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Abstract

By referencing literary works by academics, such as Patricia Hill Collins, the origin of the conception that the black female body is inherently promiscuous is revealed. The conception that the black female body is promiscuous is formed by various historic examples of the treatment of individual black females’ bodies, and this treatment’s universal attribution to all black female bodies. The maintenance of this attribution is monitored by the omnipresent and hegemonic presence referred to in this work as "the looming voyeurs." Nicki Minaj in her music video, ‘Anaconda,’ is fully aware of the conceptions of the promiscuous black female body and the presence of the looming voyeurs. She baits the looming voyeurs as her intended audience, providing a perspective of the black female body as a being who literally embodies it. With the use of lyric and music excerpts from Sir Mixalot’s music video, ‘Baby Got Back,’ Minaj gives a voice to the black female left voiceless in the video and throughout history. Minaj’s perspective resists this hegemonic view and ushers in liberation to black female sexuality. With cinematic imagery and explicit lyricism, Minaj provides a particular provocation that proves the intentionality wholly present in her rhetoric, and her agency.

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Creative Commons Attribution 4.0 License
This work is licensed under a Creative Commons Attribution 4.0 License.

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