Who Run the World? Beyonce and Consumer Culture's Re-appropriation of Feminism

In response to Angela McRobbie's article "Young Women and Consumer Culture: An Intervention," I want to discuss the relevancy of her point today. McRobbie argues that feminist responses to consumer culture have failed to acknowledge the ways in which feminism has been re-appropriated and popularized to serve corporate power interests. In other words, the language of feminism, rather than serving the purpose of empowering young women and challenging the hegemony of gender subordination, is instead being used by corporate power structures to reinstate those hegemonic ideals of gender, in particular to femininity. McRobbie critiques feminist media and cultural studies for moving away from a focus on power and towards a focus on audience and reception. McRobbie further critiques feminist media and cultural studies for