Lemonade, Black Female Solidarity, and the Responsibility of Representation

Last weekend, Beyonce released her highly anticipated album Lemonade. In just a few short days, the twelve-song short film (which I’m sure was strategically released to make her eligible for the Grammys, Emmys and Oscars) has generated countless think pieces, memes, reactions and debates. Most of these debates—which I won’t give the dignity of naming here—are based in oppressive structures that work to continue the silencing of black women’s experiences of pain and overdue celebration of our complex intersecting identities (black, women, queer, Muslim, etc.). However, there is one legitimate piece of critique I have read—that Lemonade renders fat black women invisible—that prompts me to unpack the privilege and responsibility of representation.

Lemonade is bursting with political messaging and has clearly been interpreted in a number of ways by many. But as a black, African, cisgendered, thin, able-bodied woman, the most potent message I saw in Lemonade was the pressing need for black female solidarity. Black women (bearing the weight of sexism, racism, and other oppressive structures) make endless sacrifices for their families and communities daily, yet are undeservingly degraded, violated and humiliated. Oftentimes, this is done in comparison to women of other races in order to make us feel inferior for our uniquely black characteristics (our “bad” hair, dark skin, big lips…you get the idea). Lemonade was about more than just Beyonce’s marital strife. 

It was that realization that every black woman will come to at some point in her life: that nobody is protecting us and it’s time we took care of ourselves, together. I felt that Beyonce was able to convey this very strongly and beautifully while incorporating many other creatives of the African diaspora.

But did Beyonce represent every black woman? No, not at all. I think that is nearly an impossible task and to hold anyone to that standard is impractical. I agree that it would have been incredibly powerful to include all those that were left out, especially since Lemonade is being described as a universal black female anthem. But it’s not universal and it shouldn’t have to be. It is only one of many diverse stories black women have to share.

What we need to question is who has the privilege to share their stories and is it their responsibility to speak for those more marginalized?

I won't pretend to have the answers to that question. Privilege is a complicated thing and those that are afforded the privilege to speak out need to do so with as much consciousness and humility as possible. But, personally, I would refrain from expecting any other person to speak for me. Nobody can tell your story but you. And in the spirit of Lemonade, it’s up to each and every one of us to create a space where all our stories are heard, welcomed and valued.

Beyonce-Ojo-Agi-Lemonade

Confronting Black Vulnerability in For Sad Girls and Lonely Boys

Each illustration tells a personal story for me, and collectively they demonstrate a vulnerable side of Black people that’s not often acknowledged by society, our communities, or even ourselves. We are subject to numerous negative stereotypes that limit our free range of desires, prospects and emotions, leading to damaging effects on our social interactions and mental health.

This collection, aptly named “For sad girls and lonely boys”, features Black women and men in a way we refuse to see them: vulnerable.

We tend to combat the negatives (like "aggressive" or "ghetto") with words like "strong" and "resilient", forgetting that there is also a sensitive side to all of us in need of care and tenderness.

 

If you wish to continue the conversation on the impacts of adverse stereotypes on people of colour, leave a comment below.

Art, Positionality, and Painting Black Subjects

Art, Positionality, and Painting Black Subjects

In this post, I detail the controversy behind Ruud van Empel's work featuring black children. Although I've used this particular artist as an example, I've seen the debate arise surrounding several white artists who exclusively (or almost exclusively) paint black subjects. The questions of intent, appropriation and exoticism tend to combat the praise of positive representations for a group of marginalized people. Race theorist Stuart Hall has opened us up from merely critiquing whether or not representation of a particular subject exists to critiquing the ways in which the particular subject matter is represented. So if the representation is positive, should it matter who is creating it?

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