The Norm isn’t Nature

The irony that accompanies intersectional politics is an interesting one. One the one hand, while the various political movements come together aiming for justice for different groups, on the other hand, their very interaction excludes and marginalizes the interests of some subset of the groups, or creates yet another form of injustice. In other words, discriminations and oppressions overlap in intersectional politics. The question now is, if intersectional politics can be productive despite the aforementioned complexity.

Firstly, I would suggest that the term intersectional politics does primarily come with a productive potential. That is, it helps in eliminating the natural versus discursive dichotomy and opens the possibility of working with the ‘discourse’ part alone. Hence, the navigation of productivity becomes easier, thanks to Judith Butler. One may make peace with the idea that the natural or the real is an impossible realm. The norms and laws that exist around us are historical constructs only. They are not inherent in a natural, divine plan. Therefore, discourse is where energies should be directed. Discourse creates materiality. In other words, discourse acts as materiality. The next question now could be: Can we do away with the discourse altogether?

The answer is no. We cannot do away with discourse altogether, because we are confined. Our access and reach are limited. The space to act is limited. However, limited space does not mean non-existent space. It is the recognition of this space combined with the willingness and consciousness to push through it which challenges the norm. In other words, there is a limited space within discourse where act of amending, fighting or challenging it can take place. Regardless to mention, the ‘recognition’ that may or may not follow decides the how successful and effective the push is on a larger scale.

The productive potential also lies in the possibility of citations’ misfiring potential. When something betrays the endlessly repetitive cycle of norms, the citations collapse. The strength of the norms declines in that moment. The system crumbles, and the world’s forces try their best to erase the misfire. They try their best to counter it.

This sounds very familiar. This is the story of the black woman.

How is it that the black women formed their separate feminist group? They mobilize themselves under the National Black Feminist Organization (NBFO).They define and clarify their politics on their terms. They do political work within their own group and represent themselves. Is it not an example of the norm missing its target? The very norm that oppresses them through various means has now caught itself in their consciousness. It has caught itself in their self-belief and self-appreciation. Their hope has hurt the norm.

Put differently, Black feminists’ statement from the Combahee River Collective hints at an emerging tension in existing power relations. The power that had been controlled by white women and black men now has a new candidate: the black women. This may explain why according to Butler, power is not something that only oppresses, it also ‘produces’. Power relations define and produce everything around us. Reality itself is a product of power relations. It allows us to act, react and navigate through this world. Ever step we take in the navigation, we increase the possibility of erasing the citations. Similar to how black feminists have been erasing and challenging them. In other words, they have increased the potential of existing on their own terms and liberating themselves. In this liberation, there is an endless possibility of being productive against the norm and destabilizing it. There is also the possibility of creating an identity, a discourse, or a power relation outside the norm. They know that multiple oppressions facing them are not their destinies. There is no natural plan designed to oppress or subjugate them. This liberating recognition acts as a catalyst for them to act and to challenge. It pushes them to destabilize the constructed rules and make themselves visible. It allows them to challenge the norm that prevents them from becoming what they are otherwise capable of. Is this not productive?

This very liberatory and productive potential of identity politics was first offered by black women. It is evident in the statement. They mention the synthesis of various oppressions that makes the conditions of their lives. Their lives are unique because of how sexual identity combined with racial identity makes their entire life situation distinct. The productive potential may then also lie in the uniqueness of their experience; oppressions are embedded in their everyday existence. This uniqueness leads to the creation of their own politics that is “anti-racist, unlike those of white women, and anti-sexist, unlike those of Black and white men.” They use their anti-racist and anti-sexist positions combined with economic oppression under capitalism and heterosexism to provide them with a direction. It pushes them to challenge the racist, sexist and capitalist norms working together to oppress them. They form study groups, write papers, circulate black publications and mobilize their combined strength. They open crisis centers, help working women, and hold conferences. This is yet another example of how black women recognize the productive potential in intersectional politics. Hope is not lost. They refuse to give in to the historical construct’s disguised as nature. They refuse to accept the norm as nature.

