Representation of Black Women in Grime Music, Essay Sample

Published: 2022-02-28 04:40:29
Representation of Black Women in Grime Music, Essay Sample
Type of paper:  Essay
Categories: Women Music Discrimination
Pages: 7
Wordcount: 1809 words
16 min read
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Women account for more than half of visual artists working today if the National Endowment for the Arts study is anything to go by (Andrews 2016, p. 203). According to the report of the National Museum in the Arts, gender disparity has been a serious issue in the field of Arts as female representation has been overlooked in comparison to their male counterparts. However, a major concern has been on the representation of women based on race. Black women representation in arts has been pinned down more so in Britain. In the grime scene, black artists have been outnumbered by their white counterparts, and it is one issue the industry has failed to address over the years. Rarely two out of ten black women have ever made it to "women to watch" lists detailing top music talents in the gene. This essay compares black women in the grime music scene to black women in the British music scene and looks at how black women have been misrepresented in grime music compared to their white counterparts.

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Grime refers to a music genre that mixes garage, jungle, ragga, hip-hop, and dancehall with hard-hitting lyrics (Beck 2014, p.110). It originated in London in the early 2000s and was mainly used to depict urban life. It began to obtain popular attention in North America by 2010. The genre has gone to establish itself as one of the most important musical developments in the United Kingdom for years.

Looking at the pioneers of grime, the names you are likely to hear are those of male artists such as Kano or Chip. Little has been said of female artists, for instance, NoLay or Lioness, who boast equal talents to these male artists. Exploring black women in grime is Ellie Ramsden. Elli is a photographer who has been a lifelong devotee in the grime scene and has drawn attention to grime faces not only behind the mic but the scenes as well (Williams 2017, p.89). There are other women who have been at the forefront of grime journalism. One example is music journalist Hattie Collins. Hattie has documented grime scenes from humble beginnings to the point of publishing a book on the genre. Women have also played significant roles in grime marketing, for instance, Joelah Noble, a news presenter at GRMDaily has played a crucial role in transforming grime status. Perhaps the most important question is what are women in grime scene doing to make sure female grime arts are accorded the platform they crave for? New developments have seen industry professionals such as Carla Williams launching arts academy events for female grime artists to display their talents.

Even though women have shown they have the talent and diversity in grime scene, they remain underrepresented in this genre. In this years' BRIT awards, for instance, no female grime artists or MC's name has made it to the list of nominees. The same in 2017 in the Hyundai Mercury Price where no female artist from hip-hop, grime, or rap gene was shortlisted for the award. MOBO awards too showed how female artists are given little recognition as the list of nominees was male-dominated. The British music scene has however had a variety of female talent, and with the disregard of female talent fading, the demand for female artists is currently growing steadily. Women-led movements have also played a crucial role of supporting women both in the grime music scene and beyond.

One of the worries of the scrutinizes and audiences of grime music is that it appears the black ladies in grime music are not being distinguished or perceived. It doesn't imply that there are no black young ladies performing in the grime music. However, a few black young ladies are doing composing and recording great grime music yet the fundamental frustrating element for their advance is that they are not being perceived and acknowledged. One of the plausible reasons why these young ladies are not perceived is on account of they are black (Wolfson, 2017, p1). Since the issue of ethnicity in the UK is as yet common, their acknowledgment and thankfulness are negligible. The majority of the UK residents like to tune in to music played by white performers; as such, the black artists don't have a decent audience base to pitch their music to advance like other white counterparts.

Also, given the way that they are black females in contrast to what they sing, most white audiences connect their ethnicity and the musings of wantonness since they don't anticipate that young ladies will carry on the way they do, and they abstain from tuning in to their music. The negative mentality towards the black young ladies' music in the UK gain them neither to ground nor recognized. For a young black lady to end up noticeably a superstar in the grime music, she needs to buckle down as well as to utilize different intends to increase some acknowledgment. This is an unmistakable sign that the issue of race and sex separation is as yet predominant in the United Kingdom society.

Simbi Ajikawo is one of the grime artists who compose and performs in London. She is one great case of how the black young lady's battles to rise. She started composing grime tunes while she was youthful, she figured out how to create a collection, shockingly, and it didn't make the best 100. Apart from her no-nonsense fan base, her collection was welcomed even with a shrug from the audience. She conceded that British men grime artists, for example, Giggs and Skepta have been delivering grime melodies for very nearly ten years now, and other new British young men artists have created tunes are shockingly they have figured out how to enter the market. Ajikawo concedes that she is associated with her tunes and instruments, her music is great.

