{"id":124755,"date":"2018-04-30T13:20:55","date_gmt":"2018-04-30T17:20:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=124755"},"modified":"2018-04-30T13:22:03","modified_gmt":"2018-04-30T17:22:03","slug":"on-beyonce-beychella-and-hairography","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/04\/30\/on-beyonce-beychella-and-hairography\/","title":{"rendered":"On Beyonc\u00e9, Beychella, and Hairography"},"content":{"rendered":"

\"\"<\/a><\/p>\n

 <\/p>\n

Hair is a large part of the wonderment\u2014and objection\u2014Beyonc\u00e9 courts each time she holds a mic. As the critic madison moore\u00a0writes<\/a>\u00a0of her \u201chaircrobatics\u201d in 2014, hairography is \u201cthe special genius of Beyonc\u00e9\u2019s stagecraft\u201d and \u201cpunctuates everything else happening on stage: the lights, the dance moves, the glitter, the sequins, the music.\u201d\u00a0Hair for black cultures at large is often a vehicle for small acts of daring, for everyday articulations. But the newest iteration of the natural-hair movement does not welcome all black hair equally. The natural-hair revolution, a public-facing campaign corroborated by name-brand moisture treatments, the YouTube \u201chair journey,\u201d and op-eds in the\u00a0New York Times<\/em>, embraces the kinky, the nappy, and all manners of patterns and styles still dubbed \u201cunruly\u201d by the nonblack population\u2014or so natural-hair enthusiasts claim. But the natural-hair movement puts forth a false consensus of what black representation should look like that accommodates the standards of nonblack bystanders.<\/p>\n

Andre Walker\u2019s trademarked typing system<\/a>, the taxonomy of four hair types upon which the natural-hair movement relies,<\/u>\u00a0has failed to yield textural egalitarianism\u2014as my fellow lowly type-4 girls can attest. There is a tendency to map our hair on a spectrum from weave to Afro as a stand-in for anti- to pro-black politics. If she, he, or they wear their hair straight, they are lost, some say. If it is long, this person is lost\u2014unless of course it is natural<\/em> and long, in which case it is revered above the teeny-weeny Afro. No matter if Miss Thing takes their black behind to a black-ass beauty shop in a black-ass neighborhood to hand over their black-ass bottom dollar to a black hairdresser who, like a chemist, wields oil, water, paste, and heat to transformative results\u2014if they walk out with something pressed, bumped, sewn, or curled, they are lost<\/em>.\u00a0<\/p>\n

The inventions borne of our spaces\u2014the wigs, weave, and crochet\u2014encompass entire aesthetic worlds. The people who use and wear them are not, for the record, lost. Nor missing, if what one can see in the shops or on the bus or on Instagram are any indication. These techniques\u2014a hairline too seamless for even God to tell, locs in every dreamy color, a relaxed pixie cut worthy of Sophisticate\u2019s<\/a><\/em>\u2014go unsung by the natural-hair movement. The movement means well, but it adheres to a sense of naturalism that leaves out the ingenious wonderland of black hair over the past century. Perfected if not pioneered by queer black and brown folks who inhabit a diversity of identities and experiences, these technologies bring to life the everyday avant-gardism that has long been a part of black cultures. As I\u2019ve written<\/a> before, \u201cLooking fly is a labor not necessarily made legible to activism.\u201d<\/p>\n

As an artist who embodies so many intersecting traditions of Afro-techne\u2014including, of course, her own distinct Southern black American roots\u2014Beyonc\u00e9 embraces the gamut of black hair practices. If she may be allowed a preference, we could point to some consistency on color\u2014a sure sign, detractors say, that she worships whiteness. Bey garnered new fans when she swung her blonde braids out the window of a moving El Camino in the video for \u201cFormation,\u201d but despite those who claim that Beyonc\u00e9 \u201cgrew into\u201d her blackness, Bey\u2019s aesthetic has been black the whole time, in life and<\/em> performance.<\/p>\n

