Telmary Diaz

I know music posts on this blog don’t generate a lot of traffic, but you know I am less interested in how many people stop by then the quality of what people take away when they do. So I put this beautiful love song on when I got home from a mini-conference on race, gender, and the law at the uni today (don’t ask) and felt celebratory joy about being alive, a woman, and a person of color seeping back into my bones. It’s isn’t a political song, it is is a love song (though of course, love is often political in this world).

Telmary Diaz is a Cubana Canadian based hip hop poet who comments on politics, social justice, women, and life in her music. One of my favorite lines from her songs is “everywhere the capitalists destroy, disguised as socialists” if that isn’t the legacy of Reagan and the war on socialism in Latin America, I don’t what is. (And yes, it is so much deeper than that but again I’m tired of a million qualifiers just to say something these days. Literalism will be death of intelligent, thoughtful discourse and that is the legacy of No Child Left a Mind)

So what amazing female artist are you listening to today?

PS. Telmary Diaz will be playing at the Tornto Women’s bookstore for FREE tonight. If you are there, you should check her out and buy a book, as well as her CD, while you are there.

Advertisements

CFP: Hip Hop Feminism

Rosa Clemente/former VP Candidate for Green Party/unattributed

There have been strong women of color at the center of Hip Hop theorizing since its inception. Many of these women have never received the recognition they deserve for their artistry or their profound critical feminist eye focused clearly on the experience of women of color at the margins and intersections of multiple identities. These artists have struggled to have their voices heard in and outside of Hip Hop even as they inspire, mentor, and help provide strength to face any number of gendered oppressions. Many of them have worked just as diligently at empowering young women and providing critical analysis of engendered experiences as they have at being the best at their craft. Often these things are inseparable. And yet, these women’s work has been overshadowed by the racist and racialized sexist discourses that only want to focus on the “video ho” until recently. (see my posts on Hip Hop for AfAm herstory and LGBT history month for more thorough posts and links to Hip Hop feminism and Hip Hop feminists.)

kin4life/outhiphop.com

While this shift has been important, I think currently there is far too much mainstream attention to Hip Hop feminism as the *only* form of feminism(s) of color. On the one hand, the emphasis represents a needed intervention into mainstream discourse about the “video-ho” in which black men are seen as the most misogynist men in the world and women of color are internalized sexists needing rescue from their “culture of violence, sex, and drugs.” On the other, the slowly won recognition of feminists for whom Hip Hop and B Girls have been critical forms of expression, solidarity, and empowerment has come at the price of the recognition by mainstream of feminists of color outside of these stereotyped (tho not stereotypical) scenes. This is not the fault of Hip Hop feminists or people doing needed documenting work on their movements but rather the ongoing problem of tokenizing woc feminist contributions by mainstream academic theorists and educators. In the last few years, scholars like myself who work on race and gender have been introduced as or referred to verbally and in print as “hip hop feminists” or asked what we think or will we write an article about Hip Hop feminism in the same way we were referred to as Womanists when Alice Walker coined the term and still have to fight for the right to define ourselves and our affiliations. My concern then is that there are at least two camps here: (1) those who want to embrace, document, and explore the meaning, history, and empowerment behind Hip Hop feminism and (2) those who see it as just a new word for “black feminists over there”. One way to posit a counter-narrative to the latter is to keep writing, keep filming, keep talking about what Hip Hop feminism is and about all of the feminisms engaged in by women of color in which Hip Hop feminism is only one iteration.

La Bruja/unattributed

So I am publishing this call for papers on Hip Hop feminism to encourage the continued struggle to talk about feminisms by women of color in arena that often posits us as both singular (ie one kind of feminism) and perpetual victims (in this case the video-ho) in need of feminism. I do so out of solidarity with the project of naming, claiming, and documenting our feminisms and our activism but also with the caution to take on the task of clarity and specificity in your writing so that you lend to both the needed discussion of the specific feminism under discussion and to the larger discourse about the longstanding presence of women of color in activist, feminist, circles.

melange Lavonne/David Laffe Photography

Also I would encourage readers to consider some of the queer and/or differently-abled black and Latina Hip Hop artists highlighted on this blog or even in this post for your potential papers/presentations. Just as interventions need to be made in the way mainstream feminist academics are approaching Hip Hop feminism as the new Womanism, interventions need to be made into the ways scholars have often shied away from discussions of queer sexualities or assumed able-bodiedness or cis gender. There are sub-topics in the call specifically open to making this challenge, where you could take the advantage.

Please find the CFP below:

Black and Brown Feminisms in Hip Hop Media

University of Texas at San Antonio – March 4-5, 2011

Submission: 500 word abstract to Kinitra Brooks and/or Marco Cervantes blackandbrownfeminisms@gmail.com on or before November 15, 2010.

Description:

Black and Latina feminist scholars offer multiple ways of understanding feminist cultures that transcend ideological borders and patriarchal conventions. More recently, Black and Latina feminists have negotiated the positionality of the woman of color in the ever-changing world of Hip Hop since its inception.  The Black and Brown Feminisms in Hip Hop Media Conference situates Black and Latina feminist theory in the context of Hip Hop representation to discuss ways Hip Hop music, film, and club industries fetishize, exploit, celebrate, empower and/or disempower Black and Brown women.

This interdisciplinary conference will feature unpublished work on women in
Hip Hop to exchange ideas, share research, and initiate a sustained conversation by and about Black and Brown women in Hip Hop media.  Vital to this discussion is attention to the blurring lines between Black and Latina feminist studies and a dialogue that attempts to understand an interweaving history of objectification, struggle, and potential for agency. How do we read Black and Brown women in Hip Hop culture? What readings of Black and Brown women other than conventional black feminist readings and Latina feminist analyses are cogent? What theories enable those readings? Finally, what would an investigation into autobiographical stories of video models yield? How would those narratives differ from that of more conventional readings?

A select number of accepted papers will be included in a one-day, academic
conference at the University of Texas at San Antonio as a part of UTSA’s celebration of Women’s History Month on March 4, 2011 with a Hip Hop performance from local Texas as well as national hip hop artists on the evening of March 5, 2011.  This conference will be an opportunity for presenters to share views and concerns on the growing intersections between Black and Brown women in hip hop culture.  Possible Panel Topics Include:

  • Interdisciplinary Approaches to Gender and Race in Hip Hop
  • Colorism within Hip-Hop video culture
  • The New Female Entrepreneur
  • Negotiating Sexualities
  • Black and Latina Diasporas
  • Video Vixens or Video Models?
  • Female Rappers
  • Chicana/o Rap
  • Alternative Models of Black Femininity
  • Latinas in Video Model Culture
  • Intersections of Video Models with Youth Culture
  • Performing the Black Body/ Brown Body
  • Reggaeton
  • A Case Study of Karrine Steffans
  • Strip Club Culture
  • Confessions of Video Vixens
  • Eroticism vs. Pornography
  • Women as Exchange among a Male Economy