The voices of Iceland’s female rap collective, Reykjavíkurdætur, grow stronger with each rousing word of their statement piece, ‘Feminism’. The song is written very uncharacteristically in English, as if to say: “if you only take away one thing from our music, let it be this.”
https://www.youtube.com/watch?v=gpu-_vwSRb0
In a music genre where content, lyrics and music videos are saturated with misogyny and sexism, establishing one’s place as both a woman and a rap artist can be seen not simply as a challenge, but as a responsibility. While the most commonly known female rappers have their roots in the US, with the hip-hop renaissance we are currently experiencing, the rap scene has expanded and become more accessible for newcomers on a smaller, regional level. The project Reykjavíkurdætur grew out of an all-female hip-hop night that Þuríður Blær and Kolfinna Nikulásdóttir organized in Reykjavik to bring together like-minded women. The experiment soon bore fruits, birthing an up to 18 women strong collective that covers themes as versatile as its members. Their late-summer track ‘Ekkert drama’ (No drama) is danceable while keeping a certain amount of coolness, just as their content is often just as political as it’s fun to listen to.
When listening to Salome MC’s lines, it becomes apparent that her political approach is not necessarily more serious, but definitely more adult. Iran’s first female rapper underpins her most popular track ‘Drunk Shah Drunk Elder’ with extracts from political speeches, and the music video is supported by clips from Iran’s history. “Sometimes we take the chance of losing our freedom to protect our liberty and the meaning of our existence”, she sings in the 2012 song, making it clear that she wants to use her voice to draw attention to social issues and inequalities in her country. Still, reducing the rapper and video artist to a political sphere would not do her justice. Salome MC explores both public and private issues, with remarkable sophistication and insight. In her newest song, ‘Riddle’, she delves into the personal theme of self-doubt, illustrating her Persian lyrics with colourful symbolism: “I don’t know what made you think you could entrust your belongings to this anchorless ship?”
What makes these women in rap so intriguing is not the mere fact that they are female. It is their perspectives and viewpoints, ones which are easily overlooked in modern music, and especially historically in rap and hip-hop. Rap has, however, from its inception been a tool to communicate relevant issues and the lyrics are often characteristically loaded with meaning. These women are continuing this tradition as they bring attention to current social questions and issues. Their voices and beats widen the scene; not because they are female, but because they set themselves apart from common standards as they aspire to create something new and vigorous.
At first glance, the German duo SXTN does not quite fit into this conception of female rappers. Their style could best be described as loud, vulgar, masculine, and more than anything, proud. “Die ftzn sind wieder da” (“The c*nts are back again), their first single from their second album, brought the duo 11 million views on Youtube with lines that describe them joining a man to a champagne reception, “dressing up as lesbians”, picking up all his bitches and then smoking his last gram. Their bold appearance is reflected in their songs and lyrics, which often deal with traditionally male themes such as drugs, partying and exaggerated financial success. Still, their songs can be considered feminist in their own way; not by proclaiming a need for equality, but by enacting it, doing just as their male counterparts do. Direct insults and explicit language shape their songs, making them inconvenient for radio stations but attractive for their mostly female festival audiences that can, often for the first time, sing along to rap songs that reflect their own lives in an unfiltered way. Their single “Er will sex” (“He wants sex”) explores power dynamics and common male pick-up tropes before turning the field around with a proudly sung “I am closed for you – Remember that.”
Closer to Ireland, British Little Simz has made her way to a broader audience than many of the other artists mentioned, reaching an international audience in her rendition of “3WW” on alt-J’s upcoming album REDUXER. Like many of her English speaking colleagues, she seems to be more settled, and her sound is less radical than those of foreign language rappers. The wider existence of female English speaking rappers allows her to make music without consistent, obvious regard to gender – the privilege of not having to be the first to take every step and being able to focus on content, not on validating one’s existence, is a huge benefit to the likes of Little Simz. Her laid-back approach sets a goal for what might be in store for the others; a glimpse of a future in which interview questions do not merely focus on gender and where music comes first. Until then, it is worth keeping an eye open for the women who create their own space in the hip-hop industry – and the next generation of women that they can inspire.
