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A newscaster describes the rows of spectators waiting to see the car car- rying Kennedy and his wife, Jacqueline. Color appears muted and washed out, suggesting the quality of s amateur ilms. While processed to approximate the look of older ilm technology, the video was ilmed on loca- tion in front of actual unknowing bystanders in contemporary Dallas.
Badu never meets the eyes of the confused tourists that watch as she methodically removes her clothing a piece at a time, taking the items off and letting them fall on the sidewalk to be left behind. Her clothing is not the lashy or high fashion couture that might normally appear in a music video; instead, she wears mundane clothing—a black trench coat, a purple hooded sweatshirt, black leggings, and generic black underwear—and her hair is worn back from her face under a rag.
She is Othered both because of her methodical undressing and her position as a Black woman moving through the visual realm and the physical space. As she removes her underwear, the viewer sees ample hips suggestive of the maternal body.
The blurring of her breasts and crotch speaks to the way that Badu louts social convention, choosing to engage discourses of deviance by exposing herself. The entire video feels dreamlike, an effect aided by slowing down the actual footage and the lack of ambient sounds from the day of ilming. In the inal seconds, the video becomes more surreal when Badu falls down as if dead on the spot where Kennedy was shot.
Throughout the video Badu wears her hair back from her face, but this reborn Badu wears long beaded braids. Filmed in one take, guerilla-ilmmaking style in , Badu released the video via the micro-blogging Twitter as the irst single off her fourth album, New Amerykah Part Two: Return of the Ankh After the video became a viral sensation, the city of Dallas ined her for disorderly conduct, since she ilmed without a permit.
According to Erica R. Scholars employ terms including new racism P. Badu refuses the cultural mandate to bury racism in the past by restaging an historical moment in a highly public setting. Her performance reveals the ongoing machinations of power relegating Othered bodies to certain social posi- tions, a process made literal when those same bodies are denied access to public spaces.
Collins ; Fleetwood ; hooks Throughout this article, I understand processes of racialization as concomitant with the production of sexuality and gender as social categories of meaning; race cannot be discussed separately from intersecting categories of identity Crenshaw ; Ferguson From the realm of the visual, I move to the physical space of Dealey Plaza and the broader setting of Dallas—places that seek to bury racism in the past through memorialization and spatial segrega- tion.
Black feminist scholarship argues for the importance of acknowledging intellectual work outside the academy. Historically, Black women developed oppositional knowledge through visual and musical artistic productions, which often achieved greater popular circulation than written texts P. Collins , 18— In a Twitter post, Badu identiies herself as a mother, artist, and sociologist, tying together these different social identiications as a means of signifying the multiple valences of her cultural production and arguing for their interrelationship in her work.
Badu refuses to accept her bodily placement in a speciic temporal location and consistently troubles the boundaries of time and space. Black feminist critic Daphne A. I call this type of post-soul performance the politics of replacement; to enact a politics of replacement, Black female performers access the space of an iconic igure in a manner not fully reverential or parodic.
I link the rise of these queer acts to the increasingly supple creative space of digital ilmmaking and the growing visibility of Black female photographers in the late twentieth century. The politics of replacement forces the viewer to encounter the time-traveling Black woman; her presence reveals the machinations of historical narratives that obfuscate certain bodies and experiences. The artistic impulse toward a politics of replacement draws on emerging trends within Black female photography of the late twentieth century as well.
Music videos consistently straddle the line between pure commodity and art object. Collins After centuries of objectiication by the white male gaze, recent Black female photographers like Renee Cox and Carrie Mae Weems seek to reclaim the power of the image by employing the imprimatur of historical truth culturally afforded to the photographic image.
Today, the ilm continues to circulate through video websites like YouTube and remains the basis for cultural memory of the Kennedy assassination. John F. After assuming the presidency, Lyndon Johnson swiftly pushed the act through in memorial to the slain president, thus contributing to the canonization of Kennedy. In death, the nation remembered Kennedy as a martyr in the ight for civil rights for African Americans.
The politics of replacement reveals the privileged status enjoyed by white masculine subjects in both the historical moment of and the present of US historical- progress narratives continue to be manufactured under the sign of whiteness. Singer- songwriter Tori Amos and pop singer Lana Del Rey both visually position themselves in the place of Jacqueline. In his study of the assassination, John B. Mayo Jr. The video ends with a reenactment of the assassination that uses super-saturated color to evoke the Zapruder ilm, but never shows the actual dead president.
The intentional choice of a Black rapper over an unknown actor suggests a desire to appear progressive, yet the lack of an actual verse in the song by Rocky heightens his silencing in the video as foreclosing the possibilities of blackness. The videos present Jackie as the ideal stoic mother; instead of the critique embedded in replacement, Amos and Del Rey engage in homage. The aristocratic bearing of the white mother produces the stereotypical inverse, the hysterical poor Black mother beset by the horrors of a racist past.
In contrast, Badu wears workout clothes, which serve an entirely utilitar- ian purpose. Her nakedness reveals a clearly feminine frame while at the same time suggesting sartorially that she is closer to the corpse of Kennedy than his well-dressed wife. The deviance suggested by her public nudity draws attention to the unsteady nature of white heterosexuality symbolized by the Kennedy marriage, a union beset by whispers about his ini- delity.
The plaza is part of an area designated a National Historic Landmark district by the federal government in Every year, at least a million visitors come to Dealey Plaza to explore the route taken on that fateful day Miller ; Sixth Floor Museum Leah Vande Berg describes these communal acts as akin to religious pilgrimages taken by believers to visit sites of spiritual signiicance.
