Amanda Huelskamp
UNIV 200
Big Paper Draft, Body
In light of her recent work embracing progressive ideas of sexuality, equality, and
feminism, Beyoncé Knowles has stepped into a new microcosm of influence and ideas.
Many critics have taken issue with Beyoncé’s product of feminism, deeming it
problematic because of its sexual nature and her often-racy outfits. Despite the criticism
she has received, Beyoncé actually helps to push the boundaries of feminism in helping
to usher in an emerging fourth-wave of feminism in which women can be equal beings
while being vocal and adamant about their sexualities.
In her newest album, Beyoncé pushes empowering messages of self-love and
exploring one’s sexual identity into popular culture. Samhita Mukhopadhyay, writer for
Feministing.com and board director of the Center for Media Justice says, "the majority of
women that need feminism listen to Beyoncé. They don't take women's studies classes."
Because of issues like the glass ceiling, wage disparities, access to contraception, access
to family planning, and rape, women’s issues affect us all. Gender issues also affect all of
society, and will soon permeate the agenda of fourth-wave feminism, and which are
already occupying spaces in political agendas worldwide.
As an artist, Beyoncé occupies a distinct space in society and global pop culture
since she experiences intersecting privileges and oppressions, not unlike many other
women and minorities. Beyoncé’s unique position in our culture, is analyzed using her
oppressions, like being a woman, being black, and being a mother, while simultaneously
taking into account her privileges- being light skinned, beautiful, wealthy, and talented.
She uses her elevated, distinct position to empower other women and deliver messages of
equality. “Beyoncé fits within the niche of the fair-skinned, possibly mixed race, sexual
beauty…She represents a new America…Beyoncé's very specific mixed race identity is
entangled within the histories of New World racial slavery and the racial hierarchies that
the institution bore. In short, Beyoncé builds on the fantasy of the mulatta temptress…By
highlighting her Louisiana Creole ancestry, her fair skin, blond weave, and hypersexualized performance style, she has parlayed a centuries-old stereotype into a lucrative
and dynamic career…The mixed race or ethnically ambiguous woman is considered at
once beautiful because of her proximity to whiteness and sexual because of her black
‘blood’” (Griffin, 2011, p. 139). Beyoncé’s “ambiguous” race allows her to thrive in
diverse spheres and be perceived as a “lesser” form of black, allowing her more
acceptance than if her skin contained more pigment, evidenced by colorism still present
today. This position causes her to experience an intersection of oppressions and
privileges, and an intersectional identity/experiences made up of these factors. “Black
women (and girls) have also historically battled the stereotype of innate and uncontrolled
lasciviousness, which may explain why Beyoncé’s sexuality is viewed differently from
that of white artists like Madonna, who is lauded for performing in very similar ways”
(Harris, 2013, np). Many minority women face objectification based on race, such as
being seen as promiscuous or the “bombshell” stereotype assigned to some nationalities.
Other minority women are societally perceived as less attractive because of their
ethnicities, like many black women being seen as undesirable if they are darker-skinned.
The second-wave of feminism sprouted as the drive for women to have more than they
experience in the domestic sphere. Many women aligned with second-wave ideology
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about reproductive rights and career opportunities, but this wave was largely problematic
and has since been disputed because it only catered to white women who were educated
and members of the middle class. Today, in the third wave of feminism, many white
feminists still disregard the intersectional oppression of their colored counterparts.
This theory of intersectionality is a relatively new concept, and was initially
coined as a term in the late 1980’s. “When it was first presented, the ‘triple oppression’
notion was basically a claim that Black women suffer from three different oppressions/
disadvantages/ discriminations/ exploitations…They suffer oppression as: Blacks, women
and members of the working class” (Yuval-Davis, 2006, 195). This review of Black
Feminist Thought by Patricia Hill Collins helps us to identify the plural ways in which
Black women are oppressed, but the theory transcends those of African-American
heritage and can be used as an algorithm of types for various micro chasms of society.
Beyoncé’s position specifically can be evaluated and calculated from this intersectional
sphere in that while she is oppressed because she is black, she is also privileged because
she is light-skinned. She is oppressed because she is a woman, but privileged because she
is wealthy. While she is wealthy and talented, she forces us to analyze the degree to
which women are allowed by society to have sexualities and be vocal about such,
considering the backlash she received about her most recent album, released in December
of 2013. Beyoncé’s intersectional privileges and oppressions construct her as the ideal
subject to relay the future of the discussion of women’s equalities and sexualities within
the feminist world.
