Intersectionality and Empowerment: Beyoncé and Black Queer Feminism

Imma Grown Woman: Unapologetic Independence with Beyoncé's Sister Realness

Written by Camille 

This blog discusses Beyoncé's influence within the framework of Black queer feminism, examining how her music and persona intersect with issues of race, gender, and sexuality. It analyzes her role as a feminist icon and the ways in which she navigates the complexities of identity through her art.

First I will provide some definitions regarding "Black Queer Feminism". The term "Black" refers to an individual of the sub-Saharan African ancestry. "Queer" refers to an orientation in gender and/or sexual identity, it is an individual who does not fit society's traditional narrative and expectations of male and female, and heterosexual. When you combine "Black" and "Queer" you are adding more nuance to identity in this context. "Feminism" refers to the advocacy of justice and equality for those who identify as women. It challenges male-dominated spaces and heteronormativity and that is where feminism could be seen not just as a fight for women's rights, but it could diversify to encompass a fight for LGBT+ rights as it recognizes gender and sexual inequality impacts all people within the spectrum.

When you combine all of these descriptors "Black Queer Feminism" you get a simple definition of a dynamic and intersectional framework that centers the experiences, struggles, and liberation of Black queer individuals within feminist discourse. It challenges traditional notions of feminism by acknowledging the unique oppressions faced by Black queer people due to their race, gender identity, and sexual orientation, while advocating for the dismantling of all forms of oppression, including racism, sexism, homophobia, and transphobia. It embraces inclusivity, solidarity, and empowerment, recognizing the interconnectedness of various social justice movements in the pursuit of equality and justice for all marginalized communities.

Beyoncé's song "Grown Woman" is an anthem celebrating self-empowerment by vocalizing with might, "Imma grown woman, I can do whatever I want", celebrating independence in stating "They love the way I walk, cause I walk with a vengeance. And they listen to me when I talk cause I ain't pretendin'" and the journey of personal growth as the song is called "Grown Woman". This is a reflection of her journey from girlhood to womanhood. The lyrics convey themes that refuse to be constrained by societal expectations or stereotypes. Overall, "Grown Woman" is a declaration of autonomy, encouraging listeners to embrace their maturity and their true selves unapologetically.

In examining Beyoncé's influence through the lens of Black queer feminism, it's important to acknowledge the resonance of her message with womanist principles as well. Womanism, coined by Alice Walker, encompasses a holistic approach to feminism that centers on the experiences of Black women and women of color, recognizing the intersecting oppressions they face. Beyoncé's music and persona align closely with womanist ideals. This impact extends beyond the confines of traditional feminism, embracing the complexities of womanism and affirming the importance of intersectionality in the pursuit of justice and equality for all marginalized communities.

Beyoncé is a feminist icon and as I begin to bridge other aspects of black queer feminism (i.e., critique of patriarchy, solidarity and community building of the bee hive, and visibility), future research on Beyoncé's feminist icon persona and its connections to womanism could also involve conducting a comparative analysis with prominent womanist figures such as Audre Lorde, bell hooks, Angela Davis, and the aforementioned Alice Walker. This comparative approach can highlight similarities, differences, and points of convergence between Beyoncé's artistry and established womanist frameworks, contributing to a deeper understanding of her impact on feminist discourse and social justice movements. Another interesting avenue to possibly take this would be to explore musical stylings within feminist activism and protests. 

I want to analyze and answer the question: How has music, art, and poetry been a voice for the voiceless, an avenue for expression during protest? I could even have a specific focus on the first wave of feminism that emerged in the 19th and early 20th centuries, primarily focused on securing legal rights for women, particularly suffrage (the right to vote). Then I could analyze the second wave of feminism which emerged in the 1960s and 1970s, building on the achievements of the first wave and expanding its focus to issues such as reproductive rights, workplace equality, and gender roles. There is so much to explore as the future of research becomes more expansive and interconnected.

The renowned "Arnt I a Woman" by Sojourner Truth, is a powerful statement that comes from their famous speech delivered in 1851 at the Women's Rights Convention in Akron, Ohio. There are various ideas about the meaning behind her speech, one could be that her question, "Arnt I a Woman?" challenges the prevailing notion of womanhood that often excluded black women from the feminist discourse of her time. It serves as a foundational reminder for womanism and black queer feminism, highlighting the importance of centering the voices and experiences of those who have been historically marginalized within both feminist and LGBTQ+ movements. Another component to recognize is her telling of motherhood,  as Truth speaks about her experiences as a mother, she emphasizes the pain she endured when her children were sold into slavery. Similarly in Hagar's story, a story of the plight of black women, the parallel of the struggle for autonomy and facing exploitation is resonant.

A question to consider: How do feminist and womanist ideologies reconcile the biblical notion of 'holy submission' within motherhood with their advocacy for agency, autonomy, and liberation for women, particularly within marginalized communities? Can the concept of submission be reinterpreted or reclaimed within these frameworks to empower women and challenge oppressive structures, or does it inherently perpetuate patriarchal norms and undermine feminist and womanist goals of equality and self-determination?

The theme within all of my blogs involves imagination and the possibilities of a just world. In my head that looks like my blogs, a world where marginalized voices are heard and action is immediately taken to prevent further disasters and subjugation. As we are witnessing and have been witnessing, the long-lasting legacy of imperialism and colonialism. In my world of imaginative reality, music is the source of life, art is the source of life, and solidarity is the source of life as they pull people together for peace and healing, protest and liberation.

There will never be true liberation and unity, if the women of color, queer individuals of color, if the people of color have yet to find solace within this world. Unity and the collective fight for rights would miss the point if it was fought for without marginalized communities as a focal point of that collective resistence. Without addressing the unique struggles faced by people of color, queer individuals of color, and women of color, any attempt at unity would be incomplete and ultimately reinforce existing power imbalances.

Let's all live, laugh, love sister realness, sister unapologetic, sister independent.