Abstract
Gloria Anzaldúa’s 1987 classic, “La Frontera: The New Mestiza,” introduced a revolutionary understanding of literal and metaphorical borders as realms that reject hierarchical, binary understandings of identity and culture, proposing instead a complex confluence of intersectionality that can end oppression of minoritized groups. She draws from her identity as a Chicana and lesbian to offer larger truths about intersectionality and oppression. With uncanny similarity, Beyoncé’s widely acclaimed 2020 visual album, “Black Is King,” subverts traditional gender and racial roles to propose a radical spirituality for African Americans that ultimately breaks down oppressive barriers for all people. Just as Anzaldúa draws from the plight of Chicanas along the Mexico/USA border and incorporates both Christianity and indigenous, Mexican and Aztec religion to forge a poetic vision for liberation, so does Beyoncé draw from the plight of African Americans and incorporate both Christianity and Yoruba religion to craft a similar yet distinct visual/musical vision. The presentation will show how comparing the two highlights key themes of borderland/mestiza spirituality and how people of all faiths and spiritualities can use them in concrete, practical ways to end oppression, especially for women, people of color, and members of the LGBTQIA+ community. This paper focuses on the pedagogical value of these two pieces for guiding undergraduate students toward activism for equity.
Presenters
David Von SchlichtenAssociate Professor, Religious Studies/Coordinator, Gender and Women's Studies, Humanities, Seton Hill University , Pennsylvania, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Human Rights, Reconciliation, Religious Freedom, Social Agendas
