Joan Morgan articulates well the struggle with intersecting feminism with hip hop. The feminist movement has always been one that has catered to the needs and the issues of white women and can ignore and neglect race, in this case being black women. It is easy for a white feminist movement to preach liberation from the patriarchy when many black women feel they have to defend black men in racially targeted social political issues, and not doing so would be seen as abandoning their race to their community. Another conflict between hip hop culture and feminism is that you are unable to align yourself with the feminism if you enjoy certain social norms constructed by the patriarchy, and therefore are deemed as a bad feminist. Morgan believes that black women in the hip hop community needs a form of feminism that will put focus in creating, uplifting, and solidarity rather than critiquing an deconstructing.

The emergence of hip hop feminism is an alternative to the traditional, white-centric feminism and allows for feminism and hip hop community to collide in a way that is intersectional and puts black women as the main focus. It brings attention the different grey areas that exist between hip hop and feminism and embraces the exploration of it. Through different forms of performance, we are able to see how percussion feminism and crunk feminism create a space for black women to create and nuture black female identity in not only the hip hop community but also within feminism. Creating a space for black and brown women within such a male dominated community aids to the uniting black women in solidarity. This contributes to a more “doing” and “being” mentality contrasts to the application of feminism in academia. Crunk feminism’s ten commandments demonstrates this shift in mentality by putting the focus on developing your own standpoint and relationship with feminism, to embrace the grey areas that hip hop and feminism create, and to unify for women of color.