Définitions de l’intersectionnalité
Cumul de différentes formes de domination ou de discrimination vécues par une personne, fondées notamment sur sa race, son sexe, son âge, sa religion, son orientation sexuelle, sa classe sociale ou ses capacités physiques, qui entraîne une augmentation des préjudices subis.
Source: http://gdt.oqlf.gouv.qc.ca/ficheOqlf.aspx?Id_Fiche=26532478
En 1989, Kimberlé Crenshaw, inspirée par une longue tradition féministe afro-américaine, s’intéresse à comment la lutte des femmes afro-américaines les place dans une position spécifique : les personnes noires sont invisibles dans les enjeux féministes et les femmes sont invisibles dans les mouvements d’égalité raciale.
L’intersectionnalité est une critique de l’homogénéisation de certaines catégories et de la tendance à uniformiser les expériences vécues : toutes les femmes ne sont pas « Blanches » et tous les « Noirs » ne sont pas des hommes.
Source : https://liguedesdroits.ca/lexique/intersectionnalite/
Oppression intersectionnelle issue de la combinaison de diverses oppressions qui, ensemble, produisent quelque chose d’unique et de différent de toute forme de discrimination individuelle
Source : M. Eaton, « Patently Confused, Complex Inequality and Canada v. Mossop », Revue d’études constitutionnelles, vol. 1 (1994), p. 203 à 229.
Can’t Stop Won’t Stop de Jeff Chang
Source : Site web du cours
« En 1953, on pouvait lire l’avenir du Bronx dans la tranchée artificielle de onze kilomètres qui le coupait en deux. Là où existait auparavant un continuum homogène de communautés diverses et soudées, la tranchée dégageait désormais le terrain pour la Cross-Bronx Expressway, une catastrophe moderniste de proportions gigantesques. »
« Plus loin sur le tracé de l’Expressway, les familles irlandaises et juives qui occupaient auparavant des appartements modestes mais confortables, s’étaient vu donner quelques mois pour se reloger, avec une misérable compensation de deux cents dollars par pièce. (…) Le responsable de tout cela s’appelait Moses. Robert Moses, le promoteur immobilier le plus puissant de tous les temps, conduisit l’exode des Blancs hors du Bronx. (…) il délogea des commerces florissants et déracina des familles pauvres afro-américaines, portoricaines, et juives. Beaucoup n’eurent d’autre choix que de se rabattre sur des quartiers tels qu’East Brooklyn et le South Bronx, où le logement social était en plein boum mais où les emplois avaient déjà disparu. «
Conditions aggravant le chômage : « Ainsi se chiffrait la nouvelle configuration : le South Bronx avait perdu 600 000 emplois dans l’industrie. 40 % du secteur avait disparu. Au milieu des années 70, le revenu annuel moyen par habitant avait chuté à 2430 dollars la moitié seulement de la moyenne à New York et 40 % de la moyenne nationale. Le taux officiel de chômage des jeunes s’élevait à 60 %. Les défenseurs de la jeunesse affirmaient que dans certains quartiers le chiffre véritable était plus près de 80 %. Si les conditions dans lesquelles la culture du blues s’était développée étaient celles du travail forcé et instrument d’oppression, celle du hip-hop devait émerger d’un climat de chômage généralisé. » » « Il n’y a tout simplement aucune raison d’investir dans la construction ou la reconstruction de logements à loyers raisonnables pour les banques, les compagnies d’assurance ou n’importe quel investisseur », écrivirent-ils. « Dans l’immobilier, le nec plus ultra du capitalisme, c’est l’incendie volontaire. » »
Élément déclencheur : » «Le temps est peut-être venu où une période de «laisser-faire» pourrait être profitable à la question raciale », écrivit-il dans une formule restée célèbre. Moynihan devait plus tard se plaindre d’avoir été mal compris, affirmant que le mémo n’aurait jamais dû atterrir entre les mains de la presse et qu’il n’avait jamais eu l’intention de suggérer de priver la communauté noire de ses services sociaux. Mais, quelle qu’ait été son intention, le Président Nixon avait griffonné « Je suis d’accord! » sur le mémo et l’avait fait passer à son Cabinet. « Les conditions sociales s’empirent: » Durant la crise économique du milieu des années 70, des milliers de pompiers volontaires et professionnels supplémentaires furent licenciés. Ainsi que le formulèrent les écologistes Deborah et Rodrick Wallace, il en résultat une «épidémie» d’incendies. Moins d’une décennie plus tard, le Bronx avait perdu 43 000 logements, l’équivalent de quatre pâtés de maison par semaine. Des milliers de terrains inoccupés et d’immeubles abandonnés jalonnaient la circonscription. Entre 1973 et 1977, 30 000 incendies se déclenchèrent dans le seul South Bronx. En 1975, lors d’une longue et chaude journée de juin, quarante feux furent allumés en l’espace de trois heures. Ce n’était pas les feux de colère purificatrice qui avaient embrasé Watts ou une demi-douzaine d’autres villes après l’assassinat de Martin Luther King Jr. C’étaient les feux de l’abandon. »
