How far does Beyoncé’s visual album Lemonade promote
the views and values of Black Feminism?
“The most
disrespected person in America is the black woman” – Malcolm X
Black Feminism is a feminist concept and
school of thought which flourished in the 60’s, yet it has often been
disregarded due to its lack of authenticity over the preferable mainstream form
of feminism. One may ask what the differences between these two similar
concepts are; the answer is simply racial privilege. Racial privilege has
allowed white women to have an increased ability to challenge gender-based
oppression, while still maintaining access and freedoms whereas women of colour
were routinely denied. Institutionalised racism, misogyny and oppression
within our societies have placed black women at the bottom of the social
hierarchy, making them victims to the discriminative societal standards. Crenshaw’s
Intersectionality theory[1]
epitomises the difficulties of black women; they cannot differentiate race from
class and sex 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 ultimately
symbolises their right to be liberated from the harsh standards that have been
implemented on them. Beyoncé has conveyed these struggles through her
recent 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 several discussions on the
issue and increasing social awareness. Nevertheless, the extent of this
portrayal is arguable, and this essay will outline the various connections
between the two through the exploration of Beyoncé’s text and the complexities
of Black Feminism.
The concept of Black Feminism itself has various
interpretations, and whether Beyoncé is an advocate for feminism is debatable.
Firstly, Black Feminism itself comes in many forms and feminists across America
have been debating this form of feminism Beyoncé proclaims, and whether or not
it really is feminism[2].
The term “Bey feminism” has been coined to describe this phenomenon, Beyoncé’s
form of feminism provides black women a way of negotiating, co-creating,
reinforcing and challenging their identities as black women in American society[3].
This form of feminism is predominant in Lemonade, as Beyoncé encourages her
audience to embrace their identities and appreciate their worth. In terms of
traditional Black Feminism, 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”[4],
whereas Berg defines feminism as “a broad movement embracing numerous phases of
women’s emancipation”[5].
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[6].
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.”[7]. Yet, it could be argued that Beyoncé is simply using her
influence and power to address these major issues. Therefore, it can be
interpreted to suggest 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”[8]. Secondly, the visual album carries themes of empowering black women and
the harsh experiences they have faced, indicating at the link with Black
Feminism in terms of empowering 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”[9],
and that Lemonade has to an extent represented these views.
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. Some of the most prominent
and major themes in the narrative connect to the emotions of anger, regret,
pain but also survival and happiness. 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 ease after all hardships.
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[10]. The poem at the
start of Anger juxtaposes the shots
of cheerleaders, creating a sinister atmosphere “If this 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 a
growing 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, independence and strength as a black woman, which carries 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 get out there. There is a reference to Malcom x through a
voiceover of his famous speech. "The most disrespected person in America
is the black woman. The most unprotected 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 is portrayed alongside shots of ordinary black
women in background, which creates a sense of normality and self-identification.
The song is ultimately radical while also heartfelt, carrying not only an
aesthetic appeal but also a motivational one. 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[11], 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[12].
The scene that accompanies the song is powerful and would resonate with the
audience due its sentimental tone. The audience see the mothers of the murdered
sons, Trayvon Martin, Eric Garner and Michael Brown holding their photos. This links to the growing issue of police
brutality and the weaknesses of the 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). In terms of iconography, the major themes of Lemonade are
portrayed effectively. For example, the use of tribal painting as seen on Beyoncé
in her song “Sorry” links back to the concept of black women loving themselves
and their cultural roots, and to not be ashamed of their identity. This is also
represented throughout Lemonade as we come across various dancers wearing their
hair in cultural afros and braids. Iconography is prominent in Formation. The
history of the Black Panther Party and its portrayal through the costume worn
by Beyoncé links to the 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 70’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. Movements
such as Black Feminism are fighting against this form 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[13].
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, such as
Zendaya, Amandla Stenberg and Quvenzhané Wallis. The use of significant black
personalities showcases black talent, the promotion of black individuals and their
creativity provides a platform for 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. Darker skin is privileged among Black
women artists, actresses, models, and dancers”[14].
Beyoncé’s ownership of her own label, Parkwood Entertainment,
indicates at her influence on the album due to
the fact she has ultimate the 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. The one who
didn’t use grieving mothers to shift records and further fill her already
massively enriched purse”[15].
This hints at the criticisms of Beyoncé for being inauthentic in her cause by
using feminism and women’s issues only as a means to sell albums[16].
However, it could be argued that Beyoncé is merely only 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 N.W.A,
Erykah Badu and A Tribe Called Quest, which would often discuss racial tensions
are present in the content produced by todays artists. This can be represented through artists such
as Kendrick Lamar whose album To Pimp a Butterfly, explored a variety of political and personal themes concerning African-American culture, racial inequality, and institutional discrimination[17].
Similarly, R&B artist Solange released an album with a social relevance in
terms of black oppression. Financial Times critic Ludovic Hunter-Tilney said like Beyoncé's Lemonade album, "A Seat at the Table explores themes of prejudice and
blackness”[18]
Music has become a platform for artists to use
their strengths and social influences to highlight issues through their mass
appeal and in theory, allowing the two-step flow model to take place. Beyoncé
has managed to effectively portray 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[19], 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, even
evolved 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[20].
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 is revealed by Professor of American and English Literature,
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[21],
this highlights the correlation between the rise in social movements and the
growing discontent of minority populations, which is one of the many issues
addressed by Lemonade. Gilroy’s hypothesis can be applied to the BLACK LIVES
MATTER movement,
an ideological and political movement for Black lives that are systematically
and intentionally targeted for demise[22].
