminism[16]. Somehow, she conforms to the gender roles perhaps in an attempt to appeal to her audience and fans that are startled by her physical appearance.

In general ideas presented by Nicki Minaj and her approach as a hip-hop artist is valid in the hip-hop culture. People who follow the hip-hop genre are influenced by her music and her unique ability to present rap lyrics. Further, the artist does not sing about sexuality only. Like the theme of hip-hop music, she addresses various issues in the society like crime, money, dreams, race, and business. To enhance her efforts to overcome gender constrictions, it is relevant to argue that adopting a holistic approach to life in her music not only praises the hip-hop genre but presents her as more than her gender identity and sexuality.

Conclusion

Musicologists have embraced different approaches to examine issues of gender in music. Some theories that scholars use include the hip-hop feminism and objectification theory. Ideally, the two theories propose that the society, particularly the hip-hop culture impacts the construction and assigning of gender roles to women. The essay addressed the role of hip-hop in creating a gender identity for women and conditioning the society and young girls to conform to the identity and perform gender.  Further, the paper addressed the female rap artists- Nicki Minaj and her role in gender presentation within the hip-hop music. Minaj is notably an agent of change who advocates for the reconstruction of gender identity and role. Her contribution is evident in her rap lyrics, music and videos. She is a combination of a traditional world of hip-hop with several instances of conformity and an advocate for change empowering women to take their sexual independence and define their fate. Her music is significant to the hip-hop music and she represents her as more than a sexual object. Her music advocates for a hip-hop change of lifestyle to create better chances for women in the society.

Bibliography

Brittany Ireland, Jia. "Hip Hop Through Gendered Eyes". Undergraduate, University of Michigan - Flint, n.d.

Gaunt, Kyra D. "Girls’ Game-Songs And Hip-Hop: Music Between The Sexes". Parcours anthropologiques, no. 8 (2012): 97-128.

"Hip Hop's Amnesia: From Blues And The Black Women's Club Movement To Rap And The Hip Hop Movement". Choice Reviews Online 50, no. 03 (2012): 50-1375-50-1375.

Muñoz‐Laboy, Miguel, Hannah Weinstein, and Richard Parker. "The Hip‐Hop Club Scene: Gender, Grinding And Sex". Culture, Health & Sexuality 9, no. 6 (2007): 615-628.

Richardson, Elaine. "Developing Critical Hip Hop Feminist Literacies: Centrality And Subversion Of Sexuality In The Lives Of Black Girls". Equity & Excellence in Education 46, no. 3 (2013): 327-341.

"Sex And The Spectacle Of Music Videos: An Examination Of The Portrayal Of Race And Sexuality In Music Videos". Sex Roles 64, no. 3-4 (2010): 173-191.

"Thug Life: Race, Gender, And The Meaning Of Hip-Hop". Choice Reviews Online 48, no. 12 (2011): 48-6808-48-6808.

1. Gaunt, Kyra D. Girls’ Game-Songs And Hip-Hop: Music Between The Sexes". Parcours anthropologiques, no. 8 (2012): 97-128.

     [2]. Gaunt, Kyra D. "Girls’ Game-Songs And Hip-Hop: Music Between The Sexes". Parcours anthropologiques, no. 8 (2012): 97-128.

               [3] . Brittany Ireland, Jia. "Hip Hop Through Gendered Eyes". Undergraduate, University of Michigan - Flint, n.d.

    [4]. Muñoz‐Laboy, Miguel, Hannah Weinstein, and Richard Parker. "The Hip‐Hop Club Scene: Gender, Grinding And Sex". Culture, Health & Sexuality 9, no. 6 (2007): 615-628.

[5]

. Gaunt, Kyra D. "Girls’ Game-Songs And Hip-Hop: Music Between The Sexes". Parcours anthropologiques, no. 8 (2012): 97-128.

[6]

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[7]

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[9]

. "Sex And The Spectacle Of Music Videos: An Examination Of The Portrayal Of Race And Sexuality In Music Videos". Sex Roles 64, no. 3-4 (2010): 173-191.

[10]

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[13]

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[14]

4 Muñoz‐Laboy, Miguel, Hannah Weinstein, and Richard Parker. "The Hip‐Hop Club Scene: Gender, Grinding And Sex". Culture, Health & Sexuality 9, no. 6 (2007): 615-628.

[15]

11. Richardson, Elaine. "Developing Critical Hip Hop Feminist Literacies: Centrality And Subversion Of Sexuality In The Lives Of Black Girls". Equity & Excellence in Education 46, no. 3 (2013): 327-341.

[16]

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