The norm is designed to make the black women consider themselves inferior, but the aforementioned recognition and action unveil their (black women) inherent value. They begin to prioritize themselves. They realize that if black women are free, it would mean the destruction of all systems of oppression and therefore, result in freedom for everyone. Their politics involves a healthy love for themselves, their sisters and the community. It gives them courage to seek liberation. They become the first to examine the multilayered texture of black women’s lives, and they’re proud of this. They are proud of their resolve. They look forward to make a leap into revolutionary action.

Of course, there are obstacles to productivity in intersectional politics. First, as mentioned earlier, is the limited space available to push the norm. One is confined. There is neither absolute agency nor autonomy. Second, as the statement mentions, is the fact that individual Black feminists live in isolation all over the country and their numbers are small. The need for organization challenges them. They find themselves engaged in a continuous fight to challenge the power relations. However, despite the obstacles, they continue to use their skills in writing, printing, and publishing as a means of organizing Black feminists. They do not undervalue the importance of conferences, study groups, written papers and black publications. This active struggle itself argues in favor of the productive potential that black women see in intersectional politics. It is proof of their belief in change, and in betterment.

Black women’s constant subjection intersectional politics since birth has given them the confidence to address both the racism in the white women’s movement and the sexism deeply rooted in the black man. They realize the damage and are ready for “a lifetime of work and struggle” to defy the norms and liberate themselves. In other words, their political existence and activity is evident proof of the productive potential in intersectional politics.

It is proof of the fact that the norm isn’t nature.

Can Intersectional Politics be Productive?

When talking about emancipation struggles and freedom movements the discourse is largely based on two categories- the oppressor and the oppressed. It is about the oppressed fighting to win power; rights, respect, authority from the oppressor. However, while these neat categories are convenient as they clearly define who is to be emancipated and consequently the course of action for the subject of emancipation, they end up glossing over diversity which ultimately silences those who most oppressed.
Intersectionality becomes relevant here in helping one understand the different ways in which an individual is placed within and affected by power structures in society. In Bell Hooks one finds that the white woman is oppressed by the white man but the black man is oppressed by both, white men and woman while the black woman is oppressed by white men, white women and black men. With such a hierarchical power structure the categories of oppressed and oppressor begins to break down as the oppressed in some capacity are also the oppressors. Intersectionality also complicates the matter of naming oppression. Black women for example, are oppressed by racism and sexism so then which box are they to be placed in? Or is a new box to be made for them? Similarly if one keeps adding other forms of oppression; class, language, sexuality etc the concept of a fundamental oppression also begins to break down.
If these differences and numerous permutations of oppression are to overlooked the liberation becomes pointless actually. By lumping people together on any one basis, race, gender, class, the dominant subgroup end up dictating the terms upon which liberation is to be achieved and what direction the movement takes. For example, in the struggle against white power was headed by black men who were the dominant subgroup and ended up silencing black women (and possibly other back subgroups). So if the purpose of liberation is to give a voice to the voiceless and empower the disenfranchised, the black movement against white power was clearly incomplete if not pointless since the most marginalized stayed where they were.
However, if the ‘subject’ of emancipation can be broken down endlessly and cannot be categorized, can a universal politics of liberation exist? Is there anything which ties them all together? If not, where is the struggle to begin? Who is it that needs to be liberated? If the purpose of emancipation is to restore every human being to certain level of dignity and respect, then a particular ‘subject’ of emancipation becomes irrelevant. It is no longer about a certain interest group trying to climb up the power hierarchy rather, it is about subverting that hierarchy. Only when the movement becomes all inclusive, addressing every strain of oppression and voicing the concerns of every oppressed person can the goal of subverting oppressive structures be achieved (since it is those who lie outside the norm who explain and subvert it). In this sense, intersectional politics is ideally and theoretically integral to emancipation and so to realize its potential and ultimately the fruit it will bear, the devotion of the freedom movement’s attention and energy is integral.

