Argentinian rap emerged in the late 1980s and is now one of the most popular musical genres in Latin America.
Over the past few years, a new generation of artists has been breaking the genre’s codes by incorporating cumbia, reggaeton, pop, bachata, salsa, and folk music into their music, and exporting it all over the world. Female rappers play a central role on this thriving scene.
From the pioneers Actitud María Marta, active since the 1990s, to Sara Hebe, Nathy Peluso and Luyara Tink, here is a selection of 12 Argentinian female rappers you should be listening to, selected from the 45 MCs from Argentina listed on Madame Rap.
Madame Rap is featured in Fraternité générale’s “France Fraternelle” campaign broadcast on France Télévisions!
Every year, the French association Fraternité générale highlights the inspiring stories of women and men who commit themselves to different causes through short videos broadcast on the French national public television.
A singer, rapper, stylist, designer, dancer and choreographer, Lapili hails from Ciudad Real, a Spanish town located about 120 miles south of Madrid in the autonomous community of Castilla-La Mancha. In her tracks, which blend rap, kuduro, afrohouse, amapiano and reggaeton, she explores the themes of body diversity, fat shaming and self-acceptance. She told us about her journey, the importance of dance in her music and the obstacles she faces as a woman and an independent artist.
How and when did you discover hip hop?
I discovered hip hop when I was very young, at the age of three or four, thanks to one of my uncles who loved music. He was a skateboarder and was in contact with graffiti artists. He mainly introduced me to American hip hop. That’s what I listened to most when I was little.
You’re a singer, rapper, stylist, designer, dancer and choreographer. How do these different activities complement each other?
I consider myself more of a multidisciplinary artist. I like to do everything, and in the end, I think music allows me to do that. Because with music, I can combine everything. I can get involved in creation, musical composition, the aesthetic part, choreography, everything to do with art direction and styling. I just love it.
Are you self-taught or did you have any musical training or instruction?
I was trained in textile art and fashion, but I didn’t have any musical training or education. It’s more self-taught and a bit intuitive. Now I have the opportunity to work with many wonderful producers and musicians, and I’m learning a lot.
I’ve also started training my voice, with a vocal coach and a singing teacher, and I love learning. I hope never to stop learning.
What are the main advantages and drawbacks you see in being a multidisciplinary artist?
The advantages are that you can do practically anything. You have this ability to see the whole picture. Whatever you’re going to do, you can visualize it. But sometimes it’s very important to know how to delegate: I think it’s a problem to want to cover everything, because you can’t control everything. We’re human beings.
I also think that, at the end of the day, the most wonderful thing about this job is having a team that supports you, that’s there for you, that loves your project as much as you do. And it’s important for everyone to have their own workspace.
When did you create the character of Lapili and how would you define her?
Lapili isn’t just any character, it’s me as I am. Obviously, I’m not the same person in my armchair at home as I am on stage. But I’ve always been myself. That has its advantages, in that there’s nothing else but me.
But it also has its drawbacks, especially the fact that I’m fully exposed all the time. And sometimes there are a lot of malicious people out there who can do you harm. But I know how to protect myself.
Your music incorporates elements of hip hop, dancehall and afrobeat. How would you describe it to someone listening to it for the first time?
It’s a fusion of rhythms that includes hip hop, dance, afro, kuduro, afrohouse, amapiano, reggaeton… It’s what I’ve loved and listened to since I was a child.
It’s also very important to me that people can dance to my music. Because music, especially through dance, is what I feel most connected to, and has saved me on many occasions.
You co-directed the video for the song “Gorda”, which you released in October. How did you work on the concept and aesthetics of this video?
Ever since I was little, I’ve always wanted to pay tribute to my favorite music video, which is “Soldier” by Destiny’s Child. That’s where the idea came from. I’ve always loved that video and felt it was the right time to do this tribute.
The themes of body diversity and self-acceptance are central to your songs. Do you think rap can be an effective tool for educating people about these issues?
Not just rap. All music and all communication tools, i.e. all the media, are tools for communicating what you want. I think the world has already gone through a period where there was a lot of repression, where a lot of limits were set, where things were darker.
