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Having problems is the human condition. But there is a particular complication that comes with being black in America. How does it feel to be a problem? In 2016, Beyoncé, a pop star, chose to be a problem. This could not have been a light decision.
An artist who rose to fame in the late 1990s as lead singer of the teen girl group Destiny’s Child, she has since rocketed to the sort of first-name-only global superstardom that theoretically relieves her of the heaviest burdens of being a problem. Her brand seemed carefully crafted to speak to girl power more than to black power. Middle America as evidence the nation’s racial dilemma had ended. Emmy-nominated film and, as America looked on, an experience—Beyoncé publicly embraced explicitly feminist blackness at a politically risky moment. For three years, the stream of cell-phone videos of fatal encounters between African Americans and local police sustained a national controversy that, in some quarters, came down to a choice between one and the other.
She chose blackness even as many Americans rejected it, taking sides and never wavering. A spate of other music awards followed, along with nominations in the upcoming Grammys, including Album of the Year. Cause I need freedom too! I break chains all by myself. Typical arena fare it was not. Rather, it was the strategic, deliberate way Beyoncé deployed her artistry to elicit, reveal and invert dynamics of power, race and gender just when those very elements carried their greatest charge.
And in so doing, she offered a recipe for transforming the bitter politics of 2016 into the sort of lemonade Southern black women have been making for generations. Super Bowl and at the outset of Black History Month. Scheduled to perform the game’s halftime show, she used what may be America’s biggest unofficial holiday to affirm her preference for kinky hair and big noses, evoke Hurricane Katrina, signify the Ferguson protests and mark a history of African-American organizing. In the stunning music video, she lies atop a New Orleans police car as it slowly sinks beneath rising waters that threaten to drown the city. Later, the camera is trained on a black boy in a hoodie, dancing defiantly before a row of armed police officers. He finishes with his arms outstretched, facing the officers, who throw their hands up.