Intersectionality

The question of whether intersectionality and intersectional politics have something to offer cannot be simple in the face of a post-structuralist critique of identity-based politics. I would still argue, though, that politics of traditional reformation – arguably ill-configured as they may be – are provably productive, and even as the post-structuralist critique has its point, the point does not extend to wholly paralyzing political activity, even as it critiques it.

The initial, potentially simplistic point of intersectionality is this – that when two oppressions intersect, such as in the case of black women, extreme marginalization occurs. In paying attention to the oppression of the dominant group within either oppressive category, those that exist in this intersection conveniently disappear so as not to muddy the narrative of oppression of those groups. Black women, for instance, find their narrative of racism co-opted by (patriarchal) black men, and (racist) white women. They themselves, facing a double oppression, of sorts, cease to exist in the narrative of oppression.

Intersectionality seeks to uncover and champion these narratives of marginalized oppression of all strokes, in some sense. It tries to complicate and broaden conceptions of straight-forward discrimination. It is the inclusion of the last and the least – that is to say, it claims, ultimately, that there is no true liberation until all oppressions are addressed.

The critique against this, as by Butler, doesn’t have a problem with the morality of these claims, which I feel is important. The critique is based on the structuring of these claims. The problem is that these oppressions – of race, gender, class, sexual orientation – are reified – made things in and of themselves, that can objectively be eradicated from a detached distance and privileged, objective, identity. Thus the category of woman becomes reified and arguments of difference, and ‘equal rights with men’ are posited off of this assumption, rather than recognizing its very categorization as the basis of oppression.

Butler would argue, instead, that all ‘things’ – from identity to oppression – are constructed through relationships of power – and thus, equally, through lack of power, and oppression. As such, a positional argument cannot be revolutionary, inasmuch as it accepts the societal construction of power in order to make the argument. Thus to argue ‘as a woman’ is to accept the identity and position the system you might wish to change has given you. As Butler puts it, ‘There exists no standpoint of critique that is not sustained by and complicit with the forces it seeks to transform.’

Butler’s critique of ‘identity politics and the politics of scapegoating’ doesn’t preclude agency, inasmuch as it does autonomy – One being a matter of choice and action and the other the inevitable situation of a person within the structure. She looks towards knowledge of the structure and awareness of our on position within it for some form of emancipation.

Ultimately, this critique doesn’t negate the possibility of critiquing the structure itself, or of positive change coming from within it. It just critiques a particular way of considering this change. The morality of the movement seeking to affect change does matter, even if it works from within the structure of power, and thus is essentially using the tools of the metaphorical master to deconstruct the house. At least the house is being deconstructed.

Consider Rosa Parks in the context of this critique of positional, identity based politics. As Butler points out, Parks’ position within power is essential to her critique of it, enabled by the same racism and classism it sought to overturn. And yet – that does not necessarily detract from her action. The civil rights movement and subsequent movements have been essentially productive, in their positional, flawed critiques of power as something external to themselves. Pragmatic, ideological political positions, doing their bit, seeking to overturn very real oppression, if not the very fabric of society itself, which may be the impossible ideal of freedom, and to better the lot of pragmatic, idealistic people are still productive, even as they shortchange some things for others, even as they’re led by ‘heroes’ and not radical democracy.

To change the meanings of identities, to change the fabric of society enough that these new identities can have power behind them, to affect reform, even from within the structure, a more even redistribution of power across fractured identities – that is not precluded by Butlers’ critique, and is certainly still productive, even as it is not precisely revolutionary. In the end waiting for the last to enter so that we can all enter is still a worthy goal to strive for, even if we accept that we do this within the strictures of a power system, through our own positions within it.

In what ways can intersectional politics be productive?

Intersectional politics is not only productive but necessary. Its productivity stems from challenging the narrow conceptualization of discrimination, revealing silences and hidden oppressions. Detractors often point to practical concerns however in the long term there is practical gain from the inculcation of intersectionality.