I think that as humanity, we need to evolve towards this true globalization, towards integration, to have more empathy and respect for each other. I don’t really know how to improve these qualities that, in my opinion, define being human.
Would you describe yourself as a feminist artist? If so, how would you define your own feminism?
I define myself as a feminist. It’s obvious that in everything I do, feminism will be present because I can’t live without it. Feminism is about equality and it’s very important that we keep in mind that we’re all human beings and inhabitants of the same planet. That’s why I think everyone should be a feminist.
Which song(s) are you most proud of to date?
It’s very difficult for me to choose. There are also a lot of new songs that haven’t been released yet. But I can say that “Piligrossa” is a song I love. Being an independent artist is very difficult: although many doors are closing, many other wonderful doors are opening at the same time. But you have to be constantly on the lookout, and sometimes you feel like a fish swimming against the current.
So when I need help, “Piligrossa” reminds me why I’m doing this, why I’m here. It’s very important because it gives me strength.
As a female artist, what are the main obstacles you face?
The main obstacles I encounter most of the time have to do with my body and the fact that I’m a woman. Like trying to discredit my work. Today, I want to focus more on the good than the bad.
But I think the biggest obstacles come from there, at least in Spain. It’s like people don’t really understand the genres of music I make. They’re genres that haven’t really been explored here yet. And it’s also complicated for them to understand that I can vary so much from one genre to another.
What are your upcoming projects?
I don’t want to say too much about my upcoming projects because they’re still being finalized at the moment. But I can say that there are some very interesting things coming up.
I also hope to be able to do more things in France. I’ve been to Paris a lot, and I hope I’ll be back soon to play, do DJ sets and dance together. Kisses and many thanks!
On this November 25, International Day for the Elimination of Violence against Women, Madame Rap has selected 25 female rappers from 25 countries who are fighting against violence against women.
From Kenya to Guatemala, via Germany and Indonesia, these artists, whether they call themselves feminists or not, are speaking out against sexist discrimination through their lyrics, their public statements, or as part of other projects.
Globally, 736 million women (almost 1 in 3) have been subjected to physical and/or sexual intimate partner violence, non-partner sexual violence, or both at least once in their life. Most violence against women is perpetrated by current or former husbands or intimate partners (World Health Organization, 2021).
In Europe, 2 in 10 women have experienced physical and/or sexual violence by a partner or a friend. 3 in 10 by a relative or family. 10 in 20 women have experienced sexual harassment (European Institute for Gender Equality, August 2023).
In France, domestic violence has increased by 15% in one year. There were 244,000 victims in 2022 ( 87% of whom were women). 89% of aggressors were men, and only 1 in 4 victims filed a complaint (Ministry of the Interior, November 2023).
With:
🇫🇷 Chilla
🇨🇭🇲🇦 Nasma
🇩🇪 Nashi44
🇸🇦 Leesa A
🇮🇷 Justina
🇸🇾 Mona Haydar
🇦🇫 Sonita Alizadeh
🇮🇳 Dee MC
🇮🇩 Yacko
🇰🇪 Muthoni Drummer Queen
🇿🇦 Dope Saint Jude
🇨🇺 Krudas Cubensi
🇬🇹 Rebeca Lane
🇲🇽 Masta Quba
🇨🇱🇫🇷 Ana Tijoux
🇪🇸 Tribade
🇺🇸 Queen Latifah
🇨🇦 Haviah Mighty
🇮🇸 Daughters of Reykjavík
🇸🇬 Masia One
🇯🇵 Akkogorilla & Yayoi Daimon
🇧🇼 Danielle Swagger & 🇫🇷 Queen Favie
🇸🇳 GOTAL
🇲🇿 Iveth
🇧🇷 Karol Conka & MC Carol
For the European Day on the Protection of Children against Sexual Exploitation and Sexual Abuse, Madame Rap has selected 22 popular songs in French and English that glorify pedocriminality and incest, in chronological order from 1952 to 1996.
[TW: incest, pedocriminality, sexual violence]
While rap remains designated by the dominant culture as the most violent and sexist music there is, these variety, pop and rock songs normalize rape culture, pedophilia and grooming, and glamorize sexual violence against children.
