153
Views
0
CrossRef citations to date
0
Altmetric
Articles

Talking back: linguistic exploration of female artistes’ ‘responses’ to patriarchy and stereotypes in Nigerian hip-hop

ORCID Icon & ORCID Icon
Pages 37-58 | Received 23 Nov 2018, Accepted 20 Nov 2023, Published online: 02 Jan 2024

References

  • Abiola, Saratu. 2013. “Re-imagining Ourselves: Music, Film and the Representation of Nigerian Women.” Web. 17 March 2013. Accessed May 17, 2018. https://www.opendemocracy.net/5050/saratu-abiola/re-imagining-ourselves-music-film-and-representation-of-nigerian-women.
  • Adami, Elisabetta. 2016. “Multimodality.” In Oxford Handbook of Language and Society, edited by O. García, N. Flores and M. Spotti, 451–472. Oxford: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190212896.013.23.
  • Adewoye, O. A., A. L. Odesanya, A. A. Abubakar, and O. O. Jimoh. 2014. “Rise of the ‘Homo Erotica’? Portrayal of Women and Gender Role Stereotyping in Movies: Analysis of two Nigerian Movies.” Developing Country Studies 4 (4): 103–110.
  • Adorno, T. 1976. Introduction to the Sociology of Music. Translated by E. B. Ashton. New York: Continuum.
  • Arachie, Adaora O. 2010. “Crossing Over: The Influence of Black American Female Representation on Nigerian Films and Music Videos”. Research Papers. Paper 8. http://opensiuc.lib.siu.edu/gs_rp/8.
  • Bennett, Tony. 1998. “Popular Culture and the Turn to Gramsci.” In Cultural Theory and Popular Culture: A Reader 2nd ed., edited by John Storey, 92–99. Hemel Hempstead: Prentice Hall.
  • Bressler, C. E. 1994. Literary Criticism: An Introduction and Practice. New Jersey: Prentice-Hall, Inc.
  • Brontsema, R. 2004. “A Queer Revolution: Reconceptualizing the Debate Over Linguistic Reclamation.” Colorado Research in Linguistics 17 (1): 1–17.
  • Campbell, Karlyn Kohrs. 2005. “The Rhetoric of Women’s Liberation: An Oxymoron.” In Readings in Rhetorical Criticism, edited by Carl R. Burgchardt, 510–522. Third ed. Pennsylvania: Strata.
  • Ebert, Teresa L. 1988. “The Romance of Patriarchy: Ideology, Subjectivity, and Postmodern Feminist Cultural Theory.” Cultural Critique, 19–56. https://doi.org/10.2307/1354105
  • Elan, Priya. 2012. “It's Time to Drop the ‘Bitch’ From Hip-Hop.” The Guardian, September 19. Accessed 26 July 2018. https://www.theguardian.com/music/musicblog/2012/sep/19/bitch-Hip-Hop.
  • Emerson, R. A. 2002. “Where My Girls At? Negotiating Black Womanhood in Music Videos.” Gender & Society 16 (1): 115–135. https://doi.org/10.1177/0891243202016001007.
  • Forman, Murray. 1994. “‘Movin’ Closer to an Independent Funk’: Black Feminist Theory, Standpoint, and Women in Rap.” Women’s Studies 23 (1): 35–55. https://doi.org/10.1080/00497878.1994.9979008.
  • Gbogi, M. T. 2016. “Language, Identity, and Urban Youth Subculture: Nigerian Hip-Hop Music as an Exemplar.” Pragmatics 26 (2): 171–195. https://doi.org/10.1075/prag.26.2.01tos.
  • Gourdine, R. M., and P. B. Lemmons. 2011. “Perceptions of Misogyny in Hip-Hop and Rap: What Do the Youths Think?” Journal of Human Behaviour in the Social Environment 21 (1): 57–72. https://doi.org/10.1080/10911359.2011.533576.
  • Halliday, Michael A. K. 1978. Language as Social Semiotic: The Social Interpretation of Language and Meaning. London: Edward Arnold.
  • Halliday, Aria S., and Ashley N. Payne. 2020. “Introduction: Savage and Savvy: Mapping Contemporary Hip-Hop Feminism.” Journal of Hip-Hop Studies 7 (1): 8–18.
  • Hom, Christopher. 2008. “The Semantics of Racial Epithets’.” Journal of Philosophy 105 (8): 416–440. https://doi.org/10.5840/jphil2008105834.
  • Jamila, Shani. 2002. “Can I Get a Witness? Testimony from a Hip-Hop Feminist.” In Colonize This! Young Women of Color on Today’s Feminism, edited by Daisy Hernandez, and Bushra Rehman, 382–394. New York: Seal Press.
  • Jewitt, Carey. 2016. “Multimodal Analysis.” In Handbook of Language and Digital Communication, edited by Alexandra Georgakopoulou, and Tereza Spilioti, 69–84. Abingdon: Routledge.
  • Kolawole, Mary Modupe. 2002. “Transcending Incongruities: Rethinking Feminism and the Dynamics of Identity in Africa.” Agenda 17 (54): 92–98. https://doi.org/10.1080/10130950.2002.9676183.
  • Kolmar, W. K., and F. Bartkowski, eds. 2005. Feminist Theory: A Reader. 2nd ed. New York: McGraw Hill.
  • Kress, G. 2010. Multimodality: A Social Semiotic Approach to Contemporary Communication. London: Routledge.
  • Larsen, Jane Kathrine. 2006. “Sexism and Misogyny in American Hip-Hop Culture.” Master's thesis, Department of Literature, Area Studies and European Languages, The University of Oslo. Accessed July 26, 2018. https://www.duo.uio.no/bitstream/handle/10852/25447/JaneKLarsenThesisx30.04.06.pdf?sequence=1