Éviction forcée du South Bronx : « Emboîtant le pas à la Rand Corporation et au Sénateur Moynihan, Roger Starr, un fonctionnaire de la mairie, mit au point pour conclure une politique de «retrait programmé» en vertu de laquelle les services de santé, de lutte contre l’incendie, de police, d’assainissement et de transports seraient retirés des quartiers déshérités jusqu’à ce que toutes les personnes restantes soient obligées de partir à leur tour – ou d’être abandonnées. Déjà, des écoles avaient été fermées et désaffectées, après avoir été préalablement privées de l’enseignement artistique et musical, puis des matières éducatives de base. »
Ce que je retiens : Le Hip Hop est né dans la perspective masculine de l’intersectionnalité, où la lutte anti-raciale et la lutte des classes s’interrelient. Comment se constitue cette intersectionnalité?
- L’exode raciste des blancs hors du Bronx = désir du capitalisme blanc de déraciner les minorités ethniques vers les quartiers moins prolifique du point de vue économique (pour garder l’économie aux blancs) = placement des minorités ethniques dans des conditions sociales moins favorables, moins d’emploi pour eux, donc ils s’appauvrissent = l’État ne voit pas l’intérêt de bien desservir un endroit non-profitable (même si c’est cet État même qui a permit les conditions qui ont influencé l’appauvrissement de cette communauté).
Analyse du texte de Layli Phillips sur l’intersectionnalité dans le Hip Hop
Source (pour le restant de l’enquête) : Phillips, Layli, et al. “Oppositional Consciousness within an Oppositional Realm: The Case of Feminism and Womanism in Rap and Hip Hop, 1976-2004.” The Journal of African American History, vol. 90, no. 3, Association for the Study of African American Life and History, Inc., 2005, pp. 253–77, http://www.jstor.org/stable/20064000.
https://www.jstor.org/stable/20064000?read-now=1&seq=1#page_scan_tab_contents
« One thing that has not changed about Hip Hop, however, is that it continues to represent the voices and visions of the culturally, politically and economically marginal and disenfranchised. »
« Second, a masculinist discursive strand is clearly identifiable in both rap music and its parent culture, Hip Hop. The numerical preponderance of men, combined with pre-existing masculinist scripts and sexist practices in virtually all occupational and commercial realms as well as the society at large, has ensured the greater visibility of men’s prerogatives and perspectives relative to women’s in both rap music and Hip Hop. Due largely to masculinist biases already in place in the domains of advertising and news reporting, the public face of both Hip Hop and rap is masculine and the mainstream discourse of rap as Hip Hop’s mouthpiece is masculine.
Third, both women and men have participated in Hip Hop culture and rap music in ways that have been both oppressive and liberatory for women. To assume that men’s voice or influence in Hip Hop or rap music has been uniformly sexist and that women’s has uniformly opposed this sexism is to accept a false dichotomy that misrepresents the complexity of Hip Hop and rap with respect to gender. »
Prédispositions à l’émergence de l’intersectionnalité féminine dans le Hip Hop :
- Le discours masculin et les pratiques sexistes prépondérants dans la société en général
- La surreprésentation des hommes en tant que tel et de leur perspective des problèmes sociétaux
- L’image masculine du Hip Hop déjà en place, même dans les débuts du Hip Hop
- La dualité dans la liberté que le Hip Hop a amené pour les femmes marginalisées et l’oppression qu’elles en ont aussi ressorties : « (…) women in rap have maintained a dually oppositional stance within Hip Hop culture. On the one hand, this stance has allowed African American and Latino women to critique the sexism of men of their same race or ethnicity, using Hip Hop as a platform. On the other hand, this stance has enabled African American and Latino women to express solidarity with men of their same race or ethnicity in their critique of and struggle against mainstream society’s racism, classism, and race-d sexism (which affects both women and men of color). One feature of the second aspect of women’s oppositional stance in Hip Hop is that it has allowed “everyday” women of color to critique and contest certain aspects of mainstream (including academic) feminism. »
Trois propositions majeures sur le sujet : « Hip Hop presents feminism and womanism at street level, women in rap and Hip Hop, through their engagement with street-level communities, redefine and expand the discursive territory covered by feminism and womanism; and by redefining and expanding the discursive territory covered by feminism and womanism, women in rap and Hip Hop co-construct the meaning for feminism and womanism for both women and men in the Hip Hop universe as well as for the entire culture, including academic feminists and womanists. »
= L’intersectionnalité féminine dans le Hip Hop a énormément aidé à construire un féminisme qui n’était plus seulement un féminisme blanc, fait par et pour des femmes blanches, mais bien un féminisme inclusif de toutes et qui prend en compte l’intersectionalité des luttes anti-sexisme avec celles d’anti-racisme et d’anti-classisme.