This sickening anthology takes many forms: sexual assaults presented as consensual (and rock’n’roll) romance, pedophilic desires sold as sultry transgressions, under-age girls portrayed as sex-starved teasers trapping poor adult men, or fantasies, and even stories, of incest.
These texts raise many questions. Why, today, six years after MeToo, are we still unable to take a critical look at these more than problematic lyrics? We absolutely must condemn them, for they have shaped the imagination of entire generations and marked many moments of our daily lives, be they romantic, festive, family or intimate.
While rappers continue to be denied their status as authors, their capacity for narrative and second-degree, these noble gentlemen of the music world can wrap themselves in their standard masculinity and benefit from complete impunity. Even better, they are portrayed as poets, geniuses, symbols of our cultural heritage, role models and coveted stars. Yet some of their writings are clearly predatory.
Contrary to what we might think, images, texts and representations sexualizing children and celebrating pedophilia are not exceptional, but systemic and totally accepted in our society. They have infected literature, cinema, the arts, music, the media, advertising and popular culture for far too long. If we fail to recognize this, how can we take proper care of the victims and pretend to put a stop to these forms of violence?
160,000 children are sexually abused every year in France, according to a report by the Ciivise (Independent Commission on Incest and Sexual Violence Against Children) published in September 2023. 45% of children who speak out at the time of the abuse are not kept safe and do not receive care, and 58% of the professionals who are notified do not protect the child following the disclosure of the abuse.
With:
Henri Salvador – Ma petite Jacqueline (1952), written by Maurice Pon
Claude Nougaro – Cécile, ma fille (1963), written by Claude Nougaro
Elvis Presley – Kissin’ Cousins (1964), written by Bernie Baum et Bill Giant
The Grateful Dead – Good Morning, Little School Girl (1967), written by unknown/original version recorded by Sonny Boy Williamson in 1937
France Gall & Maurice Biraud – La petite (1968), written by Robert Gall
Van Morrison – Cyprus Avenue (1968), written by Van Morrison
Léo Ferré – Petite (1970), written by Léo Ferré
The Rolling Stones – Brown Sugar (1971), written by Mick Jagger
Serge Gainsbourg – Ballade de Melody Nelson (1971), written by Serge Gainsbourg
Christian Delagrange – Petite fille (1972), written by Frank Gérald (pseudonym of Gérald Biesel)
Michel Berger & France Gall – Si l’on pouvait vraiment parler (1974), written by Michel Berger
Led Zeppelin – Sick Again (1975), written by Robert Plant
Christophe – Petite fille du soleil (1975), written by Didier Barbelivien
Gilbert Bécaud – Une petite fille entre neuf et dix ans (1976), written by Gilbert Bécaud
Rod Stewart – Tonight’s the Night (Gonna Be Alright) (1976), written by Rod Stewart
The Knack – My Sharona (1979), written by Doug Fieger
Jean-Luc Lahaye – Gamine (1989), written by Jean-Luc Lahaye
Bernard Minet – Hey jolie petite fille (1990), written by Jean-Luc Azoulay
François Feldman – Joy (1991), written by François Feldman
Faith No More – Edge of the World (1991), written by Mike Patton
Neil Diamond – Happy Birthday Sweet Sixteen (1993), original song written by Neil Sedaka and Howard Greenfield in 1961
Étienne Daho – Quand tu m’appelles Éden (1996), written by Étienne Daho
The female rap duo Zetas hail from the town of Salerno, Campania, on Italy’s southwest coast. Annarella and Miriade told us about their love for boom bap, their “100% underground” music, and their debut album Didattica, produced by beatmaker, rapper and DJ Tonico 70, a leading figure on the old school scene.
Do you remember how and when you were introduced to hip hop for the first time?
We started listening to hip hop music when we were teenagers. We grew up during the mainstream’s boom of rap music in Italy, watching TV shows like MTV Spit, where national rappers and freestylers battled each other in freestyle battles.
That world was so fascinating to us, rappers were free to show their talent without compromises and that was what we always wanted to do.
Which artists inspired you while you were growing up?
