Sept 1,2020
by Dray Barnes
Introduction
From a purely fashion perspective, Beyonce’s Black is King is groundbreaking. After incorporating the visuals, music ,choreography, elaborate settings and analyze the deeper meaning of the scenes, you realize that Beyonce has created her Mona Lisa. Black is King is a stunning tribute to the African diaspora and with this release she has further cemented her legacy and not just a hugely popular recording artists but as a master creative as well.
Bigger
The film begins with the deep, booming voice of James Earl Jones narrating through a collage of rich photos. Throughout this film they used various excerpts from the 2019 release of The Lion King to bring a certain depth to many scenes and cross promotional purposes. This intro cycles through African faces and bodies, many of them draped in monochrome loose fabric, which is as a fashion choice we see throughout this experience. As the camera cross fades to a barren beach, we begin to see the familiar shape of Mrs.Carter, in that scene we are quickly introduced to the queen that is Beyonce. The title then quickly flashes across the screen.
Looking soft yet commanding in a shredded lace Wendy Nichol Dress, we are introduced to our first musical number, “Bigger”. “Bigger” is a absolute favorite song of mine, it is by far the most inspiring song off of her Lion King Album. The words, “If you feel insignificant, you better think again. Better wake up because you’re part of something way bigger”, serve as a call to action. Beyonce commands the vocals on this song in a way that only she can, and the climax of this song is purely emotional.
Bigger transitions into a celestial scene, with Jones narrating, “Look at the stars, the great kings look down on us”, as a young black boy, Folajomi Akinmurele, our Simba, peers into the sky and is suddenly is shot into space. This is one of the few scenes with obvious special effects but that mechanism merely serves to add dramatics to the folklore of the narration. Akinmurele transforms into a shooting star and takes us to the desert where we begin our next number.
Find your way back
Co-written by South African student Bubele BOOI, this song has a strong rhythmic cadence that blends well to the sharp choreography. The entire styling aesthetic of this video is an overabundance of white Swarovski crystals and jewels. It is a sparkling display, this dazzling collaborative design was put together by the creative efforts from artists such as Laurel DeWitt, Gladys Millinery and Alessandra Rich. Both Beyonce and her dancers are wearing full body leotards covering in premium crystals head to toe. Beyonce herself is further adorned with a crystal covered headpiece and the holy grail of necklaces, covering her entire neck in dazzling crystals. In the following scene she is draped in a crystal cape embroidered by Lace by Tanaya. All the accessories, nails, and video lighting further amplify this aesthetic. The drip is oh too real. In one particular scene, Beyonce removes her robe, bedazzled in crystals to reveal her glorious female figure with custom Laurel Dewitt neck and hip chains, and she’s covered in green and black stripe body paint from head to toe, done by Francesca Tolot. I don’t know what I did to deserve this greatness, but I shall wallow in it. Special mention to Area clothing brand for the arm ties, necklace, and crystal headpiece and A-morir studios for the sunglasses and earrings.
Don’t Jealous me
Find your way back transitions into a more urban depiction of Africa. Slightly insignificant words are spoken, the camera pans to a collection of small, shanty homes and we find Simba, our shooting star boy, transposed to this location. In the dust of urban decay we begin the next musical interlude, Don’t jealous Me. The song itself doesn’t feature Beyonce vocals, it is performed by Tekno, Lord Afrixana, Mr Eazi, and Yemi Alade. Beyonce parallels her absence in this song by limiting her presence during these scenes. The focus of most of this video are the artists featured on the track but Carter’s dancers provided a consistent vibrancy to the piece.
After Don’t Jealous me, the Knowles film begins to take on a darker tone, as our young protagonist is tempted by the underbelly of the cosmic forces that shape his world. Canadian singer-songwriter Jessie Reyes performs a self composed rap verse to a heavy, chaotic beat, the scenery and costume design mirroring the harsh conditions of the scene. Then suddenly everything is white and we are taken to our next musical number.