Discrimination is overly simplified and this is what intersectionality rectifies. Discrimination is seen as a uniform and unidirectional phenomenon. Discrimination is defined through the creation of neat categories (e.g. sexism or racism) where it is assumed that all individuals within these groups face identical discrimination. For example a black woman can either suffer racism or sexism but not a combination of both. Discrimination is therefore demarcated rigidly and all individuals within large categories, irrespective of race, gender, class and sexual orientation apparently share a fundamentally similar oppression.

Intersectionality attacks this fallacy. It highlights the distinctness of oppressions that take place within a single category e.g. sexism against women. Crenshaw uses black women to illustrate the need for intersectionality. She demonstrates this through court cases where black woman are uniquely discriminated. This oppression does not happen to black men or white women. Thus the interplay of race and sex creates hybrid discrimination. Without intersectionality this assumption of identical discrimination goes unchallenged, silencing the most marginalized groups in society. Conversely through intersectionality we can identify power differentials and hierarchies within the oppressed. We become aware of hidden and silenced oppressions that are otherwise made invisible. Challenging currently simplified mainstream discourse allows us to see and address the blind spots within its framework.

Intersectionality also reveals oppression from within the oppressed. Sexism is represented by the white woman, just as racism is by the black man. Race or sex elevates a dominant group above a subgroup (i.e. black women are sidelined by white women and black men). This domination erases the experience of the most marginalized group. For example racism or sexism is exclusively associated with the plight of white women or black men. On the other hand the experience of black women is ignored due to its specificity. The black woman’s struggle does not neatly fit into the classifications of the mainstream, so it is discarded. The white woman does not represent the black woman’s issues, yet she is still seen as the representative of all of womankind. The same parallel can be drawn with the black experience, with men monopolizing representation. This bias illustrates the implicit oppressions that take place. Through intersectionality both race and sex can be invoked simultaneously. This allows us to address “specific” issues of black women and find representation for subgroups. Otherwise they risk being labeled “not really” sexist or racist issues. Therefore intersectionality is a method through which existing paradigms can be challenged.  

Intersectionality is often seen as divisive politics, however if movements can learn to adapt to the needs of those who are most discriminated, it ferments greater growth. Exposing the atrocities a discriminated group commits may reify the stereotypes perpetuated about it. For example Kimberle Crenshaw uses The Color Purple to display the fears black men have about reinforcing racial stereotypes and causing harm to anti-racist movements. These concerns of practicality however are shortsighted. Long term evolution of movements requires dissent. Only by accounting for criticisms can movements achieve true representative powers and eventually move their fight towards actual emancipation. Similarly a feminist movement with an intersectional approach would garner more support. Disillusioned women who do not identify with white feminist movements would likely support the movement if their grievances are heard. Short sighted critics may raise concerns of division, but in the longer run, accounting for the grievances for a whole base of disenfranchised groups only increases the support base and consequently the power of social movements.

Practicality however requires answers to tough question; Is there a hierarchy of oppressions? If not how does one prioritize issues? What issue comes first and how does a movement identify the most important issue? The complexity of the real world means that more problems exist than solutions. In this case where does a political movement or an institution start when trying to deal with the question of intersectionality. The difficulty of answering these questions maybe the reason intersectionality is criticized on practical grounds, but this indicates a lack of motivation, rather than an impossibility to find the answers.

Achieving true liberation is difficult but only by posing questions can we find the answers.

Understanding Feminist “Theory”

Catharine Mackinnon and Judith Butler have been prominent feminist thinkers of the late 20th Century who sought to reframe feminism in order to encompass its many interpretations or sub-categories like black feminism, queer theory etc. Although Mackinnon and Butler have been on different sides of the argument, it is not impossible to reconcile between the two as there is common ground between them. They sought to bring about a broader definition of feminism that has space for intersectional politics, by determining what oppression and struggle looked like for all women.

