Here's how CityGirls are injecting 'ratchet womanism' into a male-dominated field
In the midst of the Hot Girl Summer of 2019, Jermaine Dupri heated things up a bit further when, in a television interview, he described Cardi B, Megan Thee Stallion, and Nicki Minaj as "strippers rapping." "As far as rap goes," he continued, "I'm not getting who's the best."
Needless to say, his comments didn’t sit well with women MCs, least of all Cardi B. "First of all, I rap about my p---y because she's my best friend," she posted on Instagram. "And second of all, it's because it seems like that's what people want to hear.
This may have seemed like the beef of the week at the time, but Cardi and Jermaine's comments revealed a perennial issue: the reductive ways in which a male-dominated genre has long viewed and marketed female rappers, when a multiplicity of ways to "do" MCing as a woman -- a long tradition of delivering dope rhymes through myriad styles -- exist. Some reach Hot 100 success. Others do not.
At that point, feminism’s focus on gender equality primarily appealed to the needs of middle- to upper-class white women, and offered little room to address racial politics and their impact on black women. A womanist on the other hand -- according to Walker and others who have developed the framework over many years -- is, to begin with, a “black feminist or feminist of color.
Within the broader idea of womanism, a new perspective called “ratchet womanism” has emerged. “Ratchet” has its roots in Louisiana. Anthony Mandingo’s
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