Black Feminism, Pop Music, Beyonce Knowles

Beyonce is an image icon who presents three different identities in music videos: the singular self, the hybrid self, and the integrated self. Her representations call attention to class performances of racialized gender and sexuality by Black women. Drawing from hip-hop feminism, the author discusses how the singer's shift in representation signaled a shift in the cultural criticism produced about Beyoncé within a ten-year period.

Tesis dirigida por Amparo Lasén.
Desde hace varios años algo ha cambiado en el panorama mediático, el feminismo como mensaje político ha venido diseminándose en diversas plataformas, medios y ha formado parte de las declaraciones de celebridades de muy distinta índole. Marcas de ropa y productos asocian sus valores al feminismo y movimientos como FEMEN, Pussy Riot o el #MeToo han ocupado portadas internacionales y debates profundos. En esta tendencia insertamos el trabajo que la cantante Beyoncé está desarrollando desde hace varios años, utilizando sus shows y videoclips como escenario para lanzar determinadas consignas políticas que tienen que ver con su género y su raza: sampleando el discurso feminista de la escritora nigeriana Chimamanda Ngozi Adichie en su show de la gala MTV Music Award 2014, homenajeando a las Panteras Negras o haciendo guiños al movimiento #BlackLivesMatter y a la cultura afroamericana. Su caso ha recibido elogios y críticas muy duras por distintos sectores de la sociedad y desde diversas esferas. Muchas mujeres -cis y trans-, especialmente negras, se han identificado con su discurso reconociendo en él un carácter empoderante; otras voces han señalado su falta de autenticidad por diversos motivos...

In this special issue of Taboo, the authors use Beyoncé's album, Lemonade, to introduce the concept of the Bad Bitch Barbie, a term used to identify a woman who embraces her body while simultaneously using it as a commodity. Representing a Black body ideal in Lemonade, Beyoncé uses images of Black women's bodies to express empowerment, boldness, and resilience as Black women struggle to live in a racist and sexist society. There has been recent interest in the ways Black women have been portrayed in current media and popular culture, and many individuals have taken the opportunity to honor Black women's beauty, power, and resilience in the era of #BlackGirlMagic by paying homage to women who use music, sound, and the arts to tell their stories (Wilson, 2016; also see Jessica Care Moore's website, " Black Women Rock " [http://www.blackwomenrock.com]). In this article, our aim is twofold: first, we offer a historical review of the ways Black women and their bodies have been portrayed in music as well as in the political, cultural, and social spaces associated with Black women's worldviews. Second, we review songs from Lemonade to describe the Bad Bitch Barbie, who welcomes glamorization and embraces the profitability associated with the racialization, sexualization, and subjugation of Black women's bodies. This information is vital in discussions about how young African American girls emulate the likes of Beyoncé, and represent themselves in a mainstream culture whose beliefs are informed by socio-historical experiences concerning sexual imagery. The Bad Bitch Barbie figure recognizes—and, to some

Lo scopo di Beyoncé e Jay-Z non è certo illustrare o ricostruire il testo del poema nella sua specificità. Ciononostante, il videoclip Apeshit testimonia non soltanto la permanenza e la trasformazione della forma mentis tipologica ma anche la resistente potenzialità dell’immaginario dantesco, che continua a generare esiti imprevedibili: Dante, in qualche modo, ancora oggi continua a «produrre TV» (Iannucci 1994). Riscrivendo i termini fondamentali della categoria di tipologia, i Carter applicano un’enorme pressione sulla nozione di partenza, finendo per individuare in sé stessi – e nell’intera comunità afroamericana – il luogo del ‘ritorno potenziato’ (Ohly 1977). Siamo di fronte a un’ardita rielaborazione, o ‘deteologizzazione’, della figuralità scritturale, piegata alle necessità più urgenti della cultura black contemporanea.

This book explores, as one of the priorities of the feminist agenda in the 21st century, feminist education and awareness in pre-service and in-service teacher training. Although feminism is constantly present in political discourse and social media, it is not examined sufficiently in the classroom. This situation means that students approach feminism through media culture, lacking the feminist knowledge necessary to teach disciplinary knowledge from the feminist perspective. Feminist theory, as a critical theory, provides teacher training based on the formation of critical-creative thinking and the resolute interpretation of the relevant social issues of the world in which we live. We understand the process of ‘Feminist Critical Literacy’ outlined here as a plan to find a feminist utopia, specifically, in the training of teachers from all disciplines, although more oriented towards the Social and Human Sciences and Artistic Education through the use of multimodality as a pedagogical approach. If future teachers do not develop feminist cognitive lenses, they will not be prepared to teach women’s experiences and gender perspectives to their own students. This would then contribute to the endurance of an androcentric culture where there are no women’s models that can serve as a stimulus or be historical references for female students. Our idea of Feminist Critical Literacy stems from feminist literary criticism and critical literacy. Feminist Critical Literacy is defined as the hermeneutical process of suspicion (mainstream culture) and of performative deconstruction of multimodal texts (didactic produsage), the purpose of which is to generate feminist consciousness in teachers from an intersectional perspective; through the acquisition of critical, creative, empathetic, aesthetic, and empowering competencies that contribute to the formation of a fair, equal, and equitable glocal citizenship.

Este artículo continúa lo expuesto sobre Beyoncé y la ignorancia blanca. El pasado viernes 19 de abril, Netflix estrenó el documental escrito, dirigido y producido por Beyoncé, “Homecoming”, en el que visionamos de cerca su famosa actuación como cabeza de cartel en el festival Coachella de 2018. Ella es la primera mujer afroamericana en ostentar este puesto, desde la fundación del festival en 1999, no es de extrañar, por tanto, que Beyoncé decida producir un documental de esta y no de otra actuación.