Shadia Mansour is a revolutionary in many ways, and just about the definition of counter-culture. Within orthodox Muslim culture, her spoken vulgarity would be frowned upon despite her gender, but is especially so because she is a woman. Within the international music industry, brash music that pushes a political agenda is frowned upon, because it is considered less consumer-oriented and thus less marketable. Within the hip hop community, most focus is on black men. Thus, to be a Palestinian Muslim woman singing and rapping about political economic tensions, Shadia Mansour defies all set expectations, and breaks free of the “identity politics” based boxes that one might try to conform her to.
In this video, she is singing about the accessorization of the Arab kufiya by Western cultures, and how this is synonymous with the erasure that Israel is trying to impose upon Paletsine. By highlighting this, she aims to bring attention to the appropriative nature of neoimperialism, and the irony of a Westerner wearing the kufiya as a fashion statement. “The kufiya is Arab,” she sings. “The kufiya is my identity…I’m like the kufiya.”
Just as Rodriguez argues, the oppression facing black Americans is very similar to that facing Palestinians, and thus produces hip hop: the classic counter-culture, counter-oppression narrative. Just as Mansour might bemoan the ignorant repurposing of the Arab kufiya, we witness artists like Kanye West point out the irony of white people’s criticism of black fashion (see West’s “New Slaves.”)
This reminds me of yesterday’s discussion in class, where some students alluded to rap about material possessions being less politically poignant. Rodriguez implies this as well, referring to mainstream American hip hop about “bling” as losing its power. I must vehemently disagree. Chains, grills, and kufiyas alike can connote political counter-culture messages, they just require a bit more sifting for the average listener. What may appear to be about material possessions on the surface, may actually be about socioeconomic struggle, imperialist appropriation, or identity — a subversive object as Hebdige refers to, if you will.
February 27, 2017 at 7:22 am
Good post, raven!
Re the following:
“Just as Mansour might bemoan the ignorant repurposing of the Arab kufiya, we witness artists like Kanye West point out the irony of white people’s criticism of black fashion (see West’s “New Slaves.”)”– provide a link to “New Slaves” illustrative of your claim–and alos clarify if what you mean here is “appropriation of black fashion ” by whites—as that is what would make it parallel to Shadia Mansour’s rap…criticism is a different thing.
ALSO–can you provide a link to Mansour’s lyrics in English translation?
Finally-cite the article/s your are referencing and embed video ulrs please
March 3, 2017 at 8:32 am
Interesting and well-constructed post! I had not listened to Mansour before this. You use the class discussion and readings suitably to support your argument. I do wish we had the chance to discuss this in class or if you had in your post addressed further the gender dynamics or Mansour’s fame. Not only is she a Palestinian rapper who takes up a political agenda in her work but she is also woman. How does that play into her work? Her fans? Her day-to-day existence in the rap industry? Not that a lack of that makes your post less effective but it would have been an interesting topic to hone in on
March 3, 2017 at 6:09 pm
Not everything can be discussed in class unfortunately which is why this is a great space for holding discussions that because of time constraints can’t be held in class. However- nothing prevents anyone from referring back to someone’s post and integrating it into class discussion whenever pertinent points are being raised.