Underground and mainstream rap has always inspired us. In Italy, the artists that gave us inspiration are: Marracash, Fabri Fibra, Club Dogo, CoSang, Tonico 70 (actually he is our producer and manager) and Morfuco.
Here are some of our favourites but the list is much longer. Notorious B.I.G, Sean Price, Nas and Salt’N’Pepa are international rappers that are personally so important to us.
How did you start rapping?
We took our first steps in freestyle battles, jam sessions and hip hop events all around our region. We always liked writing songs and discovering rap music in all its shapes made us believe in ourselves. We mixed our words with hip hop music, so we started making rap.
How did you two meet and did you decide to create Zetas?
We had friends in common, so we knew each other by sight, but we officially met at TheSquare, a social space that still organizes street songwriting sessions, breakdance lessons with the city’s bboys and flygirls crews. We started rapping and we thought that our styles of rapping were strong together, and the final product was cool and fresh.
How would you describe your music and musical identity?
100% underground. Our music comes from the street and its stories, from everyday struggles to our desire to emancipate from our reality.
How did you meet with producer Tonico 70 and work on Didattica with him?
We already knew Tonico because his music is very famous and important in and for our city. We met him at TheSquare and he believed in our music. We started our official collaboration with him in 2020.
From then, the album took years of work because we wanted to make a quality product, every track has a story and a unique sound: this is our goal.
What is the rap scene like for female rappers in Italy? Are you connected with any other artists?
There are not so many female rappers in Italy. Compared with the previous years, there are many more girls that do rap music, but the idea of girls rapping is still stereotyped.
We are familiar with other artists, but we have never collaborated with them. In Didattica, our only featuring is with Angelica Cascone, a very good singer from our region.
What are your upcoming projects?
We want to take our music all over Italy, and hopefully, even out of it. We are working on new music and our tour dates are continuously updated, so follow us for every news!
What can we wish you?
To get where we want to get and of course to stay true.
What do you think about Madame Rap? What should be changed or improved?
Very good job! We also discovered new artists from your magazine and it’s very important listening to new music.
Highly political, Palestinian rap has always been a space of expression and protest for women since its emergence in the late 90s.
As early as 2003, Shadia Mansour led the way and became the hip hop voice for the Palestinian cause worldwide. In 2019, the rap group DAM, active since 1998 and considered a pioneer, incorporated rapper and singer Maysa Daw.
Though women remain largely invisible, today they play an important role in Palestine’s rap scene, often described as one of the most dynamic in the Middle East.
Here are 6 Palestinian MCs you should know, selected from the 8 Palestinian artists listed on Madame Rap.
With:
Safaa Hathot
An artist and actress, Safaa Hathot sees rap as a tool of education and empowerment for Palestinian women. She has been rapping since 2001, with the group ARAPYAT, and denounces the Israeli occupation and patriarchal oppression in her lyrics.
A pioneer of Ramallah’s underground hip hop scene, Makimakkuk is a producer and rapper. Originally from the electro scene, her music blends rap and experimental sounds with socio-political lyrics.
A musician, songwriter and composer, Maysa Daw is a member of the first Palestinian hip hop group, DAM. She combines rock, rap, soul and jazz, and explores themes of interpersonal relationships and collective struggles in her lyrics.
Regarded as one of the stars of the Middle Eastern hip hop scene, Shadia Mansour is known as “the first lady of Arab hip hop”. In her Arabic and English lyrics, she denounces the occupation of Palestine, the repression of women and all forms of conservatism.
Founded in 2013, Ettijah is the first group of Palestinian female rappers based in a refugee camp. In their lyrics, the trio talk about the occupation, bombings, women’s rights and the traditions and restrictions they have to face.
Palestinian-American YouTuber Haifa Beseisso raps to denounce societal problems and discrimination. With the track “The 3aib Song”, released in 2021, she denounces the “culture of shame” and the constant pressure on women regarding their appearance and life choices.
Léo, a 21-year-old independent artist from Metz, released his first rap single last July. The track, entitled “COBRA”, tackles the issue of homosexuality in French rap and denounces the LGBTphobic harassment the young content creator has experienced. Léo told us about his relationship with rap, his role models, and his artistic identity.
