Paris Is Burning and “Formation” Essay Example

and femininity as they perform the drag acts (Paris Is Burning 1990). The audience may perceive the display of the drag as a social practice possessing strong insubordinate potential owing to the fact that the film demonstrates the manner in which sexuality and gender are constructed performance as opposed to fundamental qualities. On the other hand, formulation by Beyonce uses the dancers to express their concerns which are rooted in political frustration and self-love (Formation Explicit).

While one may perceive formulation as a reflection of gender, class, and identity, it should also be perceived as defiant queer. This is evidenced in hyper sexuality where the women dancers are using their feminine traits to get in the “formation” and show the world that they are there to stay. The songs revolve on the pleasures of possessing a black feminine body while having the authority to own it. Unlike women, the men depicted in the video are unspoken and features the candid footage. The significant part of the video does not, however, lie on Beyonce’s ability to possess substantial wealth and out-gross many men in the industry. Rather, its significance lies in her ability to incorporate the self-love of the black feminists and thus the reason as to why she is constantly slaying in all senses of expression (Formation Explicit).

The presentation of the balls as well as the use of interviews in “Paris is Burning” depicts the deep will of the bodies of the main characters to achieve ordinariness. For instance, the transgender argues that all they desire is being ordinary housewives while the black people explain that they yearn to live the normal lives of the rich

Americans (Paris Is Burning 1990). This depiction is quite similar to Beyonce’s formation in that in both videos, and political manifesto is manifested. While one may observe that there is no political manifesto in “Paris is Burning”, it is important to realize that bodies that give meaning to themselves are capable of hacking the characteristics of their public appearance such as altering sex often constitute to a high degree of the rebellion of the mechanisms of the norms thereby constituting to a political act.

For instance, Venus Extravaganza is depicted to have been savagely killed in the time round of making the film. Livingston made the film such that the aspirations of ordinariness are deemed as an inconsequential by the subjects which are later contrasted with the risk of attempting to be something (Paris Is Burning 1990). Contrary to this, Beyonce depicts her dancers as feminist aesthetic. For instance, she uses the term “cocky” to reveal the pleasures associated with the authority of controlling sexuality often preserved for men (Formation Explicit). Through this, her audience learns that good sex is linked to loosening the woman power in a relationship. By describing a black woman sexuality, “baby hair and afros”, she portrays black feminism as a politics of contentment reserved only for the black women.

It is also imperative to consider the role of female gays in the gay community in the reproduction of power relationship as evidenced in “Paris is Burning” and “the formation.” Often, the main objective of drag performances is exercising the masculine power through the use of sensational gendered illustrations that confer to the characters. This is depicted by Kim Pendavis who systematically describes

his philosophy in regards to his experience at the competition and the quest of gaining recognition (Paris Is Burning 1990).

Gay performers have also received recognition in Beyonce’s video as she reminds her audience that black people, whether females of males, straight or gays are all enough as she portrays the power and beauty of the blacks. Regardless of the fact that “the formation” is a true form of black enclosure, various moments are specific only to the blacks. Beyonce makes it apparent that the greatest challenges faced by black women trace their roots to sexism and racism affirming that they are often hard to overcome and thus the main reason why it is important for them to recognize their abilities and power. Thus, just like “the formation,” “Paris is Burning” is not only gendered but also involves an intricate nexus of class, sexuality, and race.

Watching both “the formation” and “Paris is Burning” gives one the impression that transgender is challenging the dominant culture. Specifically, characters in “Paris is Burning” define their rules without restraint in a background where they are devoted to each other. In the film, the people are born male while they masquerade as women as evidenced in their dressing styles and behaviors. Thus, drag plays a significant role in the consideration of their potential in changing the dominant culture on the basis of the postulation that sex is gender.

Conversely, the “formation” remarks on the police cruelty as well as financial power. It also provides spectacular descriptions of the Alabama culture that frames Beyonce’s image. Through this, Beyonce is able to go beyond the role of musical artist thereby building her activism. In

particular, the song builds her pride in the black excellence where she makes it apparent that despite the fact that she has obtained prestige and wealth, her roots comes first and she will not only remember but also respect it (Formation Explicit). At first sight, the audience may assume that the song only focuses on police brutality; however, it mainly relies on the experience of the blacks in America such as principles of beauty, empowerment, shared history and culture.

The characters in “Paris is Burning,” just like the women dancer is “formation” strive to achieve realness so that they can give visibility and get what they lack. The conformation of the characters to the norms of the society enables them to have an easy life. In the film, the characters take the time to change their appearances through for instance putting on stylish clothes and make-ups. The film has various scenes that exemplify sadness which is triggered by the oppressing social circumstances as well as the sad stories of the characters and the forgoing of the personification of hegemonic heterosexual initiatives of gender. This feeling is also noticeable in the “formation” where Beyonce expresses the dream of African women of achieving not only fame but also sexual pleasures which are mainly associated with men (Formation Explicit). The objection of the body of the African women imitates the naturalization of sex as well as the effect of power on their sexed bodies.

Unlike “formation,” “Paris is burning” differentiates gender reality imitated by contestants and the concerts of the gender of the ordinary people (Paris Is Burning 1990). Formation, on the other hand, represents black humanity in admirable ways

that are not often embodied in the popular culture. The song analytically presents what the blacks love in their diverse selves, gender, class and sexuality such that it is easy for the audience to deem the music and the lyrics as inherent aspects of the celebration of blackness. In this realm, Beyonce induces her audience to recognize the complex yet beautiful culture and history of the blacks with passion and humor (Formation Explicit). The exclusive use of black queer and black women draws attention to gender discrimination in the visibility of the lives of the African-Americans lost in violence. Both videos make it apparent that the black revolution can be beautiful when death and pain are not in the picture.

From the above analysis, it is evident that the “formation” and “Paris is Burning” are both good cultural artifacts in the exploration of sexuality, gender, and queer issues. While the “formation” comments on the issues of the blacks as well as the best ways they can respect their roots, “Paris is burning” center its attention on drag balls performed by poor African Americans. Gender is a literal performance in both videos as the characters are depicted to being aware of the consequences of displaying gender identities falling outside the heteronormative.

Work cited

• "Formation Explicit". YouTube. N.p., 2016. Web. 9 Oct. 2016.
• "Paris Is Burning 1990 VOSTFR 720P HD Full DOC". YouTube. N.p., 2016. Web. 9 Oct. 2016.
• Kreitler, Paul V. Trends in Black Hole Research. New York: Nova Science Publishers, 2006. Print.