Poster #106 - Nicki Minaj and Respectability Politics: Early adolescent Black girls’ evaluations of the portrayal of women in popular music

• In Event: Poster Session 18

Abstract

Complex and contradictory messages about Black womanhood are components of contemporary popular culture. Mainstream hip-hop and R&B music, popular among Black youth, often contains anti-Black woman messages and imagery, perpetuating negative stereotypes, especially sexual ones (Emerson, 2002). Moreover, the heteronormative and sexually objectifying scripts present in these songs influence the meaning and value Black female-identifying youth give to their sexuality (Stephens & Few, 2007; Stephens & Phillips, 2003). In response, some Black women leaders reject any behavior or appearance associated with the music industry messages (Collins, 2000). Both the negative stereotypes in music and the counter push by respectability politics are blatant and concrete. Also in this context are hip hop feminists, including Black female music artists, who reject objectification in their lyrics and self-presentations and at the same time offer a more nuanced and sex positive message (Durham et al., 2013). Few studies have investigated how early adolescent Black girls navigate these differing messages (Maxwell et al., 2016; Sanchez et al., 2017). In the current study we examined Black girls’ interpretation of the representation of women in mainstream hip-hop and R&B music. During an 8-week intervention at a charter school, 22 early adolescent Black girls in grades 5 (n=7), 6 (n=6), and 7 (n=9) listened to and interpreted a sample of song lyrics and music videos of popular hip-hop and R&B songs we presented. Participants’ interpretations were captured through adult-facilitated peer discussions and individually crafted illustrations. We used inductive thematic coding of the transcribed discussions and illustrations to depict the participants’ responses. We identified three themes: Recognition of Sexual Scripts, Disapproval of Fakeness, and Early Womanist Thinking (see Table 1). Recognition of Sexual Scripts was characterized by participants’ spontaneous identification of widely-recognized heteronormative scripts in the music content. Disapproval of Fakeness was found in their unprompted dislike of a mainstream artist’s (Nicki Minaj) choice of body modification and style of dress that are consistent with heteronormative scripts. Early Womanist Thinking describes participants’ rejection of stereotypes but endorsement of individual choice in self-presentation. Looking at the themes in concert, the participants recognized and rejected the dominant depictions of Black women’s sexuality and one particular artist’s perpetuation of them. Participants rejected Nicki Minaj as a role model (perhaps reflecting respectability politics), but at the same time asserted women’s and girls’ right to self-definition and power, a more Womanist view. These young adolescents have already internalized differing messages about Black womanhood, but questions remain about how they integrate these ideas and how the ideas affect their self-understanding more generally. Future interventions supporting Black girls’ media literacy should inquire about their current understanding and support them to develop critical and nuanced interpretation of the differing ideologies.

Authors

• Taylor McGee, Georgia State University
  Presenting Author

• Rebekah Pollock, Georgia State University

• Ann Cale Kruger, Georgia State University