Whilst promoting issues of racial oppression, in this genre, the traditional sexually overt nature of the music and its promotion of the male gaze objectify the image of women. Although hip hop began as a form of "protest songs reminiscent of songs the civil rights movement" during the late 1980s, it also became synonymous with overtly misogynistic content (Gourdine & Lemmons, 2011, p. Hip hop music is understood to be a tool that promotes equality for a group of people who were previously marginalised and discriminated against. Presently, it is most identified with its marketable element-hip hop music (Kelly, 2015). Hip hop culture consists of four elements: breakdancing, deejaying, emceeing, and graffiti.
The movement placed a critical focus on hip hop culture because of its "sexist representation of women," influence, and accessibility (van Rooij, 2018, p. Furthermore, the movement saw discourses of feminism and female representation being injected into the entertainment industry. #MeToo, which went viral in October 2017, ushered in global conversations of sexual harassment and gender equality (van Rooij, 2018). The #MeToo movement was begun in 200 6 by Tarana Burke who is both an activist against, and a survivor of, gender-based violence. Morgan (2015) noted that the agenda of Black feminist thought has been focussed on "holding the United States accountable for sordid history of legal and culturally] sanctioned rape and gender violence against Black women" (p. These include the #MeToo movement that has voiced and critiqued the issue of gender-based violence world wide. Presently, patriarchy and oppression of Black women continue to exist despite numerous feminist movements. Keywords: hip hop culture, gender studies, queer theory, subversion, transformationĪndrocentrism refers to the centring of male/masculine perspectives, ideologies, and discourses, which then oppress and marginalise femininity in society or culture. Specifically, this research interrogates how Megan Thee Stallion applies the politics of articulation through her rap lyrics to subvert the androcentric discourses of hip hop culture, which objectify and sexually exploit women-specifically, Black women who have been historically subjected to the politics of respectability that positions Black women in inferior position to White women. This article highlights how Fairclough's (1995) model of critical discourse analysis can be used as a lens and tool to introduce alternative perspectives on these discourses and ideologies. When exploring research on women in hip hop culture, scholars tend to focus on misogyny and the hypersexualising of women, thus disregarding the fact that women can express and enjoy their sexuality purely because it is their prerogative to do so. However, misogyny and sexual exploitation of women remain dominant characteristics of hip hop culture. hop music is understood to be a tool that promotes equality for a group of people who were previously marginalised and discriminated against. ORCID No: 0000-0002-1596-1889 Chair for Youth Unemployment, Employability and Empowerment, Nelson Mandela University. I'm a "Savage": Exploring Megan Thee Stallion's Use of the Politics of Articulation to Subvert the Androcentric Discourses of Women in Hip Hop Culture
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