Respectez-nous as We Feminize the Rapped Rhyme
sort of feminist lyrical protest follows a well-established traditional French schema of resisting via poetry , stories , plays , and now hip-hop songs .
Our study is not exhaustive and it is our hope that this study stimulates researchers into examining similar topics for further academic investigations . As additional subject worth research would be to measure the effectiveness of feminist rapped messages in terms of how well they are being received and understood ( or not ) by consumers . Additional scholarly work is also needed in terms of measuring whether or not hip-hop consumers in France are listening to what is being rapped to them , or if they are merely hearing it . In short , further explorations could examine whether or not people are paying attention to the issues and subjects brought forth by these artists , and discern what the result of this “ education ” might be . Moreover , an analysis of other French music styles in terms of feminist-inspired songs or lyrics ( perhaps juxtaposed against hip-hop ) is also worthy of academic research .
The four artists briefly examined in this essay use the medium of French rap as a way in which to provide females agency in a socially expressive pedagogical space . This sort of “ rapped classroom ” is one where artists educate listeners whilst also denouncing patriarchal and misogynistic attitudes , whilst at the same time raising awareness as they concern issues that relate to the experience of women of color in France . In other words , the sense of “ place ” as defined in rap music is dissected and discussed from a female perspective , just as it once was in American rap during its commercially conscious era . When evaluated under contemporary norms , female lyricists have played an important role in French rap as hip-hop philosophers by offering their students ( consumers ) a uniquely feminine view and perspective to a variety of issues affecting
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