11/8/2022 0 Comments Dj unk walk it out youtube![]() ![]() ![]() Most recently, public debates about sexism, feminism and pop culture erupted around the most significant global female pop star to emerge since 2010, Beyoncé Knowles. Such powerful and paradoxical representations also reference, intertextually, the historically entrenched sexism and exploitation of, especially, black female stars within the music industry. ![]() By re-enacting such contradictory expressions, pop stars variously forge bonds with female fans, while maintaining broader interest from non-female consumers of mainstream hip hop. These range from empowering representations of girl culture to objectifying images of women’s dancing bodies amid urban scenes of disruption and decay. Since 2013, pop music artists have increasingly enlisted gendered discourse about resilience and crisis in their performances and online debates. It is also within the YouTube archive where the choreographer has assumed an elevated yet precarious status. Ultimately such intersectional responses to Beyoncé’s videos complicate recent debates about feminism, resilience, and sexuality within the music industry. In short, this article argues that Beyoncé’s deeply personal and multifaceted poetics, when remixed via collective articulations, prompt non-essentialist negotiations of black culture’s intersectionality. In this environment, dancers construct alternative biopolitics grounded by localized and participatory modes of identification. Further, it looks beyond Beyoncé’s corpus to critically examine the dance remake, a forum in which dancers harness “media power” (Carroll) within the YouTube archive to re-signify Beyoncé’s work through collective choreographed dance. This article examines the dance sequences from Beyoncé’s 2013 video “***Flawless” to highlight the centrality of popular black dance within contemporary culture. ![]()
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