On a surface level, it has been difficult to see common ground between them because both represent differing sides the of structuralism vs. post-structuralism debate. Mackinnon, a lawyer as well as a theorist focused on creating a feminist method that arose from the private, emotional, institutional workings of women – a feminist method created from a women’s consciousness. Butler dismissed all of that, denying the possibility of truth and “consciousness” that existed independent from power relations. Her main approach was that nothing about womanhood is natural or innate: if the oppression was socially constructed then so is the “consciousness”. For example, Mackinnon explained the role of sexuality in a woman’s life, stating that although nothing is inherently sexual about a woman’s body. But the experience of recognizing and resisting objectification would allow women to recreate a newer understanding of the power of their sexuality. Butler would reject the possibility of creating a new definition for sexuality altogether because this new definition would still depend on language which no one had no control in shaping.

Though their aim is similar, their methods then differ in terms of structure and language. Mackinnon sought to find a theoretical solution within specific issues like legal issues and class struggle. It has been very easy for those like Mackinnon to misunderstand Butler’s words as hopelessness. Saying there was no agency outside an existing realm of power relations could encourage capable women to abandon material resistance in favor of more discursive or detached politics. But Butler’s critique for those like Mackinnon would be to question what is “common sense” because common sense has been constructed (equal rights for all women might be common sense for some and not others). To question this status quo was the first part of resistance. For Black feminists to subvert the racist norms of their white counterparts, they needed to articulate their struggles within the context of a society that sees it as subversion – i.e. the society of the 70 and 80s in which black feminists began to reassert their existence as both black and women. Butler refused to see anyone as a victim because all of humanity is chained to language they did not take part in creating, and there has been no neutral arbitrator in the matter.

But both come together to create a theory that is unifying and not dividing. Mackinnon lamented the lack of method in understanding feminism: instead of a unifying theory there are only “loose collection of factors, complaints and issues which…describe rather than explain” sexism. Butler extended this argument by arguing that women should not simply focus on issues of womanhood (reproductive choice, equal pay etc. as opposed to environmental policy or taxation) because some women may not recognize their interests or may not consider themselves oppressed. One can take an example of black feminists like bell hooks and Kimberly Crenshaw who felt alienated from both the feminist and civil rights movement because their aims were defined without their presence. White feminists simply did not see the issue of race being important because race and gender were two exclusive realms. hooks’ response to this was, “the question we must ask again and again is how can racist women call themselves feminist.” Then, the issue of subverting the patriarchy is also an issue of bringing down other structures and hierarchies that support it, because those other structures (like class or race) facilitate the patriarchy and vice versa. This line of thinking is perhaps best summed up in Crenshaw’s iconic line “when they enter we all enter.”

There might be other ways in which Butler’s work interacts with Mackinnon’s work. But it is important to know that such a reading has been possible if one wishes to imagine an inclusive feminism. Using both viewpoints, one can understand feminism as radical (in its questioning the status quo) and practical (in its support for on-the-ground resistance). Butler encouraged women to go beyond issues which simply involved women such as housing issues and environmental policy because they affect what is common to us (as opposed to identity politics which could divide us). And Mackinnon taught us that even if we as women still work under existing frameworks, our ability to act and create communities for each other allow us the opportunity to subvert the structures which oppress us. Through the recognition of history and struggle, mediation and negotiation, feminism can be seen as truly intersectional.

The Blacker the Berry

My project will attempt to bring Pulitzer Prize winning artist Kendrick Lamar’s jazz-infused album To Pimp a Butterfly into conversation with the works of prominent African American authors including W. E. B. Du Bois, James Baldwin, and Ta-Nehisi Coates. Such authors have penned literary masterpieces focused on the issues that continue to deeply affect the African American existence. Kendrick’s music can be interpreted in a similar light despite it being a different form of expression. The commentary done within the project will dissect the following tracks from Kendrick’s third album:

  1. Institutionalized
  2. These Walls
  3. Alright
  4. How Much a Dollar Cost
  5. The Blacker the Berry
  6. i
  7. Mortal Man

The significance of this project lies in the contemporary themes that Kendrick addresses through his music. His poetic expression stands out amongst his peers within hip-hop whose content never seems to digress beyond wealth and fame. The musical composition of To Pimp a Butterfly incorporates elements of funk, jazz, and soul. The lyrics address an array of issues faced by African Americans ranging from socio-economic marginalization to police brutality. Kendrick himself has stated in an interview that his songs seek to capture emotions. Not only does he tell his own story through his music, he also seeks to tell the stories of those around him. Through the influence of his art, Kendrick tries to both represent and empower. Finding the connections between his music and renowned literary works is important to understand both the message he tries to convey and what it means to those who are inspired by him.

