User talk:Kailey strafford/sandbox

I'll be working on an origins section for regarding your comments about the Hip-Hop Feminism page. It is very unorganized and should be fixed. Brandontolliver32 (talk) 02:31, 15 April 2018 (UTC)

I like your idea of including the definitions in the beginning. However, do you plan on summarizing all of the definitions into one single definition? Or are you going to list each one? Personally, I think the section can be narrowed down. — Preceding unsigned comment added by Hommelc1 (talk • contribs) 03:06, 16 April 2018 (UTC)

Edit Plans for Feminism page
Hip-hop feminism is defined as young feminists born after 1964 who approach the political community with a mixture of feminist and hip-hop sensibilities.[1] It shares many similarities with black feminism and third-wave feminism, but is a distinct self-identification that carries its own weight and creates its political spaces. Throughout third-wave feminism, many constructs were destabilized, including the notions of "universal womanhood", body, gender, sexuality, and heteronormativity.[2] (Last sentence what does it mean? )

Hip-hop feminism was created by feminists who felt that black feminism was not equipped to consider the issues of women belonging to the hip-hop generation (fix this by adding in info from source). The term hip hop feminism was coined by the provocative cultural critic Joan Morgan in 1999[3] when she published the book When Chickenheads Come Home to Roost: A Hip Hop Feminist Breaks it Down (should this possibly be under history?).[4]

Hip hop feminism is based on the principles of the black feminist movement, which emphasizes that the personal is political because our race, class, gender, and sexuality determine how we are treated. An important idea that came out of early black feminism is that of intersectionality, (insert source from Kimberle Krenshaw).[5] Hip hop feminism is a different kind of feminism than "traditional" feminism; it is a way of thinking and living that is grounded in different lived experiences than the "traditional" feminism of the Women's Liberation Movement, which was a mostly white movement and was more interested in advancing women's rights than civil rights. The Hip-Hop feminism movement gained traction primarily because there was no avenue for young black women. As human rights activist, Shani Jamila states in her book, Can I Get a Witness, "As women of the hip-hop generation we need a feminist consciousness that allows us to examine how representations and images can be simultaneously empowering and problematic."[6] Many female rappers, such as Queen Latifah, embody and convey feminism, yet she does not identify as a feminist because "it is considered too white, too middle class, and too hostile to black men. Some writers locate Latifah's story in "Third Wave" feminism, as representing a race-conscious, sexually open feminism that rejects Second Wave white feminist elitism and racism, and also black sexism and homophobia".[7] The Second wave of feminism unfolded in the context of the anti-war and civil rights movements due to the growing self-consciousness of minority groups around the world.[2] As many women and men involved in hip hop culture are not white, they will have a different way of viewing the world; a desire for intersectional change in the spheres of how both women and non-white people are treated in America.

In the book Hip Hop's Inheritance: From the Harlem Renaissance to the Hip Hop Feminist Movement Reiland Rabaka explains, "women in the hip hop generation have consistently deconstructed and reconstructed feminism and womanism to speak to the special needs of their life-worlds and life-struggles, their unique lived-experiences and lived-endurances. In the process they have produced an unprecedented form of feminism—a "functional feminism," according to Morgan (1999), that is 'committed to "keeping it real"' with respect to the critique of interlocking and overlapping nature of sexism, racism, and capitalism in the lives of black and other nonwhite women' (pp. 61–62). Seeming to simultaneously embrace and reject the fundamentals of feminism, the women of the hip hop generation, like the hip hop generation in general, have blurred the lines between the 'personal' and the 'political' by critically dialoguing with a culture that commonly renders them invisible or grossly misrepresents them when and where they are visible".[8]

Later in the chapter, Rabaka explains the connection between media, hip hop, feminism, and intersectionality: "Hip hop feminists critically comprehend that mass media interpretations of hip hop, as well as the mass media's widely disseminated distorted stories about hip hop, are actually part and parcel of the ongoing social construction and maintenance of race, gender, class, sexuality, nationality, and other identities. All of this is to say, hip hop feminism is much more than feminism, and it focuses on more than feminist issues, misogyny, and patriarchy. Hip hop feminists use hip hop culture as one of their primary points of departure to highlight serious social issues and the need for political activism aimed at racism, sexism, capitalism, and heterosexism as overlapping and interlocking systems of oppression [...] hip hop feminists are simultaneously expanding the range and uses of intersectional theory and complicating what it means to be both a hip hopper and a feminist".[8] — Preceding unsigned comment added by Kailey strafford (talk • contribs) 20:22, 9 May 2018 (UTC)