This dissertation examines the African diaspora based around the Yoruba community within the visual album ‘Lemonade’ and the outcome effect it has on the ideology of feminism and how are they portrayed through the media of today. It will also seek the reasoning behind the use of the African diaspora and why is it so openly used. It will argue that though this is a single case of the visual album ‘Lemonade’ uses African diaspora of the Yoruba nation performed by but portray this through the media of the western society. An important distinction is the appropriation of African/Africanist aesthetic by black people, in this case Beyoncé, which deals with construction of identity and appropriation by peoples outside that community. Which leads …show more content…
Throughout this work, the terms ‘community’ and ‘culture’ will be used to give reference to the Yoruba. In the section of community, this gives the sense that one will be analysing how the professions of that community contributed to the production of the visual album. Meanwhile, Yoruba culture would relate to the aesthetic knowledges that have been incorporated by Beyoncé, and her collaborators. Here it might be important to find out if Beyoncé is also the choreographer of all segments and/or if she collaborated with other artists in the production of the ‘visuals’ and the ‘actions’ in the video. For the visual album ‘Lemonade’ by Beyonce [2016] has been chosen due to the high level of Yoruba culture integrated throughout the album. It shall be divided into sections which will include; Feminism within the Hold Up music video and how it links to the next section of the African diaspora portrayed in the Sorry music video while exploring why are these visual aids from these traditions used by the Yoruba community. The Yoruba aspects available in the performance. To move on to the last section of how influence society and media is influential within the western society and how many of the dance crazes of the 21st century mainly stem from the African
On the night of December 13, 2013 Beyoncé, released her fifth self-titled album on ITunes. The album caught many people by surprise because Beyoncé did not set a date for the album, nor did she use any promotion; she did release a video on her Instagram asking her followers if they “were ready”. The buzz spread through social media like a wild fire. With no promotion or no warning, Beyoncé album took the world by storm and made it for her audience and critics to take in the album and it contents. Many people loved the album for not only its catchy songs, but also the growth and “looser” conservative Beyoncé. On the other hand many people did not feel that her album was growth, but a way to catch up to the overly sexual generation. Beyoncé has always been aware of her sexual side, pop side, and feminist side; this has been documented through her four previous albums. Yet, a lot of people have questioned if Beyoncé a feminist because of the content of her newest album. In order to answer that a person must ask him or her self; what is a feminist, why some people believe she is feminist, why others do not believe she feminist, and whether or not Beyoncé think she is a feminist.
The 52 minutes documentary of Haitian Vodou ceremony reflects her interest is anthropology. The film captures the rituals of Rada, Petro and Congo cults, in which the deities known as Ioa, take possession of their devotees. The use of fade-in transition between scenes, slow-motion editing, as well as panning and close-up following the dancer’s movement in hand-held camera, emphasizes the mystique
Considering the size of the audience that Beyoncé has built for herself since the late 1990s as a professional entertainer and musician, having a diverse catalogue of opinions and ideologies represented in the film must have played a huge role in the decision-making process behind the scenes. To achieve this level of representation, the artist follows two highly uncommon, less travelled roads: she works with seven directors but combines all of their work smoothly into one whole,
To be labeled as a feminist is such a broad classification therefore it is divided into various subsections, one such subsection is known as hip hop feminism in which Ruth Nicole closely associates herself with throughout this essay I will thoroughly discuss this form of feminism. Ruth Nicole is a black woman that categorizes herself as a girl, by her definition a girl is far from independent. Black girlhood discusses the shared experiences of the ever-changing body, which has been marked as vibrant, Black, and female, along with memories and representations of being female. As a result, Ruth Nicole wrote Black Girlhood Celebration in order to share her personal and political motivations of working with black girls within the community. A conversation that is not often articulated about due to a language barrier. In which this discussion accurately details a means to work with black girls in such a way that does not control their body or pilfer black female individuality. Under those circumstances, Brown believes that black girls are being exploited for their physique through the use of music and instructed to conform to white norms constructed by society.
Roberts, Robin. “Ladies First: Queen Latifah's Afrocentric Feminist Music Video.” African American Review. 28.2 (1994): 245-257.
Building Hope Standing Strong. Alex’s Lemonade Stand foundation is built around one person. This foundation was built by Alexandra Scott. When she was four years old, she had her first childhood cancer fundraiser in her front yard. She had a lemonade stand to fundraise for cancer.
