- ISSN: 2632-6825
- E-ISSN: 2632-6833
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oa ‘…No Man’s Land…’: Eno Barony’s navigation of Ghana’s male-dominated rap scene
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Authors:
Yaw M. Asare1
and Amartey Laryea1
- Source: Global Hip Hop Studies, Volume 6, Issue 2, Jul 2025, p. 143 - 163
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- 08 May 2024
- 27 Jan 2025
- 16 Mar 2026
Abstract
This study explores the lyrical content and themes in Eno Barony’s debut album, Yaa Asantewaa, examining how she navigates the male-dominated Ghanaian rap scene as a female artist. Through textual analysis and the lens of hip hop feminism, the research investigates Eno Barony’s use of braggadocio, metaphors and gender as tools to assert her identity and challenge patriarchal norms within the industry. The album’s conceptual framework is rooted in the historical account of Nana Yaa Asantewaa an Asante Queen Mother who fearlessly fought against British colonial rule. Eno Barony draws parallels between herself and Nana Yaa Asantewaa, employing imagery and symbolism to inspire and empower African women. The study examines Eno Barony’s multifaceted representation of women, her use of beef as a means to showcase her lyrical prowess and her fluid approach to gender in her lyrics. By analysing tracks such as ‘Yaa Asantewaa’, ‘Beauty & the Beast’, ‘No Yawa’ and ‘King of Queens’, the research explores Eno Barony’s ability to subvert gender roles, assert her dominance and carve out a space for herself in the Ghanaian rap scene. The study contributes to the broader discourse on female representation within hip hop culture, emphasizing the importance of Eno Barony’s work in challenging gender norms and amplifying the voices of African women in the rap industry.
