This article was originally published on The Vocal.
By now I’m sure most of us have seen and heard LEMONADE, Beyoncé’s latest visual album and perhaps her most personal in which she utilises unashamedly black imagery to tell stories of being let down by men, supporting and supported by women, civil rights, hope, forgiveness, and love.
To the naked eye, these themes seemingly came out of nowhere but Beyoncé has always imbued her work—and her activism—with them. For example, Bey co-founded Chime for Change, a foundation that amplifies the voices of women and girls in marginalised communities across the world, and she built a homeless shelter in her hometown of Houston. On her website, Bey addresses recent anti-LGBT legislation in North Carolina, a state her Formation World Tour recently visited, striking a balance between speaking out for what she believes in and making bank. In 2013, she and Jay Z were seen at a vigil for slain black teen Trayvon Martin and gave $1.5m to Black Lives Matter.
Beyoncé centres Martin’s mother, Sybrina Fulton, and the mothers of other young black men murdered at the hands of police on LEMONADE. Alongside them are Serena Williams, Quvenzhané Wallis, Amandla Stenberg and Zendaya, black women who’ve been demonised by the largely white media. “Formation”, released in February, was perhaps Beyoncé’s most contentious song and video to date with unapologetic blackness, Hurricane Katrina symbolism and a young black boy dancing before a militarised police force taking pride of place and thus drawing the ire of pro-police protesters. To emphasise her point, her SuperBowl halftime show performance the following day saw her all-black female dancers don natural hair and Black Panther costumes.
Her most recent visual album not only throws back to a time before paparazzi and social media when artists used their medium to tell their personal stories but demonstrates that vulnerability and absolution are virtues that many mere mortals lack. On LEMONADE, though, Beyoncé shatters the illusion of herself as the untouchable mythic goddess we’ve seen on “***Flawless” and “Diva” and reveals her humanity in lyrics such as “I ain’t too perfect to ever feel this worthless” from “Hold Up”. While the album is no doubt revolutionary, it’s not the first time Beyoncé has peppered her work with hints to her personal life. On 2011’s “Countdown” she sings about trying to get pregnant, and miscarriage and postpartum depression are themes on “Heaven” and “Mine”, respectively, from 2013’s self-titled visual album, which set the stage for LEMONADE.
Beyoncé has always been an exemplar of humility and humanity. She remained poised as her sister Solange went to town on Jay Z in that elevator incident at 2014’s Met Ball, later incorporating it into Nicki Minaj’s remix of “***Flawless”. She resists the urge to vocalise what Kanye West says—and everyone else thinks—when she’s repeatedly looked over for awards, instead funneling that rage and indignance into game-changing masterpieces like Beyoncé and LEMONADE to prove just how innovative she is. We all know someone who says they’re gonna do things that never eventuate: Beyoncé shows us the virtue of staying mum on something until we’re ready to put it out into the universe. Beyoncé bides her time, not speaking on issues she doesn’t feel she’s knowledgeable enough about or topics people may not be ready to hear from her until she is well-positioned enough for her ideas to have maximum impact.
She seldom grants interviews, indicating that she’s reached an echelon of fame where her facade alone expresses all she needs and wants it to. When Bey does speak she leaves an impression, as they did when she responded to the furore in a rare interview for Elle magazine. She said, “Anyone who perceives my message as anti-police is completely mistaken. I have so much admiration and respect for officers and the families of officers who sacrifice themselves to keep us safe. But let’s be clear: I am against police brutality and injustice. Those are two separate things. If celebrating my roots and culture during Black History Month made anyone uncomfortable, those feelings were there long before a video and long before me.”
For anyone who tried to invalidate her words, as so often occurs when black women are speaking, she reiterated it with equal parts dignity and impact by selling Boycott Beyoncé merchandise at her Formation World Tour.
So how can we apply Beyoncé’s fount of grace, creativity and ingenuity to our own lives? Fans have been inspired to use her work as a jumping off point to make their own art. Writer and educator Candice Benbow has published the LEMONADE Syllabus, a collection of works that perhaps inspired and as lenses through which we can better understand the album. Rutgers University professor Kevin Allred teaches the class Politicising Beyoncé, with a book to follow. Beyoncé courses are also offered at other universities across America. There’s Bey Dance, an inclusive dance class emanating in Melbourne and with branches now in Adelaide and Perth. Donating to causes we’re passionate about is yet another way we can do the work of Our Lord and Saviour Beyoncé, not to mention taking the lessons of LEMONADE as gospel.
Let’s also remember, though, that Beyoncé has the luxury of a million dollar empire behind her, a full staff, and access to media to portray her best self to us. And as much as Beyoncé is a champion of women of colour the recent controversy over her clothing line Ivy Park being made in Sri Lankan sweatshops shows a reluctance to stand up for brown women outside of the U.S.
Black feminist scholar bell hooks recently criticised Beyoncé for the capitalism inherent in her work, particularly on LEMONADE. Many of her “empowerment” anthems, such as “Bills, Bills, Bills”, “Independent Women”, “Diva” and “Girls (Who Run the World)”, are indeed about capitalism. But whereas some of her earlier tracks have been less subtle, when Bey sings about money these days, the focus is increasingly on self-sufficiency (“6 Inch”, “Formation”) and financial independence from a partner (“Don’t Hurt Yourself”) which are laudable lessons.
A black woman as influential as Bey is bound to have her haters but increasingly she’s thriving on constructive criticism, checking her privilege, giving back to her community and growing as an artist and as a person. Through her music, activism and philanthropy Beyoncé inspires us, too, to be better people.