Just as iconic as the click bops that signal the start of Beyonc\u00e9\u2019s \u201cRun the World (Girls)\u201d is her synchronic shaking of the shoulders, up-down-down, up-down-down, while her face turns right to left to right to left. \u201cGirls, we run this mutha.\u201d In the track\u2019s 2011 music video, a patchwork Brian Lichtenberg vest accentuates the vertical motion, crosscut by Beyonc\u00e9\u2019s beachy mass of long blonde hair moving side to side. This dynamism carries into live performances. For example, during the Billboard Music Awards<\/a> and the season finale of The Oprah Winfrey Show<\/em> later that year, Bey’s fringe and big hair amplified her fast weight-shifting movements. For the Perth, Australia, stop of her The Mrs. Carter Show World Tour<\/a> in 2014, Beyonc\u00e9 appeared in a short wavy bob that flipped on beat with the delicate epaulettes of a white textured bodysuit. The choreography is a motif whose patterns were intended for us. Us, the \u201cbeautiful, \u201cloyal\u201d \u201cride-or-dies\u201d whom she shouted out at the end of her historic Coachella performance on April 14 this year. As she stood atop a twenty-four-step bleacher, shrugging and tossing once again, her voluminous blonde cascade played peekaboo with the face we know so well.<\/p>\n

 <\/p>\n

\"\"<\/a>

Beyonc\u00e9 performing \u201cRun the World (Girls)\u201d at the 2011 Billboard Music Awards.<\/p><\/div>\n

 <\/p>\n

During the summer of 2006, an\u00a0online petition<\/a>\u00a0emerged addressed to Columbia Records requesting that \u201cMs. Beyonce\u2019 Knowles, Columbia Records, Music World Entertainment, and all other entities associated with the creative process of creating the long-form music video known as \u2018Deja Vu\u2019 reshoot aforementioned video immediately.\u201d The petition claimed to be the work of fans who considered the production \u201can underwhelming representation of the talent and quality of previous video projects of Ms. Knowles.\u201d\u00a0<\/b>The fast-paced movement\u2014of the camera, of Bey\u2014\u201ccauses one to get dizzy and disoriented,\u201d the petition said. The choreography, it continued, was \u201cerratic, confusing and alarming at times.\u201d A scene between Bey and Jay-Z in which the former dances all up on the latter, whipping a sleek ponytail around, is described as \u201calarming.\u201d The petition accumulated more than five thousand signatures, but the video was not reshot.\u00a0This would not be the last time Bey would be urged to take up less space.<\/p>\n

Beyonc\u00e9 performed \u201cD\u00e9j\u00e0 Vu\u201d at Coachella, accompanied by a band as big and boisterous and loud as the waist-length waves falling from her head. In both performances, her husband joined her, and they looked just as joyful now, on the other side of a decade-long marriage and the birth of three kids, as they did in 2006. Up against her man, Beyonc\u00e9 arched her back and mouthed the letters H-O-U-S-T-O-N while her hair reached for the ground behind her.<\/p>\n

I watched the performance through grainy fan-made footage as Beyonc\u00e9\u2019s sister, Solange, jogged out onstage during \u201cGet Me Bodied\u201d to join Bey in a reenactment of the track\u2019s music video. The lyrics command listeners to \u201cpat your weave, ladies, pat, pat your weave, ladies,\u201d among other black celebratory stunts: \u201cdrop down low and sweep the floor wit it,\u201d \u201cdo an old-school dance,\u201d \u201cwind it back, girl.\u201d In the video, Bey sits sandwiched between Solange, Kelly Rowland, and Michelle Williams, patting her slick and snatched ponytail with two hands. Onstage, the two very different sisters, in two different shades of blonde, synced up, laughing, to pat their respective \u2018dos.<\/p>\n

