By Sarah Byron
Hip-hop has long been a genre controlled by men. As we saw in Byron Hurt’s documentary Hip Hop: Beyond Beats and Rhymes, hip-hop perpetuates this idea of what black and latino manhood looks like. To hip-hop, women are to be conquered and possessed. Hardly, if ever, are they seen as musical contributors to the genre. When discussing the rise of hip-hop in Seattle, Kyle Fleck describes in detail the many (male) rappers still in the game today. When he does mention a female rapper – Nicki Minaj – it’s in passing, stating that, “Nicki Minaj can reinterpret [Sir-Mix-A-Lot’s “Baby Got Back”] into one of the biggest rap singles of the past half-decade, with “Anaconda.”” It’s only when we look to LaBennet Oneka’s “Histories and ‘Her Stories’ from the Bronx: Excavating Hidden Hip Hop Narratives” do we finally see examples of successful female rappers in full. Oneka writes about Patty Duke, Lah Tere and La Bruja. These women have made names for themselves despite how androcentric hip-hop has become and remains to be. Oneka argues that, “Bronx women’s creation narratives, as they relate to hip-hop’s early incarnations, have remained largely hidden and their roles in developing hip-hop culture in the contemporary context have been marginalized.” I certainly agree; the contributions of women in hip-hop need to be recognized.
For those who have never heard of these women, here are samples of Lah Tere and La Bruja’s work. Lah Tere’s work resembles more of what we consider “typical” hip-hop but La Bruja’s work is a different flavor. Although her style is more spoken word, the beat and rhythm of her presentation is like that of hip-hop.
AFRAM337 