“The most
disrespected person in America is the Black woman” – Malcolm X
How far does Beyoncé’s visual album Lemonade promote
the views and values of Black feminism?
Black feminism is a feminist concept
and school of thought which flourished in the 1960s. It has often been
disregarded due to its lack of authenticity over the preferable mainstream form
of feminism. One may ask what the difference between these two similar
concepts is; the answer is simply racial privilege. Racial privilege allows
white women to have an increased ability to challenge gender-based oppression,
while still maintaining access and freedoms that women of colour are routinely
denied. Institutionalised racism, misogyny and oppression within our
societies are placing Black women at the bottom of the social hierarchy, making
them victims to the discriminative societal standards. Crenshaw’s intersectionality
theory
epitomises the difficulties Black women face: they cannot differentiate race
from class or gender oppression due to the fact that they experience them
simultaneously. Black feminism is more than simply empowering women, its
roots lie in the struggle and oppression Black women have been facing for
centuries. Black feminism as a political and social movement is ultimately
symbolising their right to be liberated from the harsh standards that have been
implemented on them. Beyoncé has conveyed these struggles through her
2016 visual album “Lemonade”, which highlights the various struggles that Black
women face while also embracing the successes of Black women. Often
regarded as an advocate for mainstream Black feminism, Beyoncé has reached
global success with her album, sparking discussions on the issue and increasing
social awareness. Nevertheless, how far Beyoncé’s Lemonade promotes the
ideology and the values of black feminism is debatable. This essay will outline
the complexities of black feminism as a concept and school of thought, and the
extent to which Lemonade effectively advances their ideas.
Fundamentally, the
concept of Black feminism itself has various interpretations, and whether Beyoncé
is an advocate for feminism is debatable. Black feminism is one of the many
subdivisions within the school of feminism. Feminists across America have been
debating this form of feminism Beyoncé proclaims, and whether or not it can be
considered to be feminism.
The term “Bey Feminism” has been coined to describe this phenomenon; Beyoncé’s
form of feminism provides Black women with a way of negotiating, co-creating,
reinforcing and challenging their identities as Black women in American society.
This form of feminism is prominent in Lemonade, as Beyoncé encourages her
audience to embrace their identities and appreciate their worth. In terms of
traditional Black feminism, Professor of Sociology Patricia Collin states that Black
feminism is a critical social theory that “aims to empower African American
women within the context of social injustice sustained by intersection oppressions”,
whereas Berg defines feminism as “a broad movement embracing numerous phases of
women’s emancipation”.
This highlights the complexities of feminism as some believe that feminism
should be broad and encompass many different perspectives while others feel
that feminism should be specific and detailed.
Prominent feminist Bell Hooks argues that
Beyoncé’s construction of feminism cannot be trusted. “Her vision of feminism
does not call for an end to patriarchal domination. It’s all about insisting on
equal rights for men and women.” Yet, it could be argued that Beyoncé is simply using her
influence and power to address these major issues. Therefore, it can be
interpreted that Beyoncé is promoting the views of Black feminism, as they are
addressing the problems Black women face. Despite her
criticisms, Hooks praises Beyoncé for providing her audience with “the construction of a powerfully symbolic Black
female sisterhood that resists invisibility… that refuses to be silent and this
in and of itself is no small feat—it shifts the gaze of white mainstream
culture”.
The visual album
carries messages of the need for empowering Black women through the discussion
of the harsh experiences they have faced. This indicates the link between
Lemonade and Black feminism in terms of the empowerment of women and bringing
to light their struggles.
Lemonade intertwines the various aspects of Black
feminism through its narrative and visuals to provide the audience with an
insight into the lives of Black American women and the ideology of Black
womanhood. A certain conclusion that one can come to in regards to the
importance of Black feminism is that “no intervention changed the face of
American feminism more than the demand of feminist thinkers acknowledging the
reality of race and racism”,
and that Lemonade has to an extent represented the first principles of black
feminism.
Lemonade as a visual album is striking
and thought-provoking when explored in depth. The visual album is in the form
of a documentary narrative which is organised
into 11 chapters. Each chapter has an introduction either through a poem or
direct dialogue, thus allowing the audience to have an understanding of the
atmosphere of the chapter, the meaning behind it and its theme. The narrative
style of the visual album can be explained through Todorov’s theory of equilibrium,
as we see Beyoncé in a state of disequilibrium and her eventual new equilibrium.
This indicates at the idea of there being hope for all Black women, regardless
of the hardships they face.