As it opens with imagery reminiscent of the aftermath of Hurricane Katrina in New Orleans, an event that devastated the black communities in the areas affected. The delayed assistance in New Orleans by the U.S. government stirred some controversy that led many to question how much America really cares about its black communities. Nonetheless, Beyoncé’s video is full of imagery that is associated with black culture, including historical references to black communities in the south. But what is really important about “Formation” are the lyrics. With lyrics like “My daddy Alabama, Momma Louisiana, You mix that negro with that Creole make a Texas Bama” and “I like my baby hair with baby hair and afros, I like my negro nose with Jackson Five nostrils,” Beyoncé is undoubtedly declaring her pride for her blackness as well as defending her child Blue Ivy who has always been scrutinized for the way her hair looked. Thus, this song is obviously geared toward the Black community which is obvious due to the lyrics and the imagery in the music video. To put it plainly, this song is a proclamation of Black pride and shouldn’t be thought of in any other way. However, after performing it at the Super Bowl people of other ethnicities became aware of the song and became offended by her performance as well as the lyrics. Controversy arose as people pointed out her backup dancers were dressed similarly to the Black Panther
In 2013, the self-titled visual album BEYONCÉ sold almost eight hundred thirty thousand digitally in the first three days, while her sixth number one and second visual album, Lemonade, only sold four hundred ninety thousand digitally in the first week. Although Beyoncé’s second visual album wasn’t numerically successful, both show a vulnerable, an artistic, and a controversial side of Beyoncé. Both albums have surprising visuals and stunning lyrical content with either an obvious meaning or a meaning we have yet to figure out, such as the famous line, “You better call Becky with the good hair.” (Beyoncé, “Sorry”). BEYONCÉ and Lemonade show that Beyoncé tries to better herself as an artist and make herself more vulnerable.
“Who knows only his own generation remains always a child.” This quote from George Norlin echoes the edification that cultural exposure can offer. How does African dance relate to do modern dance? The two are so heterogeneous in their make-up that one would not think of them as having similarities. The truth, however, is that all dance forms are linked in some way or another; they all strengthen and sharpen each other. Modern dance has its roots in African dance with the emphasis placed on the connection of weight and gravity. Brenda Dixon Gottschild names five aesthetics that are present in African dance. A particular piece that draws attention to the relation of the five aesthetics to modern dance is “Split Sides”, choreographed by Merce Cunningham.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
Diasporic Intimacy is described by Paul Gilroy as the ability of displaced Africans and their descendants to perpetuate African beliefs, values, and ideas in often hostile environments (Lipsitz 1998: 130). Breakdancing was once considered a very hostile type of dance, especially it being related to gangs and the harsh poverty environment in which it originated from. In a way it was looked at, the same way rock was. The beats that were used to dance to were rhythmic beats that were created by DJ’s and the used of records to make scratches. As Lipsitz says, “Hip hop and other forms of diasporic African music participate in constructing these local identities, but they bring to them a global consciousness” (Lipsitz 1994: 33).
Have you ever wondered if buying a gatorade before a game is worth the price or would water just be fine? I have often wondered if getting a gatorade would be worth the money or if just getting water would be fine. I play sports almost every season and always have to decide wether to get a gatorade or just drink the water they gives. I am so think that what makes the gatorade worth buying, is it just for the taste or does it have something that actually helps. I believe that learning more about electrolytes and hydration would be useful to explain which drink would be for me as an athlete during a game.
West African music is characterized by vibrant and hypnotic tempos. For West African peoples, the role of music is fundamental for communicating with their ancestors, their gods, their loved ones who passed away. In other words, music is a direct mean of entering in contact with the “other world”. For instance, repetitive rhythms and dance are often performed together to enter in a “trance” state. The way rhythms and timbres change and evolve in West African music testify of expressing values and reflect West African peoples’ behaviors in everyday life.
Music has played a role in society since the dawn of man. Said to be the beginning of communication in early civilization, music and dance have influenced how we think, act and treat members of our own society. Song and dance is used in rites of passage ceremonies such as births, weddings and funerals throughout the world. Jamaican and Yoruba cultures have made many contributions to our society. The uses of this music as a vehicle for political issues, values, and beliefs have been used by many musicians from different cultures. I intend to discuss the Contribution of these two contemporary cultures music and their effect on society.