Where there’s will, there’s a way.
While Beyonce’s greatly anticipated Formation tour is completely sold out in the U.K and expected to have quite the domino effect throughout the entire tour itself; the suddenly controversial powerhouse singer’s going to have to get in formation on new levels.
If you recall, just a day before the Superbowl, Beyonce released her video Formation which, although from limerick to lyric, is an ego and prowess ode to [her] self, used video imaginary conducive to the times and were a bit too significant.
Given the delicate climate of police/black community relations, talking about it is one thing. Bringing a visual to it, is an altogether different culture shock.
In the eyes of fans and a great majority of the African American community (contrary to right wing guilt and conservatism) the most talked about and profound part of the video is not what they seem to think the black community is celebrating: Beyonce sitting atop a police car pictured (sinking) in the flood waters of Louisiana. Unfortunately, that happens to be all they see-ignoring the fact that there was so much more imagery than that.
It would seem that the greatest concentration would have been on the ability to recreate a literal flood water town and too, found most profound; the part in the video with the little boy raising his hands would have caught artistic eyes and unified hearts and minds. Seeing as though it was more than just a little boy raising his hands, but a little boy dressed in [what has come to be seen as a stereotype and threat: the hoodie], raising his hands in surrender—followed by police officers (rather than shooting) raising their hands (in formation). Unfortunately, the only thing that stood out in the video was Beyonce sitting atop a police car sinking in the flood waters.
To add insult to imagery, the very next day, Superbowl 50 took place and upon Super Bowl Half-Time, Beyonce and her dancers took formation: ascended and assembled across the turf dressed in black and in berets which (to conservatives), was seen as a threat and symbolic representation of the 60s Black Panther Party.
Considering the only scene in the video released the previous day (Beyonce atop the sinking police are), an outcry and battle cry began: With protesters writing letters and assembling
Media Maestro .
Writing Rhinoceros .