Anger
is a key chapter, which reflects on women feeling the need to change their
identity to fit into a patriarchal society that meets the expectations of men. This
links back to the concept of Misogynoir, coined by Black feminist Moya Bailey to
describe the misogyny directed towards Black women where race and gender
both play roles in bias. The poem at the
start of Anger juxtaposes the shots of cheerleaders, creating a sinister
atmosphere “If this is what you truly want, I can wear her skin...over mine”. This
could be interpreted to represent a façade, a concealment of one’s true identity
to satisfy others, which is an issue amongst women in society. The song in this
chapter “Don’t Hurt Yourself” has a bitter tone due to her marital breakdown,
in which Beyoncé is seen reassuring herself and empowering herself “I am the
dragon breathing fire… I am not broken, I'm not crying, I'm not crying”. This
highlights her resilience and strength as a Black woman, which conveys the
philosophy of Black feminism; in return it will inspire her audience. Beyoncé
is seen wearing an oversized fur jacket, which illuminates power and authority,
an image which is not often connoted with women but one that Black feminism is
attempting to enforce. There is a reference to Malcolm x and his famous speech
on the hardships of Black women. "The most disrespected person in America
is the Black woman. The most neglected person in America is the Black
woman." This epitomises the struggle of Black women, the fact that
this speech is over fifty years old emphasises on the relevance of Black feminism
and the timelessness of these reoccurring issues. This message juxtaposes with
the concept of post-feminism,
which argues that feminism is in fact no longer needed due to women having
achieved gender equality in terms of the law. Lemonade instead suggests that
feminism is still a relevant movement, and that we still need feminism as these
issues facing women still exist. This message is portrayed alongside shots of
ordinary Black women in background, which creates a sense of normality and personal
identification.
The song is ultimately radical while also heartfelt, carrying an aesthetic and
motivational appeal. It
could be suggested that Lemonade is a product of post-colonial feminism as a response to feminism which is seemingly focused solely
on the experiences of women in Western
cultures, as Lemonade instead
focuses on the experiences of Black women.
The
chapter Resurrection is also vital in understanding the concept of Black
feminism, as it suggests at the rebirth of Beyoncé’s true identity. The song
“Forward” features a deeply cathartic memorial to the Black male lives lost
throughout history, honoured by the women who raised them, both literally and
symbolically.
The scene that accompanies the song is powerful and resonates with the audience
due its sentimental and evoking tone. The audience see the mothers of the
murdered sons, Trayvon Martin, Eric Garner and Michael Brown holding their
photos. This highlights the growing issue of police brutality and the weaknesses
of the justice system. The use of cameos from
the mothers of the children who have died due to police brutality allows
audiences who have experienced police brutality to relate and form personal
relationships or identify themselves amongst the characters (Uses and
Gratifications theory),
and also gain a better understanding on the significance on the impact that
police brutality may have on families. This is in parallel with the aims of black
feminism in terms of giving black women a voice to discuss the hardships they
face, but one can argue that this simply a form of exploitation to gain a
mass-market appeal through political means. The use of the suffering of black
women to create music that Beyoncé will eventually gain profit from can be
perceived to be insensitive. Additionally, Beyoncé had also been criticised for
her overt pregnancy announcement. Beyoncé’s dominant presence in the media alongside
with her radical album has led to critics claiming that Beyoncé is doing this
to generate controversy. As a result, it is no surprise that many see Beyoncé’s
use of black feminism in Lemonade as simply a marketing technique to gain more
publicity.
In terms of
iconography, the major themes of Lemonade are portrayed effectively. “Sorry” links
back to the concept of Black women embracing their cultural roots and identity.
This is conveyed through images of women wearing Yoruba tribal painting, which
is also seen on Beyoncé throughout the song. This is linked to the
post-colonial theorist Fanon’s concept of primitive representations. What the
media would negatively portray such as 'exotic
& virile' tribal warriors or 'bare-breasted maidens' with a 'natural sense
of rhythm’ is embraced and perceived
as beautiful in the visual album. Iconography is most prominent in “Formation”.
The history of the Black Panther Party is portrayed through the edgy costume
worn by Beyoncé; it links origins of Black feminism and the unrest in America
during the 1960's. The Black Panthers’ style of clothing is iconic in the world
of cinema, due to the increase of Blaxploitation in the 1970’s, thus making
their image easily recognisable amongst the mainstream audience. More
importantly, the extended shot of a child dancing in front of a row of riot
police before the camera cuts to graffiti reading “STOP SHOOTING US” highlights
the subject of police brutality and the significance of this issue in society. The
annual Super Bowl event in America (2016) sparked controversy when Beyoncé’s
halftime performance saw her backup dancers dressed in Black Panther outfits.
