7 Matching Annotations
  1. Jul 2025
    1. Formation is both provocation and pleasure; inherently political and a deeply personal look at the black and queer bodies who have most often borne the brunt of our politics. All shapes and shades of black bodies are signaled here and move – dare we say “forward”? – in formation. Even the song’s title is subversive, winking at how we have constructed our identities from that which we were even allowed to call our own.Formation isn’t Beyoncé’s first foray into the political but, in her latest collaboration with director Melinda Matouskas (who has directed eight of Beyoncé’s videos since 2007), Beyonce’s narrative and aesthetic comes in sharp relief. The video articulates multiple identities of southern blackness, while social critiques of the nation’s crimes against its darker skinned citizens acts as ballast.

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    2. But the politics were not an afterthought for Beyoncé: the date of the release of this work can’t be ignored, given that February is Black History Month in the US. Mardi Gras festivities in New Orleans have already begun. More to the point, last Friday would have been the 21st birthday of Trayvon Martin, killed by George Zimmerman in 2012 in a shooting widely attributed to racism; Sunday would have been the 29th birthday of Sandra Bland, whose alleged suicide in prison in 2015 after a brutal and poorly justified arrest captured on camera led to unsuccessful calls for further investigation into her death.

      This is a prime example of rhetorical analysis as the author is diving into the music video's rhetorical situation, specifically what we may consider to be part of the setting. She is also identifying the indirect use of kairos. The calendar timing and political landscape of America, at this time, greatly lent itself to Beyoncé's overall message. By identifying this and acknowledging that Beyoncé was conscious of this decision, she is identifying her rhetoric and how it aligned with Beyoncé's message, allowing her to successfully convey it.

    3. It’s old and new south; it’s dark and dirty south; it’s Chantilly lace and denim jacket south; it’s baby afro, baby hair and pink and purple wig south; it’s second line and pentecostal holy ghost south; it’s southern gothic and bounce south; it’s my granny, grandaddy, auntie, uncle, cousin south. It is us, it’s for us, and it’s not concerned if white people understand.

      This quote highlights a key message in Beyoncé’s video: it was not created to explain or translate Black culture for a white audience. It was made to encourage its target audience, African Americans, especially African American women, to reclaim their heritage and culture without feeling apologetic or as though they need to make it understandable to white people. The author of the article, Syreeta McFadden, is a black woman, and by making this claim about the response she felt towards Beyoncé's music video, she showed that the artist received the message and shared a deeply personal connection with it, making Beyoncé's rhetoric extremely successful

    4. n Saturday night, I sent a group text to several friends as we were on our way to meet for drinks. It consisted solely of a screen capture from Beyoncé’s new video for Formation and the words: “We must discuss this shit.”Super Bowl half-time show review – Beyoncé easily steals the show from ColdplayRead moreEveryone knew exactly what I was talking about.My best friend’s answer: “Did Beyoncé just make a statement about the black feminine body defeating the police state?”

      This introductory anecdote, included by McFadden, is a perfect example of her positionality, specifically her identity as a black woman. First of by saying this is something she would discuss with her friends, gives us the idea that this is a video she closely aligns with. The immediate and head-on response of her friends only reinforces this. We know that McFadden is part of the target demographic this video was made for, and by including this discourse, she allows us to see the impact of Beyoncé's text. This also goes on to support the rest of the text as we get her interpretation of the video and can see that she frequently mentions its relation to black culture and specifically women. This demonstrates how her positionality allowed her to see things more deeply than a white woman would, or even a black man.

    5. On Saturday night, I sent a group text to several friends as we were on our way to meet for drinks. It consisted solely of a screen capture from Beyoncé’s new video for Formation and the words: “We must discuss this shit.”Super Bowl half-time show review – Beyoncé easily steals the show from ColdplayRead moreEveryone knew exactly what I was talking about.My best friend’s answer: “Did Beyoncé just make a statement about the black feminine body defeating the police state?”
      1. This introductory anecdote, included by McFadden, is a perfect example of her positionality, specifically her identity as a black woman. First of by saying this is something she would discuss with her friends, gives us the idea that this is a video she closely aligns with. The immediate and head-on response of her friends only reinforces this. We know that McFadden is part of the target demographic this video was made for, and by including this discourse, she allows us to see the impact of Beyoncé's text. This also goes on to support the rest of the text as we get her interpretation of the video and can see that she frequently mentions its relation to black culture and specifically women. This demonstrates how her positionality allowed her to see things more deeply than a white woman would, or even a black man.
    6. But the politics were not an afterthought for Beyoncé: the date of the release of this work can’t be ignored, given that February is Black History Month in the US. Mardi Gras festivities in New Orleans have already begun. More to the point, last Friday would have been the 21st birthday of Trayvon Martin, killed by George Zimmerman in 2012 in a shooting widely attributed to racism; Sunday would have been the 29th birthday of Sandra Bland, whose alleged suicide in prison in 2015 after a brutal and poorly justified arrest captured on camera led to unsuccessful calls for further investigation into her death.Both were considered formative moments for the women and gay men who have been at the forefront of Black Lives Matter and, more broadly, the movement for black lives.
      1. This is a prime example of rhetorical analysis as the author is diving into the music video's rhetorical situation, specifically what we may consider to be part of the setting. She is also identifying the indirect use of kairos. The calendar timing and political landscape of America, at this time, greatly lent itself to Beyoncé's overall message. By identifying this and acknowledging that Beyoncé was conscious of this decision, she is identifying her rhetoric and how it aligned with Beyoncé's message, allowing her to successfully convey it.
    7. it’s my granny, grandaddy, auntie, uncle, cousin south. It is us, it’s for us, and it’s not concerned if white people understand.
      1. This quote highlights a key message in Beyoncé’s video: it was not created to explain or translate Black culture for a white audience. It was made to encourage its target audience, African Americans, especially African American women, to reclaim their heritage and culture without feeling apologetic or as though they need to make it understandable to white people. The author of the article, Syreeta McFadden, is a black woman, and by making this claim about the response she felt towards Beyoncé's music video, she showed that the artist received the message and shared a deeply personal connection with it, making Beyoncé's rhetoric extremely successful