I will be submitting this project in the form of a video essay that will suture together his songs, music videos, and interviews to express a visual understanding of Kendrick’s creative process and artistic ambition. The composition and lyrics of his music will be analyzed by drawing comparisons to the works of the aforementioned African American authors to show how the thematic correlations resonate with listeners in this day and age.

R-E-S-P-E-C-T

I heard this song on the night the Dankpuna group post was made public and I only started to think about it after my initial anger had dissipated into a sinking depression. Even then, Aretha’s song seemed too upbeat. I was annoyed- I wish she had been more angry. more demanding. more sad. Maybe she should have sang Respect the way Nina Simone had sung Mississippi River. Maybe that would have done justice. Maybe that would have communicated the loss I felt when I read “It ain’t gonna suck itself”

After the song became a radical feminist anthem in the 60’s Aretha said in an interview:

I don’t think it’s bold at all. I think it’s quite natural that we all want respect — and should get it”

Respect. It was all about respect. And I think we all found ourselves having to prove we were worth  respecting. The last week was a fight, for some of us it felt like nothing short of a battle. Here was a crisis that demanded we prove to an institution that we were worth respect. Respect: Of friends who were nothing short of family. Of Teaching Assistants that were supposed to be teaching us-and teaching us only. Of Professors we respected, and loved. Of partners we loved and more than anything, trusted. Of an Institution that lied about being a family.

Listening to Respect in this environment got me thinking, what was Aretha so happy about? Why did she choose to sing her song like this? Up beat- complete with back up singers. And it was only at my fourth or fifth time listening to the song that I realised there was value to singing it the way she had. Aretha’s song is not apologetic. Her song communicates to the fullest- that she is worth that respect. And that she believes she is. There is no shrinking away from it and I think in a lot of ways I needed to hear that too.

Franklin’s song is a rendition of an earlier version sung by Otis Reddington.  Reddington’s version was released in 1965 and is a song about a man demanding more respect when he comes home at the end of the day. He sings:

Hey, little girl, you’re so sweeter than honey

And I’m about to give you all my money

But all I’m askin’, hey

Is a little respect when I get home

Hey hey hey, yeah now

Respect is what I want from you

Respect is what I need

Respect is what I want

Respect is what I need

Got to, got to have it

Got to, got to have it

Got to, got to have it

Got to, got to have it

Talkin’

Give us, give us, give us, give us

Give us, give us, give us, give us

Give us, give us some baby, everything I need

It is supposed to be a humble appeal by a hard working man returning home to his family. I read it as entitled- “Got to, got to have it” sounded a lot like the men in my family. I thought of a man coming home from work and demanding that he be treated like an honorary guest. Cue Hum TV scenes of women serving chai to irritated men. Franklin’s version spins the song on its head and genders it. Her song affirms that she does not need Otis’ money “Baby, I got it/What you need/Do you know I got it?”

Franklin’s response becomes important in the context of the civil rights movement of the 50s and the wave of black feminism that followed it. The decade is characterized by women like Audre Lorde, June Jordan (See one of my favourite poems by her: https://www.poetryfoundation.org/poems/48762/poem-about-my-rights), Alice Walker and others that write of being displaced by two conflicting political movements. hooks writes of this as the “double bind”. Where black women faced racism in a movement dominated by white women and sexism in the civil rights movement. Inevitably, disowned by both. Black women found themselves up against black leaders that demanded women conform to more subservient roles. The independence that black women were forced into as a consequence of racism needed to be reversed so that the black man could have the white dream-complete with the suburban home and the beautiful docile housewife. Further, racism was believed to be a greater evil and women were demanded to be silent about their needs so that the black man could “restore his manhood”.

