- Jahrgang 67 (2022)
- Vol. 67 (2022)
- >
- Ausgabe 2
- Nr. 2
- >
- Seiten 199 - 218
- pp. 199 - 218
A Battle or a Conversation: Imagining Africa and Its Diaspora in Beyoncé’s "Black Is King" and "Lemonade"
Seiten 199 - 218
DOI https://doi.org/10.33675/AMST/2022/2/9
open-access
This publication is distributed under the terms of the Creative Commons License Attribution - NonCommercial - NoDerivatives 4.0.
In her visual albums "Black Is King" (2020) and "Lemonade" (2016), pop artist Beyoncé engages with audiovisual representation as a way of "rewriting" existing narratives of Blackness and re-presenting the African diaspora and the African continent. The albums navigate a contentious space in which feminist empowerment mingles with sexual objectification and conservative gender roles, oppression is countered by hyper-capitalist consumption, African and Afrodiasporic cultures are mobilized or appropriated, and powerful counter-narratives are made in ways that can seem like hegemony reproduced. In this paper, I argue that a determinant factor of the ability to navigate those complexities is the notion of "community": its representation, its scope, and its tensions. Both formally and in content, Beyoncé and her co-creators’ audiovisual narratives stimulate a reflection on how to make the individual collective, the personal political, and how to unite disparity into “the Black diaspora” as a community and an addressee. Beyoncé’s Afrodiasporic projection requires strong authorship and the creation of a unifying myth. The ensuing narrative and profitability imperatives provoke the question whether Beyoncé’s visual albums can truly be sites for the envisioning of the African diaspora as a community marked by diversity, tension, and negotiation.
1 Adi, Hakim. Pan-Africanism: A History. London: Bloomsbury, 2018. Print.
2 Almeida, Ana Beatriz. “Black Is King: A Decolonial Analysis.” SP-Arte 365. SP-Arte, 4 Aug. 2020. Web. 29 Mar. 2022. https://www.sp-arte.com/en/editorial/black-is-king-a-decolonial-analysis/.
3 Als, Hilton. “The Black Excellence of Kahlil Joseph.” The New Yorker. Condé Nast, 6 Nov. 2017. Web. 29 Mar. 2022. https://www.newyorker.com/magazine/2017/11/06/the-black-excellence-of-kahlil-joseph.
4 Beverly, Michele Prettyman. “To Feel like a ‘Natural Woman’: Aretha Franklin, Beyoncé and the Ecological Spirituality of Lemonade.” The Lemonade Reader. Ed. Kinitra Dechaun Brooks and Kameelah L. Martin. London: Routledge, 2019. 166-82. Print.
5 Beyoncé, prod. Beyoncé: Lemonade. HBO, 2016. Web.
6 ---. dir. Black Is King. Disney+, 2020. Web.
7 ---. “‘Self-Titled’: Part 1. The Visual Album.” YouTube, uploaded by Beyoncé, 13 Dec. 2013. Web. 29 Mar. 2022. https://www.youtube.com/watch?v=IcN6Ke2V-rQ.
8 ---. “I typically keep comments short and sweet, but I just watched the trailer with my family and I’m excited […].” Instagram. 29 June 2020. Web. 29 Mar. 2022. https://www.instagram.com/tv/CCAMxfrHjAL/.
9 Brooks, Daphne A. “The Lady Sings Her Legacy.” Introduction. The Lemonade Reader. Ed. Kinitra Dechaun Brooks and Kameelah L. Martin. London: Routledge, 2019. 161-65. Print.
10 Brooks, Kinitra Dechaun, and Kameelah L. Martin, eds. The Lemonade Reader. London: Routledge, 2019. Print.
11 Carter, Terry Jr. “The ‘Blue Man’ in Beyoncé’s Black Is King Film Has a Bigger Meaning Than You Probably Realized.” BuzzFeed. Buzzfeed, 7 Aug. 2020. Web. 29 Mar. 2022. https://www.buzzfeed.com/terrycarter/blue-man-black-is-king-meaning-interview.
12 Chauke, Paballo. “Someone with the Range Must Unpack […].” Twitter. 28 June 2020. Web. 29 Mar. 2022. https://twitter.com/ChatWithChauke/status/1277121091274715136.
13 Costa, Cassie da. “The Profound Power of the New Solange Videos.” The New Yorker. Condé Nast, 24 Oct. 2016. Web. 29 Mar. 2022. https://www.newyorker.com/culture/culture-desk/the-profound-power-of-the-new-solange-videos.
14 Crumpton, Taylor. “Beyoncé, the African Diaspora, and the Baptism of Black Is King.” The Ringer. The Ringer, 4 Aug. 2020. Web. 29 Mar. 2022. https://www.theringer.com/movies/2020/8/4/21353713/beyonce-black-is-king-african-diaspora-orisa-oshun.