While many have praised her move in honouring the Black Panthers, police have
argued that the imagery in the music video is anti-law enforcement, and her
apparent tribute to the Black Panthers fell just as flat, given that group's
history of tensions with authorities.
Departments across the country have been discussing symbolic stands against the
singer, whose video also featured imagery closely aligned with the Black Lives
Matter movement.
Whether the Black Panthers are an image of danger and threat is debatable and
truly based on opinion, but their fight against police brutality and oppression
cannot be dismissed. It can be argued to some extent that Lemonade has induced
moral panic,
as presented through the aftermath and the reactions of the Super Bowl. Furthermore,
various media outlets and individuals have heavily scrutinized Beyoncé, with comments
being made by columnists and artists alike. Music artist Azealia Banks argues
that Beyoncé has created a more sanitised representation of black feminism, one
which does not fulfil the purpose of the movement. Banks argues that “This
heartbroken black female narrative you keep trying to push is the Antithesis of
what feminism is,” she continues to argue that Lemonade is not what “the national black women's conversation
needs right now”. In regards to Butler’s theory on
gender roles,
Beyoncé has also been scrutinised for fulfilling the socially constructed roles
of a woman, which can be seen as against the purpose of feminism. Banks claims
that Beyoncé “keeps crying over a
man and perpetuating that sad black female sufferance” and that it's “not good
for what we're trying to accomplish here”. The negative responses Lemonade has received due to its
misrepresentations of black feminism suggest that Lemonade may not have reached
its full potential as an album to promoting Black feminism. Nevertheless,
“Formation” has a clear connection with black feminism through the promotion of
its values in the lyrics and music video.
Movements such as Black feminism are
fighting against all forms of oppression and for Beyoncé to refer to it in
Lemonade emphasises on the link between the concept and her visual album. As
suggested by Ball, “Formation” seeks not only to
clarify Beyoncé’s proximity to her racial identity but also to make that
identification less linear by highlighting a wide range of voices, styles, and
experiences. The use of cameos from
various talented people of colour is also another key feature of the visual
album. The album features cameos of British-Somali poet Warsan Shire, Serena
Williams and a number of young, Black celebrities. Lemonade promotes Black
individuals and their creativity, by providing a platform for the appreciation
of various identities which would otherwise not be acknowledged to take place. As
noted by Emerson, “Blackness does not carry a negative connotation. Instead, it is the
basis for strength, power, and a positive self-identity.” This
can be linked to Perkins theory on positive stereotypes. More
people are now associating black women with beauty and exoticness, which can be
argued to be over-sexualising women as suggested by Alvarado,
but the appreciation of black women not only in music videos but social media
(hash-tags such as #blackoutday) highlights the presence of Black feminist values
in Lemonade but also in modern day society.
Beyoncé’s ownership of her own
label, Parkwood Entertainment, indicates at her influence
on the album due to the fact she has control over the content of her music.
This is evident through the discussion of controversial topics such as Black
feminism, misogyny, and society’s ever-present racial tensions. The album was
released exclusively on Tidal first, reeling in $50 million in revenue over the
course of the single weekend, highlighting the success of the album in reaching
mainstream audiences. The majority of the mainstream audience have
responded in a positive manner towards Lemonade, despite its controversies. Yet,
there were some criticisms, notably from Piers Morgan, who states that he
“preferred the old Beyoncé… the less inflammatory, agitating one.”
This demonstrates the criticisms of Beyoncé for being inauthentic in her cause
by using feminism and women’s issues only as a means to sell albums.
However, it could be argued that Beyoncé is merely using her influence as an
artist to raise awareness on movements such as Black feminism and the
empowerment of women.
The music industry as a whole has
evolved over the past decades, as more artists are breaking the boundaries of
music in the digital age to produce politically fuelled albums which address
issues that would otherwise be dismissed in the mainstream news. Music from the
80’s and 90’s has been an inspiration for many modern artists, as elements of artists
such as N.W.A and A Tribe Called Quest, who would often discuss racial tensions
are present in the content produced by artists today. A notable example from
the past two decades to represent the views of Black feminism is female rapper
Queen Latifah who made history when she won a Grammy for “U.N.I.T.Y.” in 1995.