Franklin’s song thus pushes against this image of the black woman as supportive or docile, which happens to be the kind of woman that Otis is writing about. By using her upbeat tempo and back up singers Franklin communicates that black women did not need black man for anything other than their respect. She tells them that she has everything she already needs and if they don’t give her respect she can just as well leave. And the ong communicates that- I hear the song and I hear a woman who believes she is worth respect and will not stop short of anything else. Franklin chooses to do her song with her sisters. I think decision communicates the sisterhood and the unity that most black feminists were trying to create.  

On a completely different note (I apologise if this seems like hawaye fire) I also thought of Ismat Chugtai and her exchange with her husband in The Lihaaf trial  (Available here: http://www.urdustudies.com/pdf/15/28naqviExerpt.pdf) when I heard Respect. I think this more in line with political movements and not being supported by men on your side, a crisis the left is all too familiar with. Chugtai writes: “The Progressives neither berated nor commended me, and I found that reassuring” But she was berated. The friend she stays with in Lahore, Shahid Sahab, demonishis her for her vulgar writing style.  When she says:

“And what about the filthy sentences you have written in Gunah ki Raten (nights of sin), actually giving explicit details of the sex act, just for titillation?”

His response is: “It’s different in my case, I’m a man.”

And again:

“You are an educated girl from a respectable Muslim family.”

We see men holding different standards or values to women fighting by their side.  Whether it was the black civil rights movement or Chugtai writing in the 1940’s or even ‘allies’ responding to memes, women find themselves fighting for a degree of respect from their male counterparts. In the civil war, black men actively demanded women to be more subservient. In Ismat Chugtai’s case, the reaction she got from people on her side was silence. It was a nothingness reaction. She never wrote the same again.

 

Aretha, we’re still waiting on that respect.  

 

Beyoncé – ‘Formation’ of a Narrative

What makes Beyoncé a queen in her genre and an influential voice for her community is how she uses her music to make powerful social and political comments. Take for example, the internet-breaking video for her song Formation. While the song itself serves as a celebration of black culture and roots, the video is a visual masterpiece in its depiction of central themes of race, gender and sexuality. Was the fact that it was released just one day after the birthday of Trayvon Martin a symbolic gesture? The inclusion of a young black boy in a hoodie confronted by a wall of SWAT policemen seems to hint at this date as a tribute to Martin.

To unravel the first layer of connotations in this song, the lyrics are a forceful means of reclaiming conventionally insulting aspects of black culture and aesthetics; “My daddy Alabama, momma Louisiana, you mix that negro with that Creole make a Texas bamma”. She unapologetically accepts and celebrates her heritage and the ‘blackness’ of her physical attributes with lyrics such as “I like my negro nose with Jackson Five nostrils”. The presence of black figures in this music video are predominant in areas that were significantly inhabited by the southern masters at the time of the Civil War. Black men and women reclaim these spaces and their presence in the history of this region, dressed in elaborate historical costumes, they sip their tea and swirl their fans in defiance of the conventional roles of slaves that their ancestors were forced to fill.

Gender plays a pivotal role in both the lyrics and the visual representation of the black females surrounding Beyoncé in the music video. The phrase; “Okay, okay, ladies, now let’s get in formation, ’cause I slay”, became rooted in pop culture due to its significance in creating a narrative surrounding the representation of black women. Beyoncé blatantly displays her own power and the privilege she earned through her hard work with provocative lines such as; “When he fucks me good, I take his ass to Red Lobster, ’cause I slay”. She lords over the others as queen of the jungle and is unabashedly proud of her own achievements.

But tackling all these issues isn’t enough for Beyoncé. She also brings to light the plight of the hurricane struck areas in the south that were neglected by the government, showing flooded streets and a sinking police car over which, she belts out her lyrics. The video begins with a forceful voice asking, “what happened at the New Orleans” and through the images in her video, Beyoncé answers that question, juxtaposing flashes of sinking homes and lights from police cars. Graffiti screaming “STOP SHOOTING US” also lights up the screen towards the end of the video.

