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Backin' It Up. Pardison Fontaine Feat. Stir Fry. Megan Thee Stallion. Barbie Dreams. Offset Feat. Shawn Smallwood. Rah Yeah, yeah, yeah, yeah, yeah Fast and go Yeah, yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah, yeah, yeah Writer s : Shawn C. Before this article presents a reading of the music video as an act of re-curation, it contextualizes its use of Afrosurrealist elements that undergird the audiovisual imaginary created by Saiz and The Carters.
More recently, Oakland-based writer, artist and curator D. Scot Miller revamped the concept of Afro - surrealist art. While Carol Vernallis et al. Typically made of stone, gargoyles are often displayed as anthropomorphic beings protecting gothic cathe- drals. The presence of the Black gargoyle in this case not only evokes the traditional idea that, like its equivalent, it keeps watch over the happenings in the Louvre as a modern- day cathedral, but its liveliness also plays on the comparatively new, rather pop-cultural notion that gargoyles are demonic beings brought to life.
In some distinct scenes, the music video openly discusses its own Afrosurrealist aes- thetics and politics.
As the video now screens the lavishly painted ceiling of the gallery, colourful lights blending over the highly decorated ceiling into one another, create a dreamy atmosphere that — together with an entrancing musical arrangement — further enunciates the Afrosurrealist aesthetics of the video — As the video thus moves from the plaza outside into the halls of the Louvre, the sound of the church bells reverberates in the hyp- notic chimes of the berimbau that now accompany close-ups of paintings.
The video here lays bare to viewer-listeners that it subsequently renegotiates how Whiteness, and Black- ness more importantly, have been painted and represented, exhibited and not exhibited, lauded and overlooked in the history of Western art. Supplementing Vernallis et al. In the following scene, the music video re-curates The Winged Victory of Samothrace, a Hellenistic sculp- ture of Nike, the Greek goddess of victory. Black, unmoving bodies paving the stairs in front of them, framed by red light, resemble captives in a slave ship, who had to be arranged in lines or packed like spoons to occupy the least space possible in usually overcrowded ships.
This intervention in museal spaces and practices hinges on its gradual movement from relative tranquillity and stillness to a thicker musical arrangement and dynamic performance in the video dictated by the beat. In James W. This editing ruptures the prevalent visual and silent forms of consuming art in the museal space. Besides, it levels the hier- archy between musicality and visuality as two enmeshed epistemological regimes in the music video medium.
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