The song spoke out against domestic violence and the objectification of Black
female sexuality, generating a conversation in the African American community
over violence and assault against women. In
terms of the lyrics of U.N.I.T.Y, there is a strong sense of female
empowerment, similarly found in Beyoncé’s Lemonade “every time I hear a brother
call a girl a bitch or a hoe…you know that’s all got to go”. The addressing of
domestic violence and abuse against Black women would have been ground-breaking
during the time period. Pough suggest that Sojourner Truth’s “Ain’t I a Woman”
speech had the same impact
in its time as “U.N.I.T.Y.” did in the 1990s,
and this highlights the impact that music can have in regards to raising
awareness on movements and also issues that often go unheard. The context of
the song corresponds to the theory of Womanism, which fights against racial
oppression and gender oppression against women of colour. Overall, it can be
argued that songs such as U.N.I.T.Y are building a bridge between popular
culture and feminist action, and that this could mobilize a new rank of
activists. Modern artists today are also having a positive influence on the
music industry.
R&B artist and sister of Beyoncé, Solange, released
an album with a social relevance in terms of Black oppression. Financial Times critic Hunter-Tilney said like Beyoncé's Lemonade album, "A Seat at the Table explores themes of prejudice and Blackness”
This suggests that the discussion of social issues is becoming a more prominent
theme within the music industry, and it is no surprise that albums with similar
contexts to Lemonade are sparking vast debates across social media and the
news. Music has become a platform for artists to use their strengths and
social influences to highlight issues through their mass appeal and in theory,
thus allowing the two-step flow model
to take place. Beyoncé has effectively portrayed the values of Black feminism
to the mainstream audience. Her attempts to reinscribe
feminist sensibilities in her music have had an impact on popular culture, perhaps even altering the views of those who
did not believe in the existence of Black oppression.
Fundamentally, Black feminism is growing
as a movement and it is still relevant today. The concept of Black feminism has
transformed as an ideology. It has been projected through current movements and
also the artistry of Beyoncé. Hooks suggests that the breakthrough in denial about race helped women face reality of
difference on all levels, thus allowing for a movement that did not place the
class interests of privileged women, especially white women, over that of all
other women.
This can be represented through social
media, which has been a major aspect in the success of not only Lemonade but also
the movements that have been referenced throughout Lemonade. The growing
phenomena of social media and its power as a platform are revealed by Paul
Gilroy. Gilroy suggests that race has become a
marker for the activity of urban social movements and their conflict with urban
political systems and state institutions;
this highlights the correlation between the rise in social movements and the
growing discontent of minority populations, which is addressed by Lemonade.
Gilroy’s hypothesis can be applied to Black Lives Matter, an ideological and political
movement for Black lives that are systematically and intentionally targeted for
demise.
The movement has sparked several protests against current issues such as police
brutality, and has seen many join the fight against Black oppression within the
system and anti-Black racism. The rhetoric’s of current movements such as Black
Lives Matter and the Black Panthers have been a focus point throughout
Lemonade. This suggests that the past and present of Black people and women interconnect,
and Lemonade shows this by highlighting the continuing struggle Black women
have been facing over the decades, demonstrating the relevance of Black
feminism today. In terms of the extent of portrayal of the
various identities of Black women, aspects such as race, gender and sexuality
are intersectional in Lemonade, and this conveys a sense of acceptance and
pride while also encouraging Black women to overcome their struggles through
unity. As a result, Lemonade becomes appealing due to it reaching out to all
the marginalised voices of America. The narrative of Lemonade creates a
platform in which the identity that would often be shunned is appreciated and
admired. Whether Black feminism is under threat due to changing sphere of politics
is debatable. The aftermath of Donald Trump’s election has resulted in an
increase of racist incidents,
which provides to be a threat to the safety of not only Black women but all
minority ethnic groups. Nevertheless, the concept of Black feminism and the
popularity of social movements fighting for the protection of rights for
minorities are growing in strength and sustainability, and the surge in social
awareness suggests that these movements are unlikely to die out.
In conclusion, Beyoncé’s Lemonade and Black
feminism go hand in hand in terms of representing the difficulties Black women
have faced throughout history. Lemonade is ultimately a symbol, crafted to
portray the oppressions of Black women and their desire for freedom from society’s
expectations and degradation. Beyoncé has successfully portrayed the concept of
Black feminism, through struggle and eventual freedom. As they say, if life
gives you lemons, make Lemonade.
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