Beyoncé's Super Bowl Spectacles and Choreographies of Black Power in the Movement 4 Black Lives
Bibliographic Data
| ID | 11223944 |
|---|---|
| Authors | Raquel Monroe (0000-0003-3396-6066, corresponding author) |
| Year | 2021 |
| Volume | 53 |
| Issue | 2 |
| Pages | 161-176 |
| Publication date | 2021-08-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Dance Research Journal (JOURNAL) |
| Journal identifiers | ISSN: 0149-7677 • E-ISSN: 1940-509X |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0149767721000231 |
| OpenAlex | W3210428261 |
| Language | EN |
| Citations received | 1 |
| References cited | 13 |
In this article, I argue that the spectacle of American football, and the performance practices of HBCU dance lines birthed within it and seasoned in queer nightclubs, propelled Black “femme-inintiy” from the sidelines to the center of choreographic and discursive practices of Black liberation. I wed queer Black feminism with Yoruba cosmology to analyze three protests instigated during three NFL events in 2016: Beyoncé's Super Bowl performance, the direct actions of Black Lives Matter activists at the Super Bowl, and Assata's Daughters’ protest at the NFL Draft. Ultimately, I theorize the generative potential of spectacle and uplift the organizing and labor of queer Black femmes and gender nonconforming people in the Movement 4 Black Lives
Aesthetics · Art · Black feminism · Black Power · Choreography · Civil rights · Dance · Feminism · Movement (music) · Political science · Queer · Sociology · Spectacle · Visual arts · American Sports and Literature · Diversity and Impact of Dance · Gender Studies · Law · Sports, Gender, and Society
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2024 - 2024 (1) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 1 |