By Mercy Green
For a long time, music has stood out as a powerful tool for social change. Over the years, artists have used music as a mirror reflecting societal challenges and as a catalyst for societal change. Throughout history, artists have utilized the power of music to challenge different forms of oppression, champion marginalized voices, and inspire activism (Barton, 2018). In such endeavors, different genres, including gospel, blues, jazz, and hip-hop, have played a vital role in movements for racial, gender, and economic justice. Beyoncé’s “Formation” (2016) remains a clear example and a contemporary depiction of this tradition. The piece seamlessly incorporates art, activism, and personal identity to forge a bold cultural and political statement. The song was released at a time of increased racial tensions and social unrest in the United States. The song not
only celebrates Black heritage and Southern identity but also confronts systemic racism and brutality concerns among police officers. Through a rhetorical lens, “Formation” can be discussed as a response to the identified pressing social concerns, using powerful lyrical affirmations and striking visual imagery. The focus of this paper is to employ Lloyd Bitzer’s concept of “The Rhetorical Situation”—examining the song’s exigence, audience, and constraints—to clearly understand the song’s essence. Again, Stewart’s “Persuasion in Social Movements” and key rhetorical terms provide a clear understanding of how “Formation” acts as an anthem of resistance and empowerment for Black women and marginalized groups. Beyoncé’s artistic choices effectively underscore the enduring challenges that black Americans have had to face and further continue to assert a vision of pride and resilience.
The Exigence: Social and Cultural Context
According to the definition provided by Lloyd Bitzer, exigence remains an urgent issue that compels a rhetorical act. In this line, Formation was released at a critical moment in American history. This was a period marked by intense racial and political disparities. By 2016, the Black Lives Matter movement had grown into a significant force. The movement had mobilized communities across several countries to protest police brutality and systemic racism following the deaths of individuals including Michael Brown, Eric Garner, and Tamir Rice. These incidents, together with the progressive failure of the justice system to hold officers accountable, further pushed the nationwide debates regarding issues of racial inequality and policing for Black lives in American society. Against such a critical backdrop, Beyoncé’s Formation turned out to be more than just a simple song (Wallace, 2017). The song underscored a powerful cultural and political statement. Through both the lyrics and the visuals in the music video, Beyoncé was able to flawlessly engage directly with the mentioned social issues, such as racial justice and gender equality. Likewise, she was able to provide a bold affirmation of Black identity and Black womanhood through the song (Durham, 2017). The song’s release one day before her performance at the Super Bowl 50 halftime show amplified its influence. This is true since the song featured Black Panther-inspired costumes and raised fists—symbols of Black
power and solidarity (McFadden, 2017). Beyoncé made sure that her message reached a massive audience by using such a prominent platform. The performance sparked widespread debate about race, feminism, and activism in contemporary America.
The song’s opening lyrics immediately maintained a defiant tone that challenged the derogatory narratives about Black culture and heritage. The lines, “My daddy Alabama, momma Louisiana / You mix that negro with that Creole make a Texas bama” (BeyoncéVEVO, 2016) acted as a direct assertion of Southern Black identity, which has often been marginalized or ridiculed in mainstream culture. The term Texas bama—which has been utilized in a derogatory way to describe unsophisticated or unrefined Black Southerners—remains deliberately reclaimed by Beyoncé as a symbol of strength. In this way, she rejects the notion that Black identity must remain in line with white, Eurocentric standards (Wallace, 2017). Instead, she openly celebrates the cultural richness of her roots and embraces her Black heritage. Such an assertion remains particularly essential because Southern Black culture has long been both the backbone of American music and literature. Beyoncé effectively uplifts her heritage and also empowers her audience by centering her identity in Formation. She champions her people to take pride in their Blackness despite societal backlash to assimilate or conform to dominant cultures.
Beyond the personal identity, Formation engages with broader historical and contemporary problems that Black Americans face (Wallace, 2017). The song makes effective use of powerful imagery to underscore challenges, including government neglect, racial violence, and systemic disparities. One of the most striking visual elements within the music video is the
reference to Hurricane Katrina (Durham, 2017). The above-mentioned was a disaster that disproportionately impacted the lives of Black residents of New Orleans. This disaster underscored deep racial and economic disparities within the United States. The image of Beyoncé standing atop a partially submerged New Orleans police car is layered with symbolism
(NPR, 2016). The set acts as a presentation and reminder of the federal and local government’s failure to manage the crisis (Wallace, 2017). The disaster left thousands of Black residents stranded without food and medical aid. The flooding of New Orleans stood out as more than a mere disaster. The disaster underscored a racial and political divide, as Black communities suffered disproportionately due to decades of systemic neglect. Beyoncé draws a direct distinction between past injustices and present-day challenges by positioning herself on a sinking police car. This set reinforces the idea that the fight for racial justice is ongoing (McFadden, 2017). Again, the video features imagery alluding to police brutality. These include a young Black boy in a hoodie dancing in front of a line of riot police. This scene is then followed by the words “Stop Shooting Us” written on a wall. Such visuals address the epidemic of police violence against Black Americans. It also connects the song’s broader prevailing themes of identity and empowerment with urgent calls for social and political reforms. Beyoncé crafts a work that is not only celebratory but also confrontational through the music Formation (Wallace, 2017). Through the music, she also demands recognition of the challenges that the Black communities go through while asserting their beauty.
