Visual imagery is an expression or an art that involves exploration of one’s talent driven by emotional imperative to say something and represent what matters. Visual imagery of artistes has had a major impact on majority of people due to what the art results to, its beliefs.
According to Aisha (2007), black women located in the music industry express their silence by engagement of un-lady like actions like expression of their sexual desire on videos. Furthermore, most of them want to be given moral respect as ladies in the society but are bound by their sexual virtues. Beyonce is a key example in this context. Aisha (2007) argues that self representation of an artist is an important cultural space. Moreover, she states that performances have specific symbolic meanings. Beyonce’s hair through her style and performance represent class. In addition to that Beyonce’s believability of her character is portrayed significantly when she wears cornrows.
Furthermore, the showing of her nudity with hyper sexuality is seen from the colonial perspective as it constructs black female physicality as primitive, Aisha (2007). However, according to mass media the ‘booty’ is reassigned by black rappers to express its physicality. Aisha (2007) states that Beyonce’s Nasty girl video (2002) , advices women to put on some clothes since men do not want to see a hot female around the block female. However, after a period the women are transformed by the fashion industry and enter a dream world of destiny’s child. Furthermore no image of Beyonce is implicated by reproduction of working class femininity since she engages in self-titled booty dances).
Moreover, black femininity is seen in Lose my breath video (2004). Beyonce wears timberland boots, low-rise jean in a black alley. This portrays a ghetto girl and engages in a battle with a so called lady. In addition to that, the black ghetto portrays a public debate concerning the performances of black femininity played out in hip hop and the symbol of her body.
Aisha (2007) states that black femininity is also displayed by color and discourses of the south. A good example is the pink panther video. Her engagement with the south rappers shows how iconic female body is understood in the popular culture. The video involves Beyonce sandwiched between the two rappers Slim Thug and Bun B. Beyonce sings and the cartoon, pink panther makes a transition in her own world, Aisha (2007). At the beginning of the video Beyonce displays four looks, the diva, ghetto girl, girl gang and a dance troupe. Moreover she portrays an imagery of a school girl squatting in an angora sweater. Furthermore, she appears as a Diana-esque diva with wind-blown hair and wearing a gown. In addition to that, she wears pink and dances in pink backgrounds and the chorus tells what her man is watching her do.
In her argument Aisha (2007) states that Beyonce’s character displays her southern femininity due to the male and female addressee since the North display in an imagery view is an exhausted character. The Houston rappers provide a street feeling where she engages in a demonstration of a working class femininity after receiving stardom through fashion. This all round girl character depicts racialised spatiality and is necessary for production.
Furthermore, Beyonce’s imagery is seen when she doesn’t mention the place she comes from since it’s a key role in the hip hop industry. Being raised in Houston and her father earning a six figure salary disrupts the hip hop working class femininity, Aisha (2007). Visual imagery also appears on the scenes of her booty. Through camera angles her lower half is emphasized since the trope of her behind takes pleasure in the backward gaze. The racialized sexuality of women color is important for media production.
Furthermore, the conversation between Beyonce and Slim thug present an imagery of sexual objectification. This occurs when she frames her body and slim thug engages her in a long gaze. She moreover express a sexual agency by grabbing her behind and looking over her shoulder while taking pleasure in its movements, this shows a visual imagery of male erotic pleasure.
The depicted characters of the color pink demonstrate the degree of sexual proficiency. When she kneels down as she wears the schoolgirl outfit, this illustrates a prepubescent sexuality with disruptions at the background. Moreover, the intensity of the color pink shows her character has a hot ghetto girl, Aisha (2007). The visual imagery in booty dancing result in a panic since most of black American girls engage in early teen pregnancies and sexually transmitted diseases. Moreover, high heel boots have a significant in portraying an acrobatic feminine character as she is able to move in rhythm with other female dancers.
Aisha (2007) argues that Beyonce breaks from her group the destiny’s child to portray an imagery of her sexual independence as a speaking subject. She moreover remains in her pink world and result in misleading of the young black women from visibility and empowerment of male erotic pleasure. Furthermore, style, speech and dance represent Beyonce’s working femininity. The style which includes finger waved, multicolor track, synthetic and locked coifs visualizes the willful defiance of black women as a dominant culture.
According to Aisha (2007), the sexuality of black women since the past is considered to be loose. Moreover, she considers black women practices as members of an economic group that is vulnerable and faces sexual exploitation. This gains special attention due to the technologies and public sphere surrounding them. Moreover, most black women strive to be seen that their feminine performance is classy and warrants special attention. However, class remains an under-theorized topic since the black race has experienced gender abuse and class minorities in the past. The coding of respectability has however two reasons, the respectability that is gained when this women feel inferior and directed to working class women trying to prove their worth by become half naked in videos so as to boost their social immunity towards the fan-base, Aisha (2007).
Visual imagery has resulted to the idolization of pop stars with a commercial and materialistic aspect. Most of this young black women emulate the lifestyle and others even adopt their names. The qualities of this songs are considered to be hypersexual and offensive and the expression leaves us in deep concern of the moral values this artistes try to show to the young generation. Visual imagery can be expressed in a well respectable manner and as an art it can help regain the emotional balance of the young folks.
- Aisha S, Durham. Home Girl Going Home: Hip hop Feminisim and the Representation Politics of Location. 2007