According to an article by Eliana Dockterman in Time Magazine in 2013,
“Beyoncé has managed to become the biggest female pop star in the world while
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cultivating her marriage, her role as a mother, and her sexuality. And in doing so, she’s
ushering in a new wave of feminism.“
Throughout the album, Beyoncé pushes the idea that the new generations of
women can have it all. A happy marriage, a child, a career, and a galvanizing sex life. For
instance, in the song “Blow,” she talks about the importance of sex being a two-way
street. And in “***Flawless,” she sings about being more than someone’s wife. Hare
wrote an article titled “Beyoncé opens up on feminism, fame and marriage” as a recap of
the interviews in the short film “Yours and Mine” from the production of the Beyoncé
album. She recaps the biggest themes from the interview, and splices quotes about her
influences and life. In her 2014 “Yours and Mine” interview that was released as a short
documentary in 2014, Beyoncé said, "I've always considered myself a feminist, although
I was always afraid of that word because people put so much on it” (Hare, 2014, n.p.).
Beyoncé, along with many other celebrities, initially found herself intimidated by
society’s reception of feminism and how it can often be seen as a trigger word, when
really, it entails basic equalities and analyzing the history of oppression. In that same
interview, Beyoncé talks about her mother being a strong influence for her, and how she
pushed her to become a better woman. Her independent spirit establishes where she
learned self sufficiency from, which is important because it stands to reason that she will
teach her own daughter the same principles and those are ones which she would like to
portray in her music. Similarly, in her interview Beyoncé touched on how she values her
partnership with her husband and how she has been shaped by it. By acknowledging her
feminism and simultaneously the influences that her marriage has had on her life, she
overthrows the misconception that feminism is about hating men or not needing them at
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all. “The new enlightened Beyoncé is universally loved, virtually unquestioned, and
flawless, the 33-year-old entertainer seems to debunk every feminist stereotype you’ve
ever heard. Beyoncé can’t be a man-hater – she’s got a man. Her relationship has been
elevated as a kind of model for egalitarian bliss: dual earners, adventurous sex life,
supportive husband and an adorable child held up on stage by daddy while mommy
worked. Beyoncé’s got the confidence of a superstar but the feminine touch of a mother.
And, as a woman of color, she’s speaking to the masses – a powerful voice amid a
movement that has a complicated history when it comes to inclusion” (Bennett, 2014,
np). Beyoncé writes and sings about the importance of sexual independence and rises up
to make women proud of their sexualities which is especially important in a society
where patriarchy tells women that they are are sexual objects merchandised to please men
rather than experience their own sexual pleasure.
“In a society that degrades black and brown complexion, hair texture, and body
shapes, Beyoncé’s declaration of her own beauty resonates with all women who do not
conform to Eurocentric ideas of beauty. When a woman of color who has been
objectified, oppressed, and subjugated for her appearance belts out “I woke up like this,”
affirming she’s flawless, singing “I look so good tonight,” she’s countering western
standards of beauty that label bodies that look like hers as inferior, worthless, and less
beautiful” (Sostaita, 2015, np). By allowing people to exist in spaces where it is
acceptable to reclaim one’s sense of self regardless of societal pressures or labels, true
equality is reaching its peak. Artists and other public figures have the ability to use their
positions of power and wealth give a voice to those who feel oppressed and shutout from
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opportunities, and those who capitalize on such an opportunity like Beyoncé, are true
icons for the future of feminism and equality.
Some of the feminist community has deemed Beyoncé’s form of feminism
problematic, saying that there’s no way she could be a feminist and sing about being so
concerned with pleasing her partner or show that much skin on television. These critics
assert that Beyoncé places too much emphasis on her physicality and sexuality to be
taken seriously as a feminist. Those views represent dated ideas about living without men
rather than harmoniously and equally with them, and are representative of slut-shaming.