The Audience: Primary and Secondary Target Groups
A rhetorical act is always directed at a specific audience, which can be immediate or secondary. “Formation” addresses different audiences at the same time. The audiences here include Black women, the broader African-American community, and mainstream listeners who are less familiar with such cultural references.
Primary Audience: Black Women
The formation is, first and foremost, an anthem of empowerment for Black women (NPR, 2016). The song celebrates their beauty, strength, and resilience. The repeated use of the phrase “I slay” throughout the song remains more than just a declaration of confidence. This style is a rallying cry for self-affirmation. This line also urges Black women to take up their power and recognize their worth. Likewise, the line “Okay, ladies, now let us get in formation” acts as both a call to unity and a creative play on words, with formation depicting both physical alignment and the act of forming a collective front. Beyoncé’s lyrics avail a vital counter-narrative in a world where Black women face systemic discrimination and erasures (McFadden, 2017). She encourages Black women to understand their importance and appreciate their bodies.
One of the most critical affirmations of Black womanhood in the song comes from the lines “I like my baby heir with baby hair and afros / I like my negro nose with Jackson Five nostrils.” (BeyoncéVEVO, 2016). The quoted lyrics challenge Eurocentric beauty standards directly. According to her, these beauty standards have long marginalized and devalued Black features. At the same time, she presents the understanding that these beauty standards have promoted straight hair and narrow noses as the ideal (Wallace, 2017). The reference to baby hair and afros remains significant since Black hair has historically been politicized. This line also remains true since natural black hairstyles have often been stigmatized or deemed “unprofessional” in mainstream media. Beyoncé’s words act as a compelling validation of natural Black beauty. Her words also encourage Black women to reject societal pressures that try to dictate how they should look or present themselves.
Secondary Audience: Broader Society
Even though Formation remains directed primarily toward Black women, the message extends above the core audience. The song addresses the broader societal concerns connected to race, wealth, and cultural appropriation (NPR, 2016). The song challenges systemic racism and economic differences in society. The song also openly challenges the exploitation of Black culture, forcing mainstream audiences to confront uncomfortable realizations. One of the most critical examples of this is Beyoncé’s reference to becoming a “Black Bill Gates.” The presented line highlights the need for Black economic success in a society where wealth and power are often concentrated in the hands of whites (Wallace, 2017). Again, the reference also connects to the broader vision of collective empowerment. This encourages Black communities to go for financial independence and generational wealth despite systemic challenges. This line underscores the racial wealth divide, which is a persistent concern based on discriminatory policies. Some of the policies referred to here include redlining, wage differences, and limited access to capital for Black entrepreneurs.
Likewise, Formation challenges mainstream pop culture’s tendency to appropriate Black art while silencing Black voices. Historically, Black music and fashion have been co-opted by white-dominated industries (Barton, 2018). When such instances occur, there is little to no credit or profit taken back to the Black artists. Beyoncé questions the exploitative cycle by centering Formation on Black history and activism (Wallace, 2017). Such an approach makes it possible for audiences to connect with the song without acknowledging its more profound social and political messages (Barton, 2018). By reclaiming the space that has been denied to Black artists, she champions her community and forces the wider public to recognize and respect the contributions of Black creatives. Beyoncé makes it clear that Black culture remains not a trend to be commodified. She asserts that Black culture stands out as a rich and complex force that needs visibility and respect.
Constraints and Overcoming Barriers
In rhetorical situations, constraints denote the factors which limit the rhetoric. Beyoncé faces different constraints as a mainstream artist addressing racial concerns.
Commercial and Industry Constraints
Beyoncé remains one of the most successful musicians in the world. She has a broad and diverse fan base. Addressing racial and social issues in “Formation” risked alienating some of her mainstream and non-Black listeners (Durham, 2017). It is easy to understand that the entertainment industry does not encourage overt political messaging. This is even worse when factors like race are brought to the table. However, Beyoncé took advantage of her platform to transcend these constraints and strategically released “Formation” just before her 2016 Super Bowl halftime performance.
Political Backlash
“Formation” elicited critical controversy among conservative audiences who misinterpreted it as “anti-police.” Critics threw accusations, framing her for inciting violence against law enforcement. This criticism was mounted in response to imagery from the music video depicting a young Black boy in front of riot police with the message “Stop Shooting Us.” Such backlash denoted a constraint in how racial justice messages are partitioned and interpreted in mainstream platforms.
Gendered Expectations
Beyoncé also faces gendered constraints as a Black woman within the competitive industry (Wallace, 2017). Historically, women in the music industry have been expected to conform to non-threatening roles. Beyoncé challenges these norms by taking an assertive and unapologetic stand in Formation (NPR, 2016). Despite the explicit constraints, Beyoncé uses different rhetorical strategies to overcome them. She uses visual symbolism, lyrical affirmations, and cultural references. These styles and approaches resonate with her intended audience while strategically utilizing her platform to command attention.