L’utilité du rap pour le feminisme : « One purpose of women’s rap is to educate women and to motivate or inspire women to succeed in the face of problems they are likely to encounter in their lives. (…) In this realm, women support each other, critique each other, conscientize each other, challenge each other, and bear witness to each other. Another purpose of women’s rap is to air women’s concerns to men and provide a forum for discussion. »
Thèmes discutés par les femmes dans le rap et Hip Hop : «
- talking back to men in defense of women and demanding respect for women;
- women empowerment, self-help, and solidarity;
- defense of black men against the larger society. »
Exemples de chansons où les rappeuses « (are) talking back to men in defense of women and demanding respect for women » :
- « Tramp » de Salt-n-Pepa
- « Why You Tell Me That? » de Ms Jade
- « Watch Yo Back. » de Trina
- « Love is Blind » the Eve
Ce qui est adressé par ce genre de chansons : « (…) forms of disrespect, depreciation, negation, and violence that they experience in their everyday lives, typically at the hands of men in their own communities. Women attempt to change men’s behavior (and, by extension, to dislodge patriarchy) in a number of ways, from “dissing” men, to confronting them, to threatening them. »
Exemple de chansons qui démontrent du « women empowerment, self-help, and solidarity » :
- « Girl, Don’t Be No Fool » de Yo-Yo
- « Ain’t Nuthin’ but a She-Thing » de Salt-n-Pepa, aussi la chanson « Let’s Talk about Sex »
- « Hat 2 da Back » et « Unpretty » de TLC
- « Ladies 1st » de Queen Latifah
- « Doo Wop (That Thing) » de Lauryn Hill
Takeaway: « (…) women rappers present not only sisterly messages of inspiration and encouragement, but also harsh critiques of one another designed to elicit a higher consciousness about women’s oppression as well as women’s inherent worth and dignity. These songs indicate women rapper’s awareness of societal messages, from within communities of color as well as the white mainstream, that degrade, discourage, depress, and confuse women, and they show how many women rappers have taken the role of “my sister’s keeper.” »
Exemples de chansons qui démontrent la « defense of black men against the larger society » :
- « Whatta Man » de Salt-n-Pepa
- « Other Side of the Game » de Erykah Badu
- « The Sweetest Thing » de Lauryn Hill
- « The Bonnie and Clyde Theme » de Yo-Yo
- « Dog Match » de DMX
- « Letter to the Firm (Holy Matrimony) » de Foxy Brown
Takeaway: « These songs recognize African American men’s gendered vulnerability in a highly racialized society, sending a message to black men, as well as to the world-at-large in which they are frequently put down, that black women are black men’s allies. »
Aussi: Ces chansons aident le sexisme racial qui affecte aussi les hommes noirs, pas juste les femmes noires.
It is not, however, only racism that traumatised and criminalised black masculinities. Patriarchy and capitalism, too, in concert with racism, are not without reproach. Highlighting the imperative to (re)engage black men from the location of black and African feminism, Moya gestures to the necessity of engaging black men’s apartheid humiliations with respect, yet stops short of thinking of the disgraces that welded themselves to black masculinities as arising also from patriarchal capitalist domination. His representation of black men is thus incomplete. Similar to, for example, Frantz Fanon (1986) and Steve Biko (1996), he is weighed down by the conditions of men as subjects of an almost fetishistic race sign. He fails to adequately consider his subjects as simultaneously fundamentally gendered and sexual, among other social forces. His absorption by the constitutive powers of racism closes him off to other social-psychological forces.
