Taboo: The Journal of Culture and Education Volume 16 | Issue 2 Article 5 September 2017 How #BlackGirlMagic Cultivates Supreme Love to Heal and Save Souls That Can Heal and Save the World: An Introduction to Endarkened Feminist Epistemlogical and Ontological Evolutions of Self Through a Critique of Beyoncé’s Lemonade Jeanine Staples Pennsylvania State University, University Park, Pennsylvania,
[email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/taboo Recommended Citation Staples, J. (2018). How #BlackGirlMagic Cultivates Supreme Love to Heal and Save Souls That Can Heal and Save the World: An Introduction to Endarkened Feminist Epistemlogical and Ontological Evolutions of Self Through a Critique of Beyoncé’s Lemonade. Taboo: The Journal of Culture and Education, 16 (2). https://doi.org/10.31390/taboo.16.2.05 JeanineTaboo, Fall Staples 2017 29 How #BlackGirlMagic Cultivates Supreme Love to Heal and Save Souls That Can Heal and Save the World An Introduction to Endarkened Feminist Epistemlogical and Ontological Evolutions of Self Through a Critique of Beyoncé’s Lemonade Jeanine M. Staples The Lemons in Lemonade Beyoncé’s 2016 visual album, Lemonade, is an artistic and conceptual triumph. It is filled with cultural references from powerhouse literature like Hurston’s Their Eyes Were Watching God, Morrison’s The Bluest Eye and Sula, Butler’s Kindred, and the poetry of newcomer Warsan Shire.1 It presents a tapestry of journey method through iterations of consciousness and experiences that are tied to a feminine and Black feminist tradition/s. Each of the album’s eleven chapters, from “Intuition” to “Redemption,” contains critical expressions and creative embodiments of a human predicament assigned to women, to Black women in particular: t/Terror in love.