For instance, bell hooks, who is often considered one of the foremothers of feminism,
appeared on a panel discussion titled “Are you still a slave?” at New York’s New School
in which she assaulted Beyoncé’s form of feminism and called it ”terrorism” for her
portrayal of the image of women. “…because her experience of Beyoncé differs, hooks
said that she sees ‘part of’ Beyoncé as ‘anti-feminist,’ ‘assaulting,’ and ‘a terrorist
especially in terms of the impact on young girls.’ hooks went onto explain, ‘The major
assault on feminism in our society has come from visual media and from television and
videos’” (Juzwiak, 2014, np). The center of hook’s argument is sound- the media has the
ability to and certainly has a history of hurting the images of equality and feminism, but
the type of clothing that Beyoncé wears is not relevant to her product of feminism. As a
sentient human, should be able to wear whatever she pleases and whatever tailors to her
own personal version of feminism, and feel confident and not objectified. Many people
have also taken issue with the song on Beyoncé’s album in which she uses the words
“bow down bitches.” Rather than degrading women using this term, Beyoncé uses the
phrase to build herself up and remain confident in her abilities. This idea is reminiscent of
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the practice of reclaiming terms like “bitch,” “jezebel,” (as seen as the names of various
feminist websites) and even the “N” word- if women are able to reclaim their bodies,
sexualities, and clothing from the objectification impressed upon them by the patriarchy,
are they not reclaiming their bodies as a means of empowerment? According to the
standard of those deeming her feminism as problematic, women are not allowed to dress
provocatively or to engage in sexually charged discourse like that of their male
counterparts. Denouncing Beyoncé based on her sexually provocative dress or language
is slut-shaming, not feminist. Women should be able to attain the same level of sexual
exploration and pleasure as their male counterparts. In an article titled “Is Beyoncé a
feminist? Let's argue about it again” by Alison Fensterstock for the Associated Press, the
journalist argues, “I think that demystifying sex in general, and giving women in
particular the cultural permission to enjoy and celebrate it, is a good thing” (Fensterstock,
2014, n.p.). In order to achieve full equality, society needs to work on educating the
masses on sexuality and allowing women to freely and openly express and own their
sexualities to whatever extent they please, rather than placing labels on them for such.
Regardless of the what if’s of the image and popularity of the product & entertainment
Beyoncé’s brand produces, as an artist and business woman who has built an empire in
the past fifteen years, she uses her position, status, and wealth to empower other
individuals and even participate in the discussion on social issues and charity work.
Regardless of the positions of privilege that she has experienced as a lighter skinned
woman or a beautiful woman or a rich woman, she uses all of those tools in order to
reach generations and tell them that they’re flawless and tell them that they can be
whomever and wherever and with whomever they want to be.
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“Ironically enough, when Beyoncé identified herself as ‘feminist in a way’
(Thomas 2010), this led to extensive debate online and in academic spaces about whether
she was qualified to use the term. Such academic gatekeeping bespeaks a broader
devaluing of the cultural production of women in hip-hop precisely because of their
alleged lack of progressive gender politics” (Durham, Cooper, Morris, 2013, p. 726).
People specifically in academic spheres question the validity of Beyoncé announcing her
feminism. By not allowing her to identify as a feminist, they are shutting out and
oppressing women who are already oppressed based on her overt sexuality, which is, by
theory of intersectionality, inherently oppressive. These ideas could also be unknowingly
or overtly fueled by academia historically devaluing the ideas and cultural production of
black hip-hop artists, which could theoretically tie back to the academic ideas (prominent
really up until the fifties) that there was no need to study African culture and history since
they were “savages” and could not write, and thus oral and artist histories were not
accepted until much later on. "This suppression . . . in traditional sites of knowledge
production has led African-American women to use alternative sites such as music,
literature, daily conversation, and everyday behavior as important locations for
articulating the core themes of Black feminist consciousness" (Collins, 1991, p. 202). In
this review, Rollins reviews a very famous and in depth piece of Patricia Hill Collins,
who many call the mother of black feminist theory. Rollins utilizes a portion of Collins’s
book, Black Feminist Thought: Knowledge, Consciousness, and the Politics of
Empowerment, in order to examine the voices of black women throughout history, and
how they have been impacted by systems of power across the globe. In this excerpt,
Patricia Hill Collins talks about the need for black women to speak out using other
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mediums than scholarly ones in order to have their voices heard, since so many black
women are consistently oppressed based on the fear of white men who believe them to be
challenging the patriarchy, and thus throw them out of scholarly and professional
settings, tying back into the oppression the group has faced for years based on the racism
and colorism that permeate culture still today.