When and how did you start making music?
I started making music at the age of 9, when I posted my first cover on YouTube. I’ve always wanted to share my passion publicly on the Internet. When I was 12, I started singing lessons and concerts, and I immediately liked it. I then did choir for 3 years, and in 2020, during lockdown, I decided to release my first single “Réseaux”. And today I’m back with my new track “COBRA”, which is my 7th single.
Did you have any role models growing up?
I grew up listening to artists like Diam’s, Miley Cyrus, and even Tal. I was really inspired by artists who convey a strong message through their songs. Messages about society, benevolence and, above all, tolerance. This also helped me to assert myself and become the person I am today.
Why did you decide to start rapping?
I decided to get into rap on a whim. I watched the first season of Nouvelle École, and at the end of the last episode I challenged myself to do a freestyle in an hour. That’s how I made the single “COBRA”, and I’m really proud of it.
At first, it was just an idea between me and myself, but when I listened to it again, I said to myself “there’s something there“. And when I posted an extract on my social networks, people were shocked and they flooded me with messages to encourage me to release it.
What inspired your single “Cobra”?
It’s a song in which I talk about the place of homosexuality in rap, and more specifically in French rap. The subject is ultra-taboo subject and very unpopular in the industry. Most rappers even use homosexuality as an insult in their songs. I simply said to myself “why not me? Just because I like boys doesn’t mean I can’t be as good as your rappers“. So I went for it.
Lil Nas X has inspired me a lot over the last few years, and I really like the fact that he mixes the”gang rap” side with a “more feminine” side. It’s an aesthetic that I find particularly interesting and that I really enjoy.
How and with whom did you work on this project?
I worked with several people on this project. First of all, with beatmakers for the production, the photographer Hugot Michael who shot the cover and the visuals for the single, the graphic designer Ovthex and the director Victor for my video.
As for the recording and composition, I did it all myself. I like things to be spontaneous and to come from me.
What feedback did you get from your community and the public?
People were very surprised when the track was released. I got thousands of feedback, especially on TikTok. People were amazed at the way I brought it out in the video. I rap, but at the same time you see me wearing make-up and ultra-sexy outfits.
And it’s really this “double-personality”, which is part of my daily life, that I wanted to emphasize. I’ve had nothing but good feedback, a few haters as with every release, but very few.
How would you describe your music and your artistic identity?
I think my music speaks for itself. I talk about everyday life and social issues that most people can relate to. I talk a lot about love, men, my background and the harassment I’ve experienced since I was a child, and I show that all this has enabled me to assert myself today.
So today, I thank my haters, because even though they made me suffer a lot during my childhood, they enabled me to never give up and always fight to achieve my goals.
Rap is often seen as homophobic. What do you think about this?
In my song “COBRA”, I say: “I understand it’s scary to hear a faggot on a trap track, Léo Music and I’m going to get you all“, that’s what I think!
In reality, I find it deeply sad and damaging to refuse to listen to someone’s artistic proposals simply because of their sexual orientation. Let’s enjoy our lives, we only have one, and learn to open up to more cultures and personalities.
Which rappers do you listen to these days?
I listen a lot to Lil Nas X, who for me is one of the most talented people on this Earth.
I’m also a big fan of Shay, bad bitch but gang, I can see a lot of myself in her.
And I listen to a lot of rappers like Tiakola, Niska and SDM, who I find very talented and interesting.
Do you make your living from music? If not, is this a long-term goal?
I’m not making a living from music yet, it provides me with a not small additional income, but in the future I hope to be able to make a living from it and be a full-time artist. That would be my life’s goal and my childhood dream.
What are your upcoming projects?
I’m currently working on my first EP, which will consist of 6 or 7 tracks. It’s going to be a very artistic and aesthetic project, with a very special theme and the music is going to get a lot of people talking. I can’t wait to share it with you!
What can we wish you?
A great career in music, a great community of fans, and lots of concerts. The stage is really the place where I feel most fulfilled.
Thank you for the interview, and thank you for your great media, which puts the spotlight on LGBT personalities and women in hip hop. What you’re doing is amazing!
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