Beyonces Black Southern Formation - Rolling Stone
Beyonces Black Southern Formation - Rolling Stone
Beyonces Black Southern Formation - Rolling Stone
Beyonce's Black
Southern 'Formation'
Her latest video and Super Bowl performance center some of America's most
marginalized groups
Beyonce's entrance at the Super Bowl 50 halftime show nodded to the iconic style of the Black Panther Party.
Harry How/Getty
By
Zandria F. Robinson
February 8, 2016
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Yet along with this easily discernible symbol of a national black justice
movement, one like today's movement, Beyoncé nodded in particular
towards the South and her southern heritage. It was the Black Panther
Party in Lowndes County, Alabama, also known as the Lowndes County
Freedom Organization, that inspired the founding of the Oakland-based
group with which we are now familiar. As Beyoncé reminds us in the
lead-up to one of the hooks on "Formation," her father and mother's
respective Alabama and Louisiana backgrounds begot her – a "Texas
Bama" who likes her daughter's "baby hair" to be in an afro, who prefers
her partner's nose with "Jackson Five nostrils," and who keeps hot
Beyoncé has a long history of using her pop platform to make her
regional birthright explicit. For 2008's "Single Ladies", she drew on
choreography inspired by Jackson State University's Prancing J-Settes.
The Houston screw sound was central to 2013's "Bow Down/I Been
On", on which she tells us that she snuck and listened to UGK, ate
boudin in the parking lot and wore dookey braids. Later that same year,
"No Angel" was a visual love letter to a gritty black Houston. Through
this work, Beyoncé has quietly built her position in global pop by
claiming and accomplishing a black southern specificity, albeit one
largely contained on the margins of how she presents herself as an
artist.
Beyoncé sits on a sinking New Orleans police car in her "Formation" video, in an image that echoes the violent impact of
Hurricane Katrina.
But the video for "Formation" does not settle for restrained allusions to
black southern identity or an easy conversion of black southern into
black American. In her latest work, Beyoncé opts to tell a sweeping
history of her southern identity and the black South writ large, bringing
the weight of black New Orleans, past and present, and black women's
and queer black men's cultures to the task. The voices of black queer
artists Messy Mya and Big Freedia provide opening context and
guidance for the formation of country, southern black identity. Women
sit in parlors fanning themselves carefully and twirling umbrellas,
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