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 political movements of the
past, such as the Black Panther Party, have been a focus point throughout
Lemonade, yet this has been asserted through the song Formation in terms of
mise-en-scene (graffiti asking America to “stop shooting us” and also the
costumes of the dancers which are in the edgy leather style of the Black
Panther Party). 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, thus 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 unheard inferior voices of America, the suffering and the hopeless. This is
demonstrated through the portrayal of Beyoncé as
a black woman engaging with the rhetoric of Black Lives Matter[23]
and Black Power. The narrative of Lemonade creates a platform in which
the identity that would often be shunned, as illustrated through the expressive
traditional attire and natural hair, is appreciated and admired. Lemonade is a bold
statement that our identities are a combination of our past and present, and
that black women need to unite under these aspects to create a better future, a
hopeful one as portrayed through the ending chapter of Lemonade. This is where Black
Feminism and Lemonade meet to create the ultimate message that being black
means beauty, strength, endurance and harmony. 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[24],
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.
Overall, Beyoncé’s Lemonade and Black Feminism
go hand in hand in the representation of the struggles of Black women throughout
history. Lemonade is ultimately a symbol, crafted to portray the struggles of
black women and their desire for freedom from societies hierarchy. Beyoncé has
successfully portrayed the concept of Black Feminism, through struggle and
eventual freedom. As they say, if life gives you lemons, make Lemonade.
[1] Intersectionality (2016, December 27).
In Wikipedia, The Free Encyclopaedia. Retrieved 05:43, December 27, 2016, from
https://en.wikipedia.org/w/index.php?title=Intersectionality&oldid=756850503
[2]Adria
Y. Goldman, VaNatta S. Ford, Alexa A. Harris, Natasha R. Howard Black Women and Popular Culture: The
Conversation Continues (Lexington Books, 30 Jul 2014) Pg. 156
[3]
Ibid. Pg. 157
[4]
Hill Collins Black Feminist thought (Routledge,
7 Dec 1999) pg.22
[5] Adria
Y. Goldman, VaNatta S. Ford, Alexa A. Harris, Natasha R. Howard Black Women and Popular Culture: The
Conversation Continues (Lexington Books, 30 Jul 2014) Pg. 159
[6]
Ibid. pg.158
[7]Bell
Hooks, Moving Beyond Pain http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain
Accessed: 29 December 2016
[8]
Ibid
[9]
Bell Hooks Feminism is for Everybody
(Pluto Press, 1 Apr 2020) Pg.55
[10] Misogynoir.
(2016, October 11). In Wikipedia, The Free Encyclopaedia. Retrieved
06:21, October 11, 2016,
from https://en.wikipedia.org/w/index.php?title=Misogynoir&oldid=743779348
[11] Postcolonial
feminism. (2016, December 24). In Wikipedia, The Free Encyclopaedia.
Retrieved 19:57, December 24, 2016, from https://en.wikipedia.org/w/index.php?title=Postcolonial_feminism&oldid=756510169
[12] Dee Locket Everything You Need to Know About Beyoncé’s New Visual Album, Lemonade
Vulture http://www.vulture.com/2016/04/your-guide-to-beyonces-lemonade-album.html
[13]
Kevin Ball Beyoncé’s Formation Film
Criticism http://quod.lib.umich.edu/f/fc/13761232.0040.309/--beyonce-s-formation?rgn=main;view=fulltext
[14]
Rana. A. Emerson “WHERE MY GIRLS AT?”
Negotiating Black Womanhood in Music Videos (Sage Publications, Feb 2002)
[15]
Piers Morgan the born-again-black woman
with a political mission MailOnline http://www.dailymail.co.uk/news/article-3557867/PIERS-MORGAN-Jay-Z-s-not-one-needs-nervous-Beyonce-born-black-woman-political-mission.html
[16] Adria
Y. Goldman, VaNatta S. Ford, Alexa A. Harris, Natasha R. Howard Black Women and Popular Culture: The
Conversation Continues (Lexington Books, 30 Jul 2014) Pg. 160
[17]To
Pimp a Butterfly. (2016, December 26). In Wikipedia, The Free Encyclopaedia.
Retrieved 04:53, December 26, 2016, from https://en.wikipedia.org/w/index.php?title=To_Pimp_a_Butterfly&oldid=756688942
[18] Hunter-Tilney,
Ludovic (October 7, 2016). "Solange Knowles: A Seat at the Table —
review". Financial Times. Retrieved October 29, 2016
[19] Adria
Y. Goldman, VaNatta S. Ford, Alexa A. Harris, Natasha R. Howard Black Women and Popular Culture: The
Conversation Continues (Lexington Books, 30 Jul 2014) Pg. 155
[20]
Bell Hooks Feminism is for Everybody
(Pluto Press, 1 Apr 2020) Pg.58
[21]
Paul Gilroy
There Ain't no Black in the Union Jack (University of Chicago Press, Dec 1991)
[22]BlackLivesMatter
http://blacklivesmatter.com/about/
[23]
Hunter Harris Beyoncé’s ‘Lemonade’ is a
Celebration of Black Identity http://www.indiewire.com/2016/04/beyonces-lemonade-is-a-celebration-of-black-identity-analysis-289327/
[24]
Katie Reilly Racist Incidents Are Up
Since Donald Trump’s Election. http://time.com/4569129/racist-anti-semitic-incidents-donald-trump/