\"\"<\/a><\/p>\n

With diasporic intertexts in sound and footwork, hair movement\u2014hairography\u2014deserves due appreciation. Especially Beyonc\u00e9\u2019s\u2014she is so attuned to wind fans that mid performance, she bent down and righted an errant wind fan<\/a> herself. When I watched Bey walk up and readjust the wind flow to receive the current she deserved, I thought of the beautiful Octavia St. Laurent in Paris Is Burning<\/em>,\u00a0climbing<\/a> atop some chairs in heels and a pencil skirt to catch the breeze of a steel pedestal fan. Within the beats and steps that draw from Houston, New Orleans, New York, Nigeria, Atlanta, Jamaica, and Mozambique\u2014the step show, the jazz club, and the dancehall\u2014there is also the ballroom, felt through each theatrical bob and wave of Bey\u2019s head. What else could be summoned to compel a braid to wind around her body and land on her shoulder just so<\/a>?<\/p>\n

At Coachella, Bey\u2019s hair whipped and bounced and exceeded the limits of her body while also remaining under its command. A compilation of her finest moments of hairography would better rehearse the entire show, though I do have favorites: the double nod to punctuate \u201cI slay\u201d; the coquettish curl behind the ear as she surveys the row of bugaboo pledges; a triumphant head shake to capstone her step show; the in-sync lift and sway beside Kelly and Michelle, each with an expressive style all her own. Although I was privy to only her first Coachella performance, I imagine the tall strawberry ponytail she wore the second weekend was treated to similar choreography.<\/p>\n

When she was interviewed by Diane Sawyer in 2006, Beyonc\u00e9 said, \u201cI wanted to be more like Josephine Baker because she didn\u2019t\u2014she seemed like she was just possessed, and it seemed like she just danced from her heart, and everything was so free.\u201d On a dim festival stage the past two weekends, Beyonc\u00e9 reanimated Chimamanda Ngozi Adichie\u2019s 2012 TED<\/small> Talk, \u201cWe Should All Be Feminists,\u201d and its citation in 2013\u2019s \u201c***Flawless.\u201d Out of a twenty-nine-minute speech, the sample begins here: \u201cWe teach girls to shrink themselves, to make themselves smaller.\u201d The choice of the line was no accident.<\/p>\n

\u201cThis is everything and more that I dreamt of it being,\u201d Beyonc\u00e9 told an audience she largely couldn\u2019t see. She began the final song, \u201cLove On Top,\u201d in a cappella, relatively serene yet ever a diva, down to the smallest of microadjustments. She returned home, center stage, to conclude the set victorious. Her hair floated gently behind her, in a wave of her own making.<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Lauren Michele Jackson is a doctoral candidate in English at the University of Chicago. She is currently working on a collection of essays about race and appropriation, forthcoming from Beacon Press.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  Hair is a large part of the wonderment\u2014and objection\u2014Beyonc\u00e9 courts each time she holds a mic. As the critic madison moore\u00a0writes\u00a0of her \u201chaircrobatics\u201d in 2014, hairography is \u201cthe special genius of Beyonc\u00e9\u2019s stagecraft\u201d and \u201cpunctuates everything else happening on stage: the lights, the dance moves, the glitter, the sequins, the music.\u201d\u00a0Hair for black cultures […]<\/p>\n","protected":false},"author":1474,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[12887,33882,31348,33884,33883,4094,26605],"class_list":["post-124755","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-beyonce","tag-billboard-music-awards","tag-coachella","tag-destinys-child","tag-hairography","tag-jay-z","tag-solange"],"acf":[],"yoast_head":"\nOn Beyonc\u00e9, Beychella, and Hairography by Lauren Michele Jackson<\/title>\n<meta name=\"description\" content=\"The natural-hair movement means well but adheres to a sense of naturalism incommensurate with the ingenious wonderland of black hair over the past century.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2018\/04\/30\/on-beyonce-beychella-and-hairography\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On Beyonc\u00e9, Beychella, and Hairography by Lauren Michele Jackson\" \/>\n<meta property=\"og:description\" content=\"April 30, 2018 \u2013   Hair is a large part of the wonderment\u2014and objection\u2014Beyonc\u00e9 courts each time she holds a mic. 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