Music is an expression of the society in which it’s produced. As a genre, hip hop has not just gone worldwide, it’s taken up the form of each society in which it’s found a house. Rap music has lots of advantages, but components of this civilization glorify crime, materialism, violence, drugs and misogyny. Prejudice against girls and objectification of these is common in several hip hop tunes. Based on academic thought, also, hip hop is rife with sexist and misogynistic attitudes towards girls. It’s also considered that all these are patriarchal resources of oppression and sexism.
Though these harmful behaviors are often marketed as man deviance inside the audio, they prop up a genuine patriarchal social order. Much hip hop content promotes a mythical picture of a thriving man, who will find any lady with his substance possessions. Ladies become accessoriessubject to the sexual demands of their male self. The stereotypical sexualised pictures deprecate girls and result in unhealthy social behaviors. In my analysis, I researched hip hop lyrics and videos to find out how they portray girls. The content also provided me insights into how women are perceived in the overall society. Seeing the music movies was significant as they’re easily imprinted from the audiences’ memory.
These were a few of the most well-known records in Nigeria in their time of launch. They were created by men artists and concentrated on girls. These chosen songs and their movies objectified and depicted women as dependent upon the character of guys. I paid attention to linguistic and non-linguistic communicating in the tunes. The linguistic features demonstrated language employed in portraying sexual conquest in addition to physical and sexual assault against girls. The non-linguistic communicating in the movies framed girls as hedonistic, money-driven, capricious and greedy.
Nigerian Hip Hop And Women’s Representation
They’re firstly portrayed as inanimate things attracted to the charm of riches. From the legends of Olamide’s Story for its Gods, girls are presented as items and slaves to the whims of the men. Therefore, as soon as a guy sexually desires a girl, cash becomes a lure to bring her. Banky W’s Jasi expands the materialistic stereotyping of girls, presenting them as fans of pleasure, parties and social gatherings. He rhetorically asks, Would you need enjoyment. While reassuring the woman he is that the King of all Lagos parties. As a party organiser, he suggests he could have his choice of the feminine party attendees.
In Jasi, sexualisation of women occurs through the use of lyrics and images. Scantily clad movie vixens and enchanting dancers emphasize the sexual objectification from the movie. There is also reenactment of sexual acts, highly sexualised dance, lyrical sexual solicitation along with amplification of manly braggadocio. Here, gratifying and gaining the interest of a lady demands sexual art and material prosperity. The casual representation of female body, notably buttocks and breasts, can be rampant in Nigerian hip hop.
The depictions desensitise the general public to the commodification of women and their own bodies, and entrench a mindset that promotes the quest to conquer the feminine body. These identifications concur with academic idea designating hip hop as manly music. This masculinity maintains a black man jurisdiction, largely by subjugating the women’s minds. My findings have consequences for the understanding of girls in society. Although different things might be responsible for crimes against girls, hip hop’s influence should not be dismissed. Olamide’s Story for the Gods was accused of rape. Emphasising stereotypical sex depictions about inequality has the capability to hurt girls.