In an article for the Huffington Post, Associate professor of African and African
diaspora studies at The University of Texas at Austin Omise’eke Natasha Tinsley states,
“when a black woman stands up and declares herself a feminist, the response is never
universal celebration” (Tinsley, 2014, np). This article illustrates the ways in which
Beyoncé has been shut out from the world of feminism and is seen as unable to call
herself one as a result of her outright sexuality. It draws specific attention to her unique
position, and is reminiscent of when Madonna portrayed various sexual imageries in her
feminism, and feminists during the time did not find those occurrences nearly as
problematic as Beyoncé’s. Beyoncé’s feminism is perceived as problematic not because
her display of sexuality is problematic itself, but rather because the eyes of the beholders
are problematic and oppressive, perhaps unknowingly themselves. “We should also be
able to recognize that feminism can look different for different women based on race,
sexual orientation, class, economic level, nationality, relationship status, etc. This means
that two women can be fighting for two very different things and they can both be
feminist acts” (Brown, 2013, np). This excerpt serves to specifically illustrate the various
aspects that people can differ on to show the close-mindedness of many feminists who
think they are progressive. Just because it doesn’t fit your personal definition of
feminism, doesn’t mean it doesn’t work for someone else. Allowing individuals to align
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themselves with different forms and areas of ideologies opens up possibility. Rather than
only creating space for a black and white, two-party system of feminist or not, scholars
and audiences alike should progress to accept alternate identities, including sexualities
and even non-binary gender structures within feminism, which will also appear in the
fourth-wave Beyoncé helps to usher in, whether she realizes it or not.
In an NPR broadcast titled “Here & Now,” host Robin Young brought in Heidi
Lewis, a professor of feminist and gender studies at Colorado College to talk about the
politics of Beyoncé’s feminism. “I've been studying feminist theory for over 10 years.
Beyoncé is new to this… She's learning. She's making her way. She's reading. You know,
she's trying to figure out what feminism has meant for a lot of people, and now it seems,
at least to me, that she's trying to figure it out for herself. So I think it's really fallacious
that she's even occupying this much space in conversations about a theory that's been in
existence for over 200 years” (Lewis, 2014, np). By mentioning how Beyoncé should be
able to have ownership over her own definition of feminism, Lewis acknowledges
Beyoncé’s form of feminism as legitimate, but ultimately concludes that it’s irresponsible
to only analyze Beyoncé as a source for black feminism or feminism at all when there are
so many older scholars and theories as well. Lewis draws attention to the fact that
Beyoncé should not occupy so much debate in feminism, since it really distracts people
from being able to focus on the true issues at hand that Beyoncé has brought to the table.
However, when analyzing the old, classic black feminist theorists, it is important to also
recognize that the nature of many of those theories are problematic as well, and establish
a fourth-wave in which we can build on what we have learned, a progress to accept that
sexuality is in the hands of the holder, rather than their beholder or audience.
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“There is no room for an argument that Beyoncé doesn’t practice and encourage
feminist values. Maybe she doesn’t represent your feminism, but she speaks quite clearly
to a certain understanding of feminism, specifically for many black women” (Brown,
2013, np). Beyoncé is helping to shape the new wave of feminism and interweaves many
themes into her music in order to portray herself as a liberated, “whole” individual.
Beyoncé is individuated from the pop culture scene and from the third-wave scene, and
her music conveys messages of independence and partnership, accepting our failures and
proving our enemies wrong, what it means to be sexy and sexual, and sexual pleasure and
making love, which together has the capability to create influence a whole new
generation of young feminists who seek it all. The emerging fourth wave of feminism
that this album encourages shows that women and men can coexist in marriage, business
partnerships, and that women can be fulfilled and equal. Editor of the Washingtonian
Alyssa Rosenberg says that “Beyoncé is exciting, not because she pushes feminism into
popular culture, but because she pushes feminism and feminists themselves.” Everyone
can benefit from the messages in Beyoncé’s album, and from the example she sets for the
current generations of people studying and shaping feminism. If we can all begin our
journeys of self-empowerment and gender equality now, our children will be better off
for it. It’s been less than one hundred years since women were granted the right to vote,
and society has made great strides, but it’s certainly not done yet. With a few of
Beyoncé’s key messages, we can give a voice to a new wave of feminists who want it all.
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