15 Cuchna, Cole, and Titi Shodiya, hosts. “Black Is King.” Dissect. Spotify Studios, 25-30 Jan. 2020. Web. 29 Mar. 2022. https://open.spotify.com/show/2b025hq3gJ17tQdxS3aV43?si=lHI910a4QDKrFbUe-JsLRA.
16 Diagne, Souleymane Bachir. “In Praise of the Post-Racial: Negritude beyond Negritude.” Third Text 24.2 (2010): 241-48. Web. 29 Mar. 2022. https://doi.org/10.1080/09528821003722249.
17 Duan, Noel Siqi. “Policing Beyoncé’s Body: ‘Whose Body Is This Anyway?’” The Beyonce Effect: Essays on Sexuality, Race and Feminism. Ed. Adrienne Trier-Bieniek. Jefferson, NC: McFarland, 2016. 55-74. Print.
18 Edwards, Brent Hayes. The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism. 2003. Cambridge, MA: Harvard UP, 2009. Print.
19 ---. “The Uses of Diaspora.” Social Text 19.1 (2001): 45-73. Print.
20 Edwards, Erica B., Jennifer Esposito, and Venus Evans-Winters. “Does Beyoncé’s Lemonade Really Teach Us How to Turn Lemons into Lemonade?: Exploring the Limits and Possibilities through Black Feminism.” Taboo: The Journal of Culture and Education 16.2 (2017): 85-96. Web. 29 Mar. 2022. https://doi.org/10.31390/taboo.16.2.08.
21 Ewing, Adam. “Lying Up a Nation: Zora Neale Hurston and the Local Uses of Diaspora.” Callaloo 37.1 (2014): 130-47. Print.
22 Fatoba, Kemi. “Black Is King: Did Beyoncé Deliver or Has the African Continent Been Misrepresented.” The Face. The Face, 3 Aug. 2020. Web. 29 Mar. 2022. https://theface.com/music/beyonce-black-is-king-video-release-disney.
23 Fulton, Will. “‘A Scientist of Songs’: Beyoncé, the Recording Studio, and Popular Music Authorship.” Beyoncé: At Work, On Screen, and Online. Ed. Martin Iddon and Melanie L. Marshall. Bloomington: Indiana UP, 2020. 40-67. Web. 29 Mar. 2022. https://doi.org/10.2307/j.ctv1b742hs.5.
24 Harper, Paula. “Beyoncé: Viral Techniques and the Visual Album.” Popular Music and Society 42.1 (2019): 61-81. Web. 25 Feb. 2022. https://doi.org/10.1080/03007766.2019.1555895.
25 Highsmith, Lauren V. “Beyoncé Reborn: Lemonade as Spiritual Enlightenment.” The Lemonade Reader. Ed. Kinitra Dechaun Brooks and Kameelah L. Martin. London: Routledge, 2019. 133-43. Print.
26 hooks, bell. “Beyoncé’s Lemonade Is Capitalist Money-Making at Its Best.” The Guardian. Guardian Media Group, 11 May 2016. Web. 29 Mar. 2022. http://www.theguardian.com/music/2016/may/11/capitalism-of-beyonce-lemonade-album.
27 Irele, F. Abiola. “‘What Is Africa to Me?’: Africa in the Black Diaspora Imagination.” Souls: A Critical Journal of Black Politics, Culture, and Society 7.3-4 (2005): 26-46. Web. 29 Mar. 2022. https://doi.org/10.1080/10999940500265417.
28 Jackson, Lauren Michele. “Beyoncé’s Knowing Ethnic Splendor in Black Is King.” The New Yorker. Condé Nast, 3 Aug. 2020. Web. 29 Mar. 2022. https://www.newyorker.com/culture/culture-desk/beyonces-knowing-ethnic-splendor-in-black-is-king.
29 Johnson, Birgitta J. “She Gave You Lemonade, Stop Trying to Say It’s Tang: Calling Out How Race-Gender Bias Obscures Black Women’s Achievements in Pop Music.” The Lemonade Reader. Ed. Kinitra Dechaun Brooks and Kameelah L. Martin. London: Routledge, 2019. 234-45. Print.
30 Jones, Nicholas R. “Beyoncé’s Lemonade Folklore: Feminine Reverberations of Odú and Afro-Cuban Orisha Iconography.” The Lemonade Reader. Ed. Kinitra Dechaun Brooks and Kameelah L. Martin. London: Routledge, 2019. 88-97. Print.
31 The Lion King. Dir. Roger Allers and Rob Minkoff. Walt Disney, 1994.
32 The Living Bible. Bible Gateway, n. d. Web. 29 Mar. 2022. https://www.biblegateway.com/passage/?search=Ezekiel 36%3A1&version=TLB.
