Biopolitics and Media Power in the Online Dance Remake: Remixing Beyoncé's "***Flawless" in the YouTube Archive.
This article examines the dance sequences from Beyoncé's 2013 video "***Flawless" to highlight the centrality of popular black dance within contemporary culture. Further, it looks beyond Beyoncé's corpus to critically examine the dance remake, a forum in which dancers harness "media power" (Carroll)...
| Publicado en: | Popular Music & Society Vol. 42; no. 1; pp. 22 - 42 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=134473466&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 134473466 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007766 POA jtl: Popular Music & Society issn: 03007766 maglogo: Y pubinfo: dt: Feb2019 vid: 42 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 134473466 10.1080/03007766.2019.1555891 ppf: 22 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.3MB tig: atl: Biopolitics and Media Power in the Online Dance Remake: Remixing Beyoncé's "***Flawless" in the YouTube Archive. aug: au: McGee, Kristin affil: Arts, Culture and Media, University of Groningen, Groningen, The Netherlands su: Biopolitics (Sociobiology) Beyoncé, 1981- Black dance Intersectionality YouTube (Web resource) sug: subj: Biopolitics (Sociobiology) Beyoncé, 1981- Black dance Intersectionality YouTube (Web resource) ab: This article examines the dance sequences from Beyoncé's 2013 video "***Flawless" to highlight the centrality of popular black dance within contemporary culture. Further, it looks beyond Beyoncé's corpus to critically examine the dance remake, a forum in which dancers harness "media power" (Carroll) within the YouTube archive to re-signify Beyoncé's work through collective choreographed dance. In this environment, dancers construct alternative biopolitics grounded by localized and participatory modes of identification. In short, this article argues that Beyoncé's deeply personal and multifaceted poetics, when remixed via collective articulations, prompt non-essentialist negotiations of black culture's intersectionality. Ultimately such intersectional responses to Beyoncé's videos complicate recent debates about feminism, resilience, and sexuality within the music industry. It is also within the YouTube archive where the choreographer has assumed an elevated yet precarious status. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Popular Music & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Popular Music & Society holder: Taylor & Francis Ltd dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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