Why We Need to Get in “Formation”: the Rhetoric of Beyoncé Kira Marie Pratt | University of Denver
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Why We Need to Get in “Formation”: The Rhetoric of Beyoncé Kira Marie Pratt | University of Denver Following the 2016 releases of the single “Formation” and the album Lemonade by singer Beyoncé, America broke into contentious debate regarding the political and thematic content of the songs and their accompanying videos. This essay explores the rhetoric of Beyoncé’s music video and song “Formation” and a portion of the visual album for Lemonade, analyzing how her depiction of black culture effectively opposes the dominant colorblind ideology of contemporary society. Furthermore, this analy- sis seeks to make an argument for why this current “moment” in popular culture actually has significance for the expanding national Black Lives Matter movement for racial justice and equality. The popular music industry, composed of and others denigrating it, calling it a catchy songs with little substantive ideologi- “race-baiting stunt” of “hate speech and cal matter, is often considered to be a site of racism” (Moyer). In spite of this, the bland frivolity and normative compliance. “Formation” movement only gained greater On occasion, however, a major release that momentum. In late April of 2016, Beyoncé deviates from the standards of triviality can released Lemonade, the visual album from be embraced by national audiences and pro- which the song derives. Despite rumors voke controversy that may generate swirling that the record was solely about profound social implications. In February of troubles in her marriage with rapper Jay-Z, 2016, the song “Formation,” by popular the theme of black culture featured through- music icon Beyoncé, became one such out was too prominent to be dismissed. instance of this phenomenon. Circulation of Contrary to what one would assume, even the hit song and its music video coupled with her intensely political themes, images, with a highly polemical Super Bowl half- and messages giving voice to black America time performance only days later prompted and its persisting social justice struggles, a fervent debate about race in America. Beyoncé has successfully captivated audi- Containing poignant imagery of black cul- ences across racial, ethnic, and class lines. ture and blatant references to black power, This ability has aptly been attributed to the Malcolm X, and the Black Panther Party, as “conundrum of Beyoncé”—the notion “that well as the Black Lives Matter movement— she is for everyone, and yet she is not for which has itself incited a rift in American everyone” (Blay). society over the last few years— “Formation” In a society where social perceptions and effectively roused the attention of the nation. interactions are guided by a predominating Following the halftime performance, dis- ideology of “colorblindness,” it makes little sension, primarily between black and white sense that a musical project like Beyoncé’s communities, had some exalting the display could thrive as much as it has (O’Brien and 70 | Young Scholars in Writing Korgen 356). Under colorblind culture, the more negotiated understanding of media idealized demonstration of race moves messages as a result of their various predis- toward “ethnic ambiguity” in both aesthetic positions and experiences (as opposed to appearance and cultural displays. The socie- their submission to a “hypodermic needle” tal shift to “multiracialism is now so marked influence). While it may be practically that some believe the time has come to dis- impossible for Beyoncé alone to have a miss race altogether as a useful social definitive impact on race relations, I argue indicator”; as one individual in a survey for that it is still reasonable to assert that The Guardiandescribes it, “Trying to define “Formation” and Lemonade are invaluable in people by the old race labels just doesn’t revolutionizing national conceptions of race. work any more” (Arlidge). Colorblind ideol- By analyzing crucial elements of the song ogy fosters the belief that “the barriers and music video for “Formation” and the between black and white are really coming visual album for Lemonade, I intend to illus- down,” and at a surface level, this may trate that Beyoncé and her recent creations appear to be true (Arlidge). However, do not merely constitute another fleeting according to cultural theorists Eileen “moment” of substance in an otherwise O’Brien and Kathleen Korgen, the perpetu- superficial world of popular culture. In ation of colorblindness enables the order to form a more holistic consideration “minimization of racism” or the denial of of Beyoncé’s current impact, I felt that it actual differences in social experiences and was also imperative to conduct empirical outcomes due to race (359). Racial discrimi- research in order to discover how general nation is then believed to be something audiences and even academic scholars were “that is rare, and occurs only in isolated, responding to the projects. Synthesizing the fluke incidents, if at all” (359). This belief breadth of my textual analysis and primary generates “a great ‘perception