33 Lubin, Alex. Geographies of Liberation: The Making of an Afro-Arab Political Imaginary. Chapel Hill: U of North Carolina P, 2014. Print.
34 McGee, Alexis. “The Language of Lemonade: The Sociolinguistic and Rhetorical Strategies of Beyoncé’s Lemonade.” The Lemonade Reader. Ed. Kinitra Dechaun Brooks and Kameelah L. Martin. London: Routledge, 2019. 55-68. Print.
35 Morgan, Marcyliena. “African American Women’s Language.” African American Women’s Language: Mother Tongues United. The Oxford Handbook of African American Language. Ed. Jennifer Bloomquist, Lisa J. Green, and Sonja L. Lanehart. Oxford: Oxford UP, 2015. Web. 4 Mar. 2022. https://doi.org/10.1093/oxfordhb/9780199795390.013.42.
36 Morris, Wesley, et al. “Beyoncé’s ‘Black Is King’: Let’s Discuss.” New York Times. New York Times, 31 July 2020. Web. 29 Mar. 2022. https://www.nytimes.com/2020/07/31/arts/music/beyonce-black-is-king.html.
37 Obie, Brooke. “Beyoncé’s Black Is King Offers a Blueprint for Decolonizing Black America.” Esquire. Hearst Magazine Media, 11 Aug. 2020. Web. 29 Mar. 2022. https://www.esquire.com/entertainment/music/a33564645/beyonce-black-is-king-symbolism-meaning-analysis-masculinity/.
38 Olutola, Sarah. “I Ain’t Sorry: Beyoncé, Serena, and Hegemonic Hierarchies in Lemonade.” Popular Music and Society 42.1 (2019): 99-117. Web. 25. Feb. 2022. https://doi.org/10.1080/03007766.2019.1555897.
39 Omovbude, Stephanie. “Black Is King Hair Ornaments: An Ode to the African Culture.” The Guardian. Guardian Media Group, 23 Aug. 2020. Web. 29 Mar. 2022. https://guardian.ng/life/black-is-king-hair-ornaments-an-ode-to-the-african-culture/.
40 Roberts, Kamaria, and Kenya Downs. “What Beyoncé Teaches Us about the African Diaspora in ‘Lemonade.’” PBS NewsHour. NewsHour Productions, 29 Apr. 2016. Web. 29 Mar. 2022. https://www.pbs.org/newshour/arts/what-beyonce-teaches-us-about-the-african-diaspora-in-lemonade.
41 Singh, Simboonath. “Resistance, Essentialism, and Empowerment in Black Nationalist Discourse in the African Diaspora: A Comparison of the Back to Africa, Black Power, and Rastafari Movements.” Journal of African American Studies 8.3 (2004): 18-36. JSTOR. Web. 25 Feb. 2022. https://www.jstor.org/stable/41819054.
42 Spivak, Gayatri Chakravorty. “Subaltern Studies: Deconstructing Historiography.” Selected Subaltern Studies. Ed. Ranajit Guha and Gayatri Chakravorty Spivak. New York: Oxford UP, 1988. 3-32. Print.
43 Stewart, Lindsey. “Something Akin to Freedom: Sexual Love, Political Agency, and Lemonade.” The Lemonade Reader. Ed. Kinitra Dechaun Brooks and Kameelah L. Martin. London: Routledge, 2019. 19-30. Print.
44 Thomas, Dominic. Black France: Colonialism, Immigration, and Transnationalism. Bloomington: Indiana UP, 2007. Print.
45 Tinsley, Omise’eke Natasha. Beyoncé in Formation: Remixing Black Feminism. Austin: U of Texas P, 2018. Print.
46 Tinubu, Aramide. “Interlude G: Erasing Shame: Beyoncé’s Lemonade and the Black Woman’s Narrative in Cinema.” The Lemonade Reader. Ed. Kinitra Dechaun Brooks and Kameelah L. Martin. London: Routledge, 2019. 246-49. Print.
47 Tuialii, Tiana. “Baptisms of Fire and Blood: The Bible and Beyoncé’s Lemonade.” Auckland Theology & Religious Studies, 24 Dec. 2016. Web. 29 Mar. 2022. https://aucklandtheology.wordpress.com/tag/baptism/.
48 Vernallis, Carol. “Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video.” Film Criticism 41.1 (2017): n. pag. Web. 25 Feb. 2022. https://doi.org/10.3998/fc.13761232.0041.105.
49 Vernallis, Carol, Lisa Perrott, and Holly Rogers. “Beyoncé’s Lemonade: She Dreams in Both Worlds.” FilmInt. FilmInt., 2 June 2016. Web. 29 Mar. 2022. http://filmint.nu/beyonces-lemonade-lisa-perrott-holly-rogers-carol-vernallis/.