Phallogocentrism vs. Pulscentrism: Toward a Rhythmic Hermeneutic of Freedom

Kendrick Lamar’s 2025 Super Bowl halftime performance subverted expectations, transforming hip-hop’s tradition of signifyin’ into an interactive video game. Through this performance, Lamar illuminated hip-hop’s negotiation with phallogocentrism—the privileging of masculine-coded lyrical dominance—and its transition toward pulscentrism, an emergent framework emphasizing rhythm, movement, and collective resonance over rigid textual authority. Drawing from Charles H. Long’s Significations, critical theory, and liberation theology, this paper examines how artists like Kendrick Lamar, Doechii, Megan Thee Stallion, and J Dilla disrupt logocentrism by privileging polyrhythmic structures, kinetic orality, and embodied knowledge. Furthermore, the rise of rhythm-driven genres like Afrobeats, reggaeton, and drill reflects hip-hop’s epistemic shift beyond masculinist lyrical consumption toward a more inclusive and transnational sonic framework. By theorizing a rhythmic hermeneutic of freedom, this paper argues that pulscentrism challenges colonialist knowledge structures, offering new articulations of identity, power, and resistance through hip-hop’s evolving soundscape.