Beyoncé comes in strong with all imagery exhorting black people to claim their power and take control of spaces that were denied to them in history. This is a visual and vocal anthem that elevates the issues of black representation in the music industry, pushing it from the margins to the forefront with its powerful political and social message.

Nina

Out of all the singers, for me, Nina Simone stood out the most. Her use of tone, her expression and her lyrics all send out a message. A message of pain and misery and constant struggle. Her songs paint pictures for the listeners, but these are unfortunately not imaginations. She merely describes the environment she grew up in. She describes the harsh realities of the lives of black people in the struggle for civil rights.

As an artist she faced discrimination, owing obviously to her gender and race. Coming from an oppressed background she remained resilient. But initially, she did not use her music to be political. Gradually, she started channelling her anger and her frustration into an art form and created masterpieces like Mississippi Goddam, which was considered revolutionary therefore was banned in several places.

In it, she explains the atrocities that were prevalent within the South such as police brutality and murders. The violent and anxious times are compared to walking a land mine, the people of colour would never know what could set it off. She takes names and points out specific political figures while talking about current affairs.

The more striking piece by her was undoubtedly Strange Fruit. The song describes the lynchings and hangings which were prevalent across the United States, especially the South. It is a commentary, I believe, on how unnatural human looks across a beautiful natural canvas of trees and the sun and the sky and wind. It’s beautiful the way it’s been described but also very eerie. The words help to paint the most horrific picture which gives you a complete understanding of the depth of the situation.  Even though the lyrics are not originally her own but the tone of her voice as well as her expression which seeps through so perfectly only add to the narrative. I felt there was something unforgiving in her voice. Unforgiving yet hopeless. Her take on the song was so much more impactful, just by way of how she changes her tone with the words she speaks, to place emphasis.

Oh but this whole country is full of lies You’re all gonna die and die like flies

Nina Simone grew up in an environment where she did not have opportunities to sing except at church. She was economically disadvantaged and had to bear the brunt of racism in America. She had witnessed inequality and was denied opportunities like admission into an institute for music. Nina Simone channeled her anger and contributed to the civil rights movement. Mississippi Goddamn was a song that described the context she was living is and how the lives of black people are shaped by brutality and injustice.

Medgar Evers, a civil rights activist was murdered in Mississippi and 4 girls were murdered in Birmingham, is what pushed her to write the song. The song was banned in several places and she received a lot of backlash for the song. She used the medium of music to protest against the injustices. She also performed at the Selma-to-Montgomery march that took place.

She started off the song with the words, “I mean every word of it”.When she herself spoke of the song and what it meant, she described that it ‘erupted’ out of her and it took her only 2 hours to write the song because the song described her lived realities. “Governor Wallace has made me lose my rest” She refers to the governor because he had refused to protect the marchers by refusing them police protection. Amidst all this, Nina Simone rose and sang Mississippi Goddamn which was an act of bravo because the Alabama National Guard was present at the March and it posed anger and courage as the lyrics were representative of the reality and white people were reminded of their culpability. Simone, as a child too was isolated because of the skin of her colour.

When she refers to how black people were told to “go slow” when they wanted to protest against the injustice that they faced, she expresses her dissatisfaction with being told to wait by leaders for they always had other issues to take care of, as their lives exacerbated. Nina Simone, before the bombing was not actively taking part in politics. After it, however she sang the song at multiple occasions, it became revolutionary and was banned. Nina Simone was courageous as she had a white audience and she chose to first perform her song in front of the white audience, and not only got backlash from it.

“My skin is black

My arms are long

My hair is woolly

My back is strong

Strong enough to take the pain

inflicted again and again”

The lyrics above are from another song by Nina Simone called Four women. They  encapsulates the pain of black people and how their bodies were inflicted by this pain. She wrote a number of other songs that were representative of this pain, ‘Strange Fruit’ being one of them, the song is about lynchings in the South and how they became increasingly common. Nina Simone was legendary and her music was revolutionary and brought light to the plight of black people.