From Bandannas to Berets: a Critical Analysis of Beyoncé's “Formation” Music Video by Kesha Shalyn James a Thesis Submit
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From Bandannas to Berets: A Critical Analysis of Beyoncé’s “Formation” Music Video by Kesha Shalyn James A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts in Communication Auburn, Alabama August 5, 2017 Keywords: Beyoncé, Formation, Black women, Black music, Black culture, media representations Copyright 2017 by Kesha Shalyn James Approved by Susan L. Brinson, Chair, Professor of Communication & Journalism George Plasketes, Professor of Communication & Journalism Kevin Smith, Associate Professor of Communication & Journalism Abstract The release of Beyoncé’s “Formation” music video as well as her debut performance of the song at the 2016 Super Bowl has incited debate and controversy across the United States. While some feel empowered and prideful, others are angered and outraged by the lyrical and visual messages Beyoncé communicates in this mediated text. Applying a critical/cultural studies perspective lens, this study explains how Beyoncé challenges the sexist and racist dominant ideology in the United States. Critically analyzing the visual and lyrical composition of “Formation,” this analysis interrogates the messages of both race and gender as well as the representation of Black Women. The findings indicate a direct challenge to white androcentric power as the visuals and lyrics re-appropriate stereotypical images of Black Women, thus demonstrating Black Women’s power and dominance in society. The implications of explaining the ways in which Beyoncé communicates what and how it means to be a Black Woman in “Formation” inform and explain the social, political, and economic reality of Black Women in the United States today, as mediated texts re-present everyday reality. ii Acknowledgments To begin, I thank Dr. Brinson, my Committee Chair, for her constant guidance, encouragement, and assistance in the construction, research, and editing process of this project. Whether it was the weekly meetings, countless emails, or occasional phone calls, I am sincerely grateful for her dedication and support not just as a professor, but also a mentor and friend. It was an honor to work with someone who I not only admire and respect, but someone who challenged me intellectually to grow and transform my thought. Through this transformation, I realized my true passions in life as well as understand how I can help to create and influence change and for that, I am truly thankful. Additionally, I would like to thank my family. It is practically impossible to convey the amount of gratitude I have for each of you, but the relationships, knowledge, and love I receive from you gives me the confidence to pursue my goals. To my mother, Sandy James, whose constant support I relied on to complete this project. Throughout this process, my mother listened to ideas and written excerpts, heard my anger and outrage about the injustice of marginalized groups, and uplifted me with numerous pep talks. Thank you for always being in my corner, and I am truly thankful and appreciative of your unconditional love, advice, and friendship. And to my two sisters in formation alongside me, Nikki and Lexy. I thank you for your love, support, and enthusiasm throughout this process. You both inspire and motivate me daily, and I am deeply thankful for our sister bonds and friendship. Lastly, I thank the Black Women, the Black community, and all those considered “Other” in the United States. Thank you for your struggle, for your strength and determination, for your unique culture, and for your continuous effort to celebrate your individuality and identity. Whether it was from my observations, friendships, conversations, or research, you all truly inspired, empowered, and motivated me to continue in this year long process. iii Table of Contents Abstract ......................................................................................................................................... ii Acknowledgments........................................................................................................................ iii List of Images .............................................................................................................................. vi Giving Them Something to Talk About: Expressing the Voices of the Marginalized ................. 1 Resistin’ and Representin’: Race and Gender Context of the United States ................................ 7 Race and Hurricane Katrina ..................................................................................................... 7 Race and Black Lives Matter Movement............................................................................... 15 Media Representations of Black Women .............................................................................. 24 Black Women and Music Videos .......................................................................................... 39 Beyoncé: Making the Personal Political ..................................................................................... 52 Invisible No More: Critiquing the Lenses of Sex, Gender, and Power ...................................... 76 Theoretical Framework ......................................................................................................... 76 Mediated Texts and Critical/Cultural Studies ........................................................................ 79 Objective of Critical/Cultural Studies .................................................................................... 83 “Formation” Synopsis ............................................................................................................ 85 Research Question and Sub-questions ................................................................................... 88 X Marks the Spot: Black Women Learning to Love, Heal, and Demand Power ..................... 113 Black Women’s Autonomy and Sexuality—Unknown Identity (X) ................................... 114 iv Black Womanhood—Multiplication (X) ............................................................................. 136 Beyoncé as Deity—Christ (X) ............................................................................................. 152 Exalted and Exonerated: Seeking Justice and Liberation for All ............................................. 169 v List of Images Image 1 ..................................................................................................................................... 121 Image 2 ..................................................................................................................................... 124 Image 3 ..................................................................................................................................... 129 Image 4...................................................................................................................................... 132 Image 5...................................................................................................................................... 138 Image 6 ..................................................................................................................................... 143 Image 7 ..................................................................................................................................... 145 Image 8 ..................................................................................................................................... 146 Image 9...................................................................................................................................... 148 Image 10.................................................................................................................................... 150 Image 11 ................................................................................................................................... 151 Image 12 ................................................................................................................................... 159 Image 13 ................................................................................................................................... 161 vi Giving Them Something to Talk About: Expressing the Voices of the Marginalized “You know you that bitch when you cause all this conversation, always stay gracious, best revenge is your paper.” Standing outside of an old New Orleans plantation home, Beyoncé lifts the black hat that conceals her face, looks directly into the video camera, and expresses this sentiment in the concluding lyrics of “Formation,” which, indeed, generated much conversation. Prior to the day Beyoncé performed in Levi’s Stadium at the Super Bowl 50 halftime show, she broke the Internet with the February 6, 2016 release of her “Formation” video that incited a frenzy of discussions and conversations. Shocking her fans and the world, the controversial music video prompted a significant and critical discussion of social and political issues, specifically regarding race and gender, in the United States. Regardless of the viewers and listeners’ reactions of “Formation”—whether they liked it, disliked it, agreed, or disagreed—they were talking (Caramanica, Morris, & Wortham, 2016). While the unannounced release of Beyoncé’s “Formation” video shocked and excited fans, this was not the first time the artist launched her music and videos without prior notice to the public, having previously