Rhetorical Strategies and Persuasion in Social Movements
“Persuasion in Social Movements” by Stewart underscores the effectiveness of music in mobilizing collective action. “Formation” remains in line with the identified principles by using rhetoric to inspire pride and defiance. Beyoncé utilizes different key strategies as explained below.
Symbolism and Visual Storytelling
The music video for Formation stands out since it is a meticulously crafted visual narrative. The video is rich with historical and cultural symbolism. All these hidden visual codes reinforce the song’s overarching themes of resistance and Black empowerment. Each frame remains deliberately composed to elicit stern imagery that binds the past with the present. The
creativeness makes the video a vital extension of the song’s message. One of the most compelling visual elements is the image of Beyoncé standing atop a drowning police car in a flooded New Orleans. The presented moment references Hurricane Katrina. This was a massive disaster that disproportionately impacted the lives of thousands of Black communities. By
positioning herself in this setting, Beyoncé underscores the racialized failures of disaster response (Wallace, 2017). She also makes a clear statement about police violence and state oppression. The scene points towards the suggestion of a demand for accountability, with the submerged police car acting as a metaphor for the systemic forces that have failed Black
Americans.
Apart from the direct political imagery, the video also has elements of Creole and Southern Black heritage. This is clear from the antebellum-style dresses worn by Beyoncé and her dancers to the traditional Black church setting. Such aesthetic choices are compelling to reclaim and reinterpret history. Costuming, setting, and body language remain as crucial as the lyrics in delivering the video’s message. The mentioned factors make Formation a work of visual rhetoric that connects to the audience even without sound.
Repetition and Affirmation
Repetition stands out as a compelling rhetorical device in Formation. Repetition serves as a key to reinforce themes of self-empowerment, unity, and defiance. The phrase “I slay” is repeatedly used in the song. Such repetition turns the line into a mantra of confidence and triumph. The repetition also acts as both an individual affirmation and a collective declaration to encourage and recognize their power and worth. Beyoncé maintains a sense of pride and resilience in her audience by transforming “I Slay” into an anthem.
Again, the phrase “Okay, ladies, now let us get in formation” is repeated throughout the song (BeyoncéVEVO, 2016). This repetition acts as a dual device. On one hand, it acts as a call to unity. Here, the repetition urges the Black women to come together in solidarity and collective strength. At a different level, the repetition holds significance in formation, which may translate to both military readiness and social organization. This clever wordplay points towards the realization that the song was a call to preparation for the battle—whether literal or metaphorical (Npr, 2016). By emphasizing the identified lines through repetition, Beyoncé makes sure that the song’s core messages remain imprinted as she needs them to.
Cultural References and Intertextuality
The formation is deeply contained within historical and cultural intertextuality. The song draws from significant moments of Black resistance and resilience to enrich its message. The song and video use references to the Black Panthers. Black Panthers are looked up to as revolutionary groups known for their activism against police brutality and systemic racism. The nod to this movement situates Formation within a legacy of Black activism.
Likewise, it is clearly understood that the song acknowledges the devastation of Hurricane Katrina. The song also acknowledges the government’s failure to safeguard the interests of Black communities, a reference that harbors critical political weight. This inclusion ties “Formation” to a specific moment of racial injustice while also drawing parallels to contemporary issues such as police violence and economic disparity. Beyoncé’s embrace of Southern Black identity also backs the song’s grounding in history. Beyonce achieves a virtuosic performance, making her song unforgettable through her compelling references. She uses these techniques to establish the legacy of the Black art within which the song would be art.
In conclusion, “Formation” is just more than a song. Instead, it captures the essence of a profoundly rhetorical claim focusing on racial oppression, Blackness, and feminism simultaneously. It can be said that with Bitzer, it is easier to understand how a particular context of an event, a specific target group, and existing factors shaped constituents constrain the rhetoric of a message. Through powerful use of symbols, repetition, and cultural references, Beyonce manages to break the circles of negative constraints and articulate the struggle, pride, and resistance.
References
Barton, G. (2018). The relationship between music, culture, and society: Meaning in music. In Springer eBooks (pp. 23–41). https://doi.org/10.1007/978-3-319-95408-0_2
BeyoncéVEVO. (2016). Beyoncé – Formation (Official Video) [Video]. YouTube. https://www.youtube.com/watch?v=WDZJPJV__bQ
Durham, N. A. (2017). Class formation: Beyoncé in music video production. Black Camera,
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McFadden, S. (2017). Beyoncé’s Formation reclaims black America’s narrative from the
margins. The Guardian. https://www.theguardian.com/commentisfree/2016/feb/08/beyonce-formation-black-amer
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Npr. (2016). Beyonce’s “Formation” is a visual anthem. NPR. https://www.npr.org/2016/02/08/466036710/beyonces-formation-is-a-visual-anthem
Wallace, N. A. (2017). A critical view of Beyonce’s “Formation.” Black Camera, 9(1), 189. https://doi.org/10.2979/blackcamera.9.1.12