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Women Still Run This Thing: Hip Hop, Womanism, Sexuality, and...
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Women Still Run This Thing: Hip Hop, Womanism, Sexuality, and Religion

A special issue of Religions (ISSN 2077-1444). This special issue belongs to the section "Religions and Health/Psychology/Social Sciences".

Deadline for manuscript submissions: closed (15 July 2022) | Viewed by 12193

Special Issue Editors

Prof. Dr. Daniel White Hodge

E-Mail Website
Guest Editor
Communication Arts Department, North Park University, Chicago, IL 60625, USA
Interests: faith; Hip Hop culture; Hip Hop & religion, race/ethnicity; young adult emerging generations
Dr. Erika D. Gault

E-Mail Website
Guest Editor
Department of Religious Studies & Classics, University of Arizona, Tucson, AZ 85721, USA
Interests: hip hop and religion; African American religious history; Black millennials; digital ethnography; new trends in Black churches

Special Issue Information

Dear Colleagues,

Far too often the hypermasculine male is the trope that commercial Hip Hop puts out as “Hip Hop.” For too long, the male image of a rapper has told us that “men” must have specific qualities in order to be termed as, a “man.” As scholars in the field of Hip Hop Studies, we know this is not true. Women play an influential role in Hip Hop Culture; principally as it pertains to the social constructs of sexual orientation, gender constructs, race, and social issues. Women have helped shape some of Hip Hop’s most iconic moments and have been instrumental in the shaping of the cultural continuum. In contrast, religion—specifically Western Christianity—has had a male-dominated premise too. Within these spaces’ men have created a God in "their image", and have committed to the fallacy that a “man runs the household". Therefore, it is with excitement that we invite original research to explore these two areas along with providing insight into the current state of Hip Hop, religion, and intersectionality. Topics can include, but are certainly not limited to:

  • Hip Hop womanism

  • Hood womanism

  • Verzus  and Cancel Culture

  • Meg Thee Stallion and #ProtectBlackWomen

  • Hip Hop of the South

  • WAP and politics of sexuality (Cardi B, Lauryn Hill)

  • Women in Hip Hop and their historical contributions (Missy Elliott, Nikki Minaj, No Name, Rhapsody, etc.)

  • Women and their role in activism and politics within Hip Hop culture

  • The construct of “male sponsorship” for entry into rap music

  • Does rap music hate women?

  • The gendered and social discourse of “Bitch”

  • Hip Hop and #MeToo

  • Women in Hip Hop and Digital Technocultures

  • Hip Hop and Western Christianity and heteronormative ideologies

  • Hip Hop and Religious Pedagogy in the COVID-19 era

Authors who are interested should submit a proposed title and an abstract of 400–600 words summarizing their intended contribution, prior to preparing their manuscripts. Abstracts will be reviewed by the Guest Editors for the purposes of ensuring proper fit within the scope of the Special Issue, and then full manuscripts will be solicited. Please send the abstract to Guest Editors.

The deadline for abstract submission is June 1, 2021,

The deadline for manuscript submission is September 6, 2021.

Prof. Dr. Daniel White Hodge
Dr. Erika D. Gault
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All papers will be peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Religions is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • Hip Hop studies
  • Hip Hop and religion
  • religion in Hip Hop
  • Womanism
  • Black Theology
  • Hip Hop culture
  • Black Feminism

Published Papers (3 papers)

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Research

16 pages, 277 KiB  
Article
Da Blood of Shesus: From Womanist and Lyrical Theologies to an Africana Liberation Theology of the Blood
by Travis T. Harris and M. Nicole Horsley
Religions 2022, 13(8), 688; https://0-doi-org.brum.beds.ac.uk/10.3390/rel13080688 - 27 Jul 2022
Viewed by 1447
Abstract
The theme of suffering is intimately tied to the possibilities of the blood as redemptive in theology. Potentially considered a universal pathway to salvation and racial transcendence for people of African descent, “Da Blood of Shesus” asks: Is there redeeming power [...] Read more.
The theme of suffering is intimately tied to the possibilities of the blood as redemptive in theology. Potentially considered a universal pathway to salvation and racial transcendence for people of African descent, “Da Blood of Shesus” asks: Is there redeeming power in the blood for people of African descent? Turning to Womanist and lyrical theologians to postulate an African theological framework which explores redemptive suffering not glorified as inevitable and intricate to the historical Black experience and the church. Lyrical theologians affirm Jesus’ redemptive power of the blood in Hip Hop portraying the ways in which the cross reveals the attributes of God. Womanist theologians challenge the “classical” interpretation of redemptive suffering, illuminating the ways it contributes to Black oppression and wretchedness. Arguably, Womanist and lyrical theologians conjointly point towards liberatory and alternatives to examine redemptive suffering for people of African descent by offering sites to scrutinize and nuance the blood as an indispensable pathway to redemption. An African theological perspective decenters the logics of anti-Blackness proposing suffering is inevitable to Black life and the historical Black experience. Full article
(This article belongs to the Special Issue Women Still Run This Thing: Hip Hop, Womanism, Sexuality, and Religion)
22 pages, 313 KiB  
Article
Women Hip-Hop Artists and Womanist Theology
by Angela M. Mosley
Religions 2021, 12(12), 1063; https://0-doi-org.brum.beds.ac.uk/10.3390/rel12121063 - 01 Dec 2021
Viewed by 3919
Abstract
Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant [...] Read more.
Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant piece in Hip-Hop culture, their artistry has jolted its systemic capitalism and patriarchy to engage intersectionality through a discourse of classism, sexual orientation, and racism while upending White supremacy’s either:or binary. Applying the principles of Womanism, Black female Hip-Hop artists negotiate cultural identity politics as activists to innovatively expand thought on gender performance and produce a fusion of contemporary Blackness for the 21st century. Their artivism builds a safe environment of differences within society using conscious thought, language, and performative methods to defy the White American ethos of sexism, misogyny, and materialism. By garnering a better knowledge of their existence through Indigenous African spirituality, Black women reclaim ownership of their bodies from Western European standards, including race, and gender to challenge Christianity’s meaning of martyrdom. This act of reclamation provides a reformative tool of inclusion and being fluidity through Hip-Hop music and its culture. Full article
(This article belongs to the Special Issue Women Still Run This Thing: Hip Hop, Womanism, Sexuality, and Religion)
13 pages, 278 KiB  
Article
Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South
by Adeerya Johnson
Religions 2021, 12(11), 1030; https://0-doi-org.brum.beds.ac.uk/10.3390/rel12111030 - 22 Nov 2021
Cited by 5 | Viewed by 5546
Abstract
Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south [...] Read more.
Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens? Full article
(This article belongs to the Special Issue Women Still Run This Thing: Hip Hop, Womanism, Sexuality, and Religion)
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