  • Lockard, Craig. 2007. Societies, Networks, and Transitions: A Global History. Vol. 1. New York: Cengage Learning Inc.
  • Maltby, Richard. 1989. “Introduction.” In Dreams for Sale: Popular Culture in the 20th Century, edited by Richard Maltby, 8–20. London: Harrap.
  • McDonald, David. 2020. “Junction 48: Hip-hop Activism, Gendered Violence, and Vulnerability in Palestine.” Journal of Popular Music Studies 32 (1): 26–43. https://doi.org/10.1525/jpms.2020.32.1.26.
  • Morgan, Joan. 1999. When Chickenheads Come Home to Roost: A Hip-Hop Feminist Breaks It Down. New York: Simon and Shuster.
  • Mouffe, Chantal. 1981. “Hegemony and Ideology in Gramsci.” In Culture, Ideology and Social Process, edited by Tony Bennett, Colin Mercer, and Janet Woollacott, 219–234. Milton Keynes: Open University Press.
  • Mwangi, E. 2004. “Masculinity and Nationalism in East African Hip-Hop Music.” Tydskrif vir Letterkunde 41 (2): 5–20. https://doi.org/10.4314/tvl.v41i2.29671.
  • Nkealah, Naomi. 2016. “(West) African Feminisms and Their Challenges.” Journal of Literary Studies 32 (2): 61–74. https://doi.org/10.1080/02564718.2016.1198156.
  • Nwapa, F. 2007. “Women and Creative Writing in Africa.” In African Literature: An Anthology of Critcism and Theory, edited by T. Olaniyan, and A. Quayson, 526–532. USA: Blackwell Publishing.
  • Ogundipe-Leslie, Molara. 1994. Re-Creating Ourselves: African Women and Critical Transformations. Trenton, New Jersey: Africa World Publishers.
  • Onanuga, Paul Ayodele. 2017. “Of Commodities and Objects: Women and Their Representations in Nigerian Hip-Hop.” Muziki 14 (2): 81–108. https://doi.org/10.1080/18125980.2017.1393319.
  • Onanuga, Paul Ayodele. 2019. “Nigerian Hip-hop, Youth Subculture and the Facets of Development in Select Contemporary Popular Music.” Oye Journal of Language, Literature and Popular Culture 1 (1): 21–36.
  • Onanuga, Paul Ayodele. 2020. “When Hip-Hop Meets CMC: Digital Discourse in Nigerian Hip-Hop.” Continuum 34 (4): 590–600. https://doi.org/10.1080/10304312.2020.1757038.
  • Orjinta, Ikechukwu. 2013. “Womanism as a Method of Literary Text Interpretation: A Study of Emergent Women’s Figures Under Religious Structures in Selected Works of Heinrich Böll.” PhD Diss., Ludwig-Maximilians Universitiät, München.
  • Phillips, Layli, Kerri Reddick-Morgan, and Dionne Patricia Stephens. 2005. “Oppositional Consciousness Within an Oppositional Realm: The Case of Feminism and Womanism in Rap and Hip-Hop, 1976–2004.” The Journal of African American History, 253–277. https://doi.org/10.1086/JAAHv90n3p253.
  • Price, Isabella. 2017. Goddess Power: Awakening the Wisdom of the Divine Feminine in Your Life. Coral Gables, Fl: Mango Publishing Group.
  • Rebollo-Gil, Guillermo, and Amanda Moras. 2012. “Black Women and Black Men in Hip-Hop Music: Misogyny, Violence and the Negotiation of (White-Owned) Space.” Popular Culture 45 (1): 118–132. https://doi.org/10.1111/j.1540-5931.2011.00898.x.
  • Reid-Brinkley, Shanara. 2008. “The Essence of Res(ex)pectability: Black Women’s Negotiation of Black Femininity in Rap Music and Music Video.” Meridians 8 (1): 236–260. https://doi.org/10.2979/MER.2008.8.1.236.
  • Rose, Tricia. 2001. “Keepin’ It Real.” The New Crisis 108 (5): 1–12. September/October 2001.
  • Rose, Tricia. 2004. “Never Trust a Big Butt and a Smile.” In That's The Joint: The Hip-Hop Studies Reader, edited by Murray Forman, and Mark Anthony Neal, 291–307. New York: Routledge.
  • Saka, P. 2007. How to Think About Meaning. Berlin: Springer.
  • Salih, S. 2002. “On Judith Butler and Performativity.” In Sexualities and Communication in Everyday Life: A Reader, edited by K. E. Lovaas, and M. M. Jenkins, 55–68. London: Sage.
  • Shaviro, Steven. 2005. “Supa Dupa Fly: Black Women as Cyborgs in Hip-Hop Videos.” Quarterly Review of Film and Video 22 (2): 169–179. https://doi.org/10.1080/10509200590921962.
  • Smitherman, G. 2000. Black Talk: Words and Phrases Form the Hood to the Amen Corner. Boston: Houghton Mifflin.
  • Storey, J. 2003. Inventing Popular Culture. Oxford: Blackwell.
  • Turner, Graeme. 1996. British Cultural Studies. 2nd edition. London: Routledge.
  • Walker, Alice. 1984. In Search of our Mothers’ Gardens: Womanist Prose. New York: Harcourt Brace Jovanovich.
  • Williams, Raymond. 1980. “Base and Superstructure in Marxist Cultural Theory.” In Problems in Materialism and Culture edited by Raymond Williams, 31–49. London: Verso.
  • Withers, Polly. 2021. “Digital Feminisms in Palestinian Hip-Hop.” Global Hip-Hop Studies 2 (2): 159–177. https://doi.org/10.1386/ghhs_00042_1.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.