Maintaining Dealey Plaza as it appears in public memories of the assassination allows visitors to physically insert themselves into a historical moment. White liberal activists Jeanette and George Crawford describe Dallas of the early s as harboring intense racial hatred; the couple recalls their children hearing other children cheer at school on the day of the assassination.
Harvey J. Badu claims Dallas as her hometown and continues to engage with the community where she grew up. The intimacy of walking naked through these streets undercuts rhetorical projects of racial avoidance by showing a clear personal connection with the city.
Whereas both Del Rey and Amos staged their homages in ictional spaces, Badu purposely chose to ilm hers in public and to test the limits of the freedom that her body was allowed.
Her knowing play with the law aids her critique of the continued persecution of Black bodies in the twenty-irst century. Badu remove her clothing on the public street. The witness had two small children with her and was offended. The com- plaining witness is a mother and thus Badu is not a mother, or at least not the right kind of mother because she dares to bare her body in proximity of a child.
Childhood requires constant protection due to the supposed mental fragil- ity of youth, one easily scarred by the state of nakedness that all humans enjoy or deny. In her interview with the Dallas Morning News Hauk , Badu describes having the approval of her own children to ilm the video in , her children were aged 1, 4, and Historically, African American women in the United States have been barred from the place of acceptable reproduction, irst through the denial of ilial ties to their children under chattel slavery, then through ongoing cultural myths about Black reproduction as a form of degeneracy Roberts , 3—55; Spillers Cultural stereotypes like the Jezebel, the Mammy, and the Welfare Queen function to persuade people that African American women are unit mothers.
Performing middle-class respectability has been one way by which Black women strove to gain political recognition in the United States and thus distance themselves from tropes of sexual deviance and irresponsible maternity. As Lisa B. The language of freakiness distances Badu from the position of full-ledged subjectivity or Black maternity.
By offering a rationale beyond simply pleasing the heterosexual male gaze, Badu—and, I would argue, other Black women performing a politics of replacement—suggests that music videos can entertain while also serving as a site of radical rupture in contemporary scripts of progress.
She negotiates pathways through historical time and the physical space initially forged by white masculine bodies, and disorders the assumed stability of these normative identity formations.
When she performs the impossible—namely, embodying the fallen president—Badu stages a trans- gressive politics that argues for future possibilities of change.
She employs the tropes of the queer deviant, the Black female body, the sexual, and the maternal as a means of exposing the post-racial moment as bankrupt; yet, unlike other cultural actors who read this failure of equality as further proof of the death of Black politics, she calls for an exhumation of the racist past as a way to move forward. Politics becomes dangerous when we disavow the joy and pleasure written on the bodies under discussion; we cannot eschew playfulness as a source of possibility for remaking the world.
The answer here is not a new world because, as the video shows us, this world is never just experienced in the present; rather, the post- racial world might be one in which artistic endeavors employ transgression to walk through those spaces and times of iconic whiteness. The post- in post- racial can become the site of possibility for walking routes once barred, routes out of the death of history and into the light of new possibility.
In her study of eccentric post-soul musical artists, Francesca T. His research and teaching interests include African American literature, Black feminist thought, queer theory, and popular culture studies. He can be reached at jbrendanshaw gmail. Notes 1. Badu may lout middle- class ideals of propriety, but she remains within a heterosexual paradigm.
And disregard for others. As a director I am unimpressed. As a sociologist I understand your type. As your fellow artist I am uninspired. The desire to produce neo-soul as separate from previous music mirrors the broader discussions in this article about the notion of progressive narratives that rely upon endings and the fulillment of aims.
Badu and other Black female artists expose the normativizing work of historical narrative by replacing key igures with their own bodies, yet maintaining the symbolic markers of iconic symbols. The politics of replacement I describe has kinship with Daphne A.
The attention in her essay to the ways in which these Black female bodies contest normative narratives of hyper-visibility as a means of protest is similar to the politics of replacement described in this article, but I focus on the realm of the visual as the primary site of analysis. Both Martin Luther King, Jr. References Abdur-Rahman, Aliyyah I.
Amos, Tori. Badu, Erykah. Universal Motown Records, compact disc. Bonilla-Silva, Eduardo, and David Dietrich. Brooks, Daphne A. Ann Arbor: University of Michigan Press. Bryant, Nick. The Bystander: John F. Kennedy and the Struggle for Black Equality. New York: Basic Books.
Butts, Marlon. Chang, Juliana. Minneapolis: University of Minnesota Press. Collins, Lisa Gail. Collins, Patricia Hill. New York: Routledge. Gotanda, Gary Peller, and Kendall Thomas, — New York: The New Press. Cunningham, Phillip Lamarr. Davis, Angela Y. New York: Pantheon. Del Rey, Lana. Edwards, Erica R. Charisma and the Fictions of Black Leadership. Eiserer, Tanya. Fagin, Stephen A. Ferguson, Roderick A. Fleetwood, Nicole. Troubling Vision: Performance, Visuality, and Blackness.
Chicago: University of Chicago Press. Freeman, Elizabeth. Gaines, Kevin. Goldberg, David Theo. Graff, Harvey J. Gray, Katti. Halberstam, Judith. Hall, Michael. Hancock, Dean Gordon B. Hanek, Joel. Keep This Heart. A Shade Of Blue-Edit. Window Seat. The Sweetest Love. No Place Like Home. All You Need Is Love. Mira-Radio Edit. Artists Erykah Badu James Poyser.
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