Re-defining Ghanaian hiplife songs by women as liberatory narratives.
A careful study of contemporary Ghanaian hiplife songs by women reveals a rich lode of subtle sexual innuendoes, liberatory remarks, resistance discourses, and overt and covert protests. The name "hiplife" is a compound of hip-hop and highlife, which points to the two major influences that constitut...
| Publicado en: | Tydskrif vir Letterkunde Vol. 63; no. 1; pp. 20 - 32 |
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| Autores principales: | , , |
| Formato: | Artículo |
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Tydskrif vir Letterkunde
2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=195397552&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 195397552 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0041476X 162I jtl: Tydskrif vir Letterkunde issn: 0041476X maglogo: N pubinfo: dt: 2026 vid: 63 iid: 1 pid: 71603 pub: Tydskrif vir Letterkunde artinfo: ui: 195397552 10.17159/tl.v63i1.22643 ppf: 20 ppct: 12 formats: fmt: @attributes: type: P size: 1.3MB tig: atl: Re-defining Ghanaian hiplife songs by women as liberatory narratives. aug: au: Amissah-Arthur, Hannah Woode Ennin, Theresah Patrine Sam, Christabel Aba affil: Senior lecturer in the Department of English, Faculty of Arts, College of Humanities and Legal Studies, University of Cape Coast, Cape Coast, Ghana Associate professor in the Department of English, Faculty of Arts, College of Humanities and Legal Studies, University of Cape Coast, Cape Coast, Ghana su: Women's music Cultural industries Feminism Gender Ghana sug: subj: Ghana Women's music Cultural industries Feminism Gender keyword: creative industry gender narrative hiplife music resistance women artistes ab: A careful study of contemporary Ghanaian hiplife songs by women reveals a rich lode of subtle sexual innuendoes, liberatory remarks, resistance discourses, and overt and covert protests. The name "hiplife" is a compound of hip-hop and highlife, which points to the two major influences that constitute the genre. Its most marked features are rap lyrics in Twi, Fante, Ga, Ewe, Pidgin English, and other local languages, which are performed over programmed beats, bass lines, and sampled loops. One of the inherent features of hiplife music is its objectification of women in many forms. However, recent Ghanaian women hiplife artistes have created music that counters these images and portrays women as more than the sum of their bodies. In this article, we employ a poststructuralist feminist approach to analyse selected songs by women hiplife artistes in Ghana, asserting that Ghanaian women hiplife artistes create music that is revolutionary and sexually liberating. We then contend that this emergence of a new wave of hiplife music by the women is both an indication of the democratic landscape that makes it possible for women's voices to be heard and for their views to be validated, as well as a resistance movement that seeks to change the narrative. This article has implications for African feminism, gender, and the creative industry, as it contributes to the discussion on ways through which the creative industry can be harnessed not just for entertainment but also for a reorientation of ideas and values. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Tydskrif vir Letterkunde is the property of Tydskrif vir Letterkunde and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Tydskrif vir Letterkunde holder: Tydskrif vir Letterkunde dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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