Nonetheless, the two fundamental factors that are obstructing her to ascend to the best are her skin shading and sexual orientation. She has had battles in this industry, yet she didn't give uprising over the stereotypic idea of race and sexual orientation. Truly, she has overseen now to be perceived and has turned into a big name of grime music. However, she says that it has not been simple. Hence, the distortion of the young black lady in the grime music in the UK has been shown by the absence of acknowledgment and gratefulness for their exertion.

The second motivation behind why the black young ladies' performing grime music are underrepresented in the UK is the source of the grime music. Grime appeared in the mid-2000s, and it started from the poor Borough Bow. It was the time when the financial, political and the social scene for the urban youth were particularly discouraging. This was the time the new work Party had taken the rules and the times of Tony Blair was coming to fruition. As of now, youthful black men were stereotyped as hoody wearing, cut employing adolescents. That was the time when there were an abnormal state thwarted expectation, regulated prejudice and absence of chances. Every one of these events made a rearing ground for the proud sound of grime. Accordingly, grime music at that point turns into the outlet of the abused in the general public (Paintin 2016).

It was a type of music that was focused on telling the substances of the hardships that won around then particularly among the poor groups. Accordingly, the white did not welcome this sort of music since it was greatly initiated by the blacks griping about their mishaps. Consequently, the inception of grime music being from the poor blacks, it was disdained by the whites because of the prejudices. To exacerbate it, when the ladies perform it, they see these ladies be prostitutes who are out to look for sex adventures. Therefore, their melodies and performs neither pull in nor offer to the whites.

At the beginning of the grime music, grime was verifiably overwhelmed by men, there were, obviously, female entertainers, for example, Shystie, Lady Fury, Nolay and Queenie and Lady Lushurr. These female entertainers were kicking as hard as their male counterparts they were never distinguished the way the men were being recognized. Similarly, the United States Hip Hop sexualized ladies in the business through verses and visuals, the UK grime constantly tends to decrease ladies to infer sex; along these lines, strengthening the men predominance and prevalence (Head et al. 2017, p.142).

In this classification, the men artists ordinarily utilize sexist music dialect that is regularly communicated in the verses and furthermore this dialect is likewise utilized as a part of the meetings and web-based social networking. Towing to the way that it is the youthful age that affections such sort of music, the artist's wordings in their verses more suggests of adoration and sex; a component of the youthful age music that tends to pull in their consideration and energizes them (Anderson, 2014, p1). Along these lines, the ladies in the grime music have been denounced by their male kindred artists by continually influencing them to look like sex objects.

Women account for the larger percentage of artists working today. However, they have been considerably misrepresented in comparison to their male counterparts. Most of those who have been misrepresented has been black women. In the grime scene, black artists have been outnumbered by their white counterparts, and it is one issue the industry has failed to address over the years. Very few black women have ever made it to the list of nominees for various awards, as most of the awards have been male-dominated, with a few white female artists.


Bibliography

Andrews, K., 2016. Changing the nature, not just the face, of the academy. Blackness in Britain, 15, p.203.

Beck, E.M., 2014. Teaching Music History from Outside the Closet. GEMS (Gender, Education, Music, and Society), the online journal of GRIME (Gender Research in Music Education), 7(3), p.110.

Bramwell, R., 2015. UK Hip-hop, Grime and the City: The Aesthetics and Ethics of London's Rap Scenes. Routledge.

Charles, M., 2016. UK Hip-Hop, Grime and the City: The Aesthetics and Ethics of London's Rap Scenes (Routledge Advances in Ethnography).

Head, H.H., Hopper, H. and Nation, H.H., 2017. Glossary 143 Flow refers to the rhythm of the rhyme and how closely rappers keep in time to the music, as well their intonation. Freestyle to rap spontaneous and unwritten lyrics. Gangsta a type of rapper who is usually distinguishable by their clothes and. Hip-Hop Authenticity and the London Scene: Living Out Authenticity in Popular Music, p.142.

Painting, W., 2016. Grime, Hip Hop and Technology in Urban Music Scenes.

Swain, S., 2018. Grime music and dark leisure: exploring grime, morality and synoptic control. Annals of Leisure Research, pp.1-13.

Williams, J.A., 2017. Rapping Postcoloniality: Akala's "The Thieves Banquet" and Neocolonial Critique. Popular Music and Society, 40(1), pp.89-101.

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