gap’ between research along with existing criticism, it blacks and whites about the extent of con- becomes evident that the value of Beyoncé, temporary discrimination, with whites “Formation,” and Lemonade far transcend largely underestimating it”—ultimately, to their simple pop culture allure. Due to their the detriment of race relations (359). promotion of social awareness and justice I posit that this is where Beyoncé enters through authentic depictions of the black the scene. By disseminating racially-driven, experience, as well as their visibility and political messages that draw attention to potential to mobilize and unify across racial the realities of the black experience in con- lines, these pieces, I propose, are impactful temporary America, Beyoncé can effectually enough to contest colorblindness and assist send shocks to the prevailing system, which in advancing the national movement for can encourage social awareness and, in turn, racial equality in America. For this compre- improve racial dynamics. Of course, imply- hensive analysis, I will first rhetorically ing that her music and videos will invariably analyze Beyoncé’s songs and videos of have such a definitive and complete impact “Formation” and Lemonade; then, in the sec- is, perhaps, a naïve approach to analyzing ond half of this essay, I will discuss the them rhetorically; doing so would require results of my research including general refutation of widely accepted media theo- population surveys and interviews with ries that concede that consumers have a scholars. I will then conclude this inquiry Author | 71 with the reasons that I purport this current at the very least provides an outlet for indi- Beyoncé spectacle to be of salience. viduals to begin a racial sensitization process that recognizes the fallacy of Analyzing the Rhetoric of Beyoncé: post-racialization and additionally serves as Using Black Signifiers and Emblematic “a subtle reminder that black culture is Visuals to Appeal to Black Collectivism taken for granted” (Blay). Even though One aspect of Beyoncé’s projects that many of the expressions may require deeper makes them important in this national deliberation as to their meaning, they serve movement is their genuine portrayals of as effective rhetorical appeals to black and what it means to be black in contemporary white audiences alike. America. As Johnnetta B. Cole asserts in Achieved through clever nods to that “Culture: Negro, Black and Nigger1,” an which is inextricably black, Beyoncé’s exal- essay for The Black Scholar (1970), “One of tation of black culture utilizes what the many offshoots of the Black Liberation scholars have long referred to as black “sig- movement is an increased awareness of nifiers”—vernacular and visual inclusions being black…turning attention to the com- that are generally associated with black plexities and glories of Afro-American communities. In Stuart Hall’s articulation, history, probing the psychology of being evocation of black culture “in its expressiv- black, and seeking the boundaries of black ity, its musicality, its orality, in its rich, subculture” (40). The imagery and the- deep, varied attention to speech, in its matic overtones throughout “Formation” inflections toward the vernacular and the and Lemonade explore this very space. They local, in its rich production of counter-nar- simultaneously celebrate the vitality of ratives, and above all, in its metaphorical black culture to the appeal of black audi- use of the musical vocabulary” often draws ences and foster cultural understanding in extensively from use of the black signifier white audiences; moreover, they openly (378). In simplified terms, Henry Louis address critically relevant topics of greater Gates explains “[s]ignifyin(g)…is the figu- contention, such as police brutality. rative difference between the literal and the Beyoncé’s allusions, carefully integrated metaphorical, between surface and latent into “Formation” and the rest of Lemonade, meaning” (82, 75)—a black rhetorical are pointed statements that draw attention device of sorts. to the social injustices that continue to sub- One signifier that Beyoncé uses is the jugate black communities. Undoubtedly, to afro hairstyle that she and her black dancers a society that holds stock in a colorblind flaunt in “Formation” and at different times ideology, such direct references to “black- throughout Lemonade. Lyrically, she even ness” and all that the concept connotes can expresses reverence for the characteristically be inflammatory. Yet, by forcing “white black silhouette, stating: “I like my baby fans…to engage with her blackness and heir with baby hair and afros” (Beyoncé, black issues in a real way,” Beyoncé’s work “Formation”). With associative use of the 1 The author and editor have, with reservations, decided to preserve Cole’s original writing of what was then and is now culturally recognized as a racial slur, rather than censoring it to “N*****” or equivalent, specifically because of Cole's purpose in printing the word to begin with. 72 | Young Scholars in Writing word “heir,” Beyoncé ascribes the hairstyle a urging discourse to redefine what is valued status of regality.