Source: Kopano Ratele (2013) Of what value is feminism to black men?, Communicatio: South
African Journal for Communication Theory and Research, 39:2, 256-270, DOI: 10.1080/02500167.2013.804675
Analyse de trois chansons en lien avec les thèmes exposés par Layli Phillips
(Provenant du texte de Layli Phillips)
Analyse de la chanson « Tramp » de Salt-n-Pepa (sous le premier thème) :
« In an era when women’s sexual prerogatives were being re-negotiated in the larger social sphere, this song was a timely expression of women’s demands for both sexual agency and respect. Salt-n-Pepa rap : “Homegirls, attention you must pay, so listen close to what I say. Don’t take this as a simple rhyme, cux this type of thing happens all the time. Now what would you do if a stranger says Hi? Would you dis him or would you reply? If you answer, there is a chance that you’d become a victim of circumstance. Am I right fellas? Tell the truth -or else I’m-a have to show and prove you are what you are, I am what I am. It just so happens that most men are… tramps.” Later in the song, the rappers address a prospective “trampy” male thus: “You’s a sucker! Get your dirty mind out of the gutter. You ain’t getting’ paid, you ain’t knocking boots, you ain’t treating me like no prostitute!” Returning their attention to their female audience, they say, “Then I walked away, he called me a teaser. You’re on a mission kid- yo, he’s a.. tramp!” This song functions not only as a wake-up call to women considering sugjugating themselves to get a man. But also to men who assumed their preying game was not transparent to women. »
Paroles de la chanson :
Home girls, attention you must pay
So listen close to what I say
Don’t take this a simple rhyme
‘Cause this type of thing happens all the time
Now what would you do if a stranger said hi?
Would you dis him or would you reply?
If you answer there is a chance
That you’d become a victim of circumstance
Am I right, fellas? Tell the truth
Or else I’m-a have to show and prove
You are what you are, I am what I am
It just so happens that most men areTramp (What’d ya call me?)Have you ever seen a dude who’s stupid and rude?
Whenever he’s around he dogs your mood
I know a guy like that, girl
He thinks he’s God’s gift to the world
You know that kind, excited all the time
With nothing but sex on the mind
I’m no stunt, on me he can’t front
I know the real deal, I know what they want
It’s me (Why?) Because I’m so sexy
It’s me (What?) Don’t touch my body! (Boy!)
‘Cause you see I ain’t no skeezer
But on a real tip I think he’s aTramp (What’d ya call me?)On the first date he thought I was a dummy
He had the nerve to tell me he loved me
But of course, I knew it was a lie, y’all
He undressed me with his eyeballs
Trying to change the whole subject
‘Cause everything he said pertained to sex
So I dissed him, I said, « You’s a sucker!
Get your dirty mind out the gutter
You ain’t gettin’ paid, you ain’t knockin’ boots
You ain’t treating me like no prostitute »
Then I walked away, he called me a teaser
You’re on a mission, kid yo, he’s aTramp (What’d ya call me?)
Tramp
Analyse de la chanson « Ladies 1st » de Queen Latifah (sous le deuxième thème) :
» Queen Latifah offered a different kind of women’s empowerment song, “Ladies 1st” on her 1989 debut CD, All Hail the Queen. This CD, hailed in the Hip Hop community as a turning point in women’s rap discourse, encapsulated an omnibus message of women’s power. On this song, Latifah shared the microphone with black British rapper Monie Love, whose lines in the song contribute equally to the song’s meaning and impact. Latifah rapped, “A women can bear you, break you, take you; now it’s time to rhyme – can you relate to a sister dope enough to make you holler and scream?” Later, Monie Love embellishes this theme of women’s power: “Strong, stepping, strutting, moving on, rhyming, cutting, and not forgetting – We are the ones that give birth to the new generation of prophets, because it’s “Ladies First.”” Latifah then rejoins (with Monie Love’s back-up): “I break into a lyrical freestyle, grab the mic, look at the crowd and see smiles, ‘cause they see a woman standing up on her own two- sloppy slouching is something I won’t do. Some think that we can’t flow (can’t flow)- stereotypes, they go to go, got to do. I’m-a mess around and flip the scene into reverse (with what?)- with a little touch of ‘Ladies First.’” To paint a picture of women’s superiority, Latifah raps, “I’m divine and my mind expands through out the universe- a female rapper with the message to send: Queen Latifah is the perfect specimen!” Later, she states, “Queens of civilization are on the mic.” This song, which clearly invokes the mythology of African queens, played well into, yet challenged, the environment of burgeoning Afrocentricity during the early 1990s. «
Paroles de la chanson:
The ladies will kick it the rhyme that is wicked
Those that don’t know how to be pros get evicted
A woman can bear you break you take you
Now it’s time to rhyme can you relate to
A sister dope enough to make you holler and screamAyo let me take it from here Queen
Excuse me but I think I’m about do
To get into precisely what I am about to do
I’m conversating to the folks that have no whatsoever clue
So listen very carefully as I break it down for you
Merrily merrily merrily merrily hyper happy overjoyed
Pleased with all the beats and rhymes my sisters have employed
Slick and smooth throwing down the sound totally a yes
Let me state the position: Ladies first, yes? (Yes)Believe me when I say being a woman is great, you see
I know all the fellas out there will agree with me
Not for being one but for being with one
Because when it’s time for loving it’s the woman that gets some
Strong, stepping, strutting, moving on
Rhyming, cutting, and not forgetting
We are the ones that give birth
To the new generation of prophets because it’s Ladies FirstI break into a lyrical freestyle
Grab the mic, look into the crowd and see smiles
Cause they see a woman standing up on her own two
Sloppy slouching is something I won’t do
Some think that we can’t flow (can’t flow)
Stereotypes, they got to go (got to go)
I’m a mess around and flip the scene into reverse
(With what?) With a little touch of « Ladies First »Who said the ladies couldn’t make it, you must be blind
If you don’t believe, well here, listen to this rhyme
Ladies first, there’s no time to rehearse
I’m divine and my mind expands throughout the universe
A female rapper with the message to send the
Queen Latifah is a perfect specimenMy sister, can I get some?Sure, Monie Love, grab the mic and get dumbYo, praise me not for simply being what I am
Born in L-O-N-D-O-N and sound American
You dig exactly where I’m coming from
You want righteous rhyming, Imma give you some
To enable you to aid yourself and get paid
And the material that has no meaning I wish to slay
Pay me every bit of your attention
Like mother, like daughter, I would also like to mention
I wish for you to bring me to, bring me to the rhythm
Of which is now systematically given
Desperately stressing I’m the daughter of a sister
Who’s the mother of a brother who’s the brother of another
Plus one more, all four
Have a job to do, we doing it
Respect due, to the mother who’s the root of it
And next up is me, the M-O-N-I-E L-O-V-E
And I’m first cause I’m a L-A-D-I-EContact and in fact, the style, it gets harder
Cooling on the scene with my European partner
Laying down track after track, waiting for the climax
When I get there, that’s when I tax
The next man, or the next woman
It doesn’t make a difference, keep the competition coming
And I’ll recite the chapter in verse
The title of this recital is « Ladies First »Traduire en français
Analyse de la chanson « The Sweetest Thing » de Lauryn Hill (sous le troisième thème) :
» Women in rap tend to show appreciation for men, rich or poor, from the black “ghetto”, recognizing it as a complex of forces constraining life’s options and cultivating a particular mix of hardness and vulnerability. An example of such a song is Lauryn Hill’s tender and wistful ballad “The Sweetest Thing” (1998), in which she extols her ‘sweet prince of the ghetto’ for ‘the way you walk, your style of dress’ and his ‘precious, precious, precious, precious dark tone.’ While as much is conveyed in the music of this song as the words, its overall message is one of appreciation for black men. «
Paroles de la chanson:
The sweetest thing I’ve ever known
Was like the kiss on the collarbone
The soft caress of happiness
The way you walk, your style of dress
I wish I didn’t get so weak
Oooh, baby, just to hear you speak
Makes me argue just to see
How much you’re in love with meSee like the queen, queen, upon her throne
It was the sweet, sweet, sweet, sweetest thing I’ve known
It was the sweet, sweetest thing I’ve knownI get mad when you walk away (don’t walk away)
So I tell you leave, when I mean stay
Warm as the sun dipped in black
Fingertips on the small of my back
More valuable than all I own
Like your precious, precious, precious, precious, baby, baby, dark skin toneIt was the sweet, sweet, sweetest thing I’ve known
It made me say, it made me say yoh uh-uh
I, I tried to explain
Ah… but baby, it’s in vainIt was the sweet, sweet, sweet, sweet, sweetest thing I’ve known
Told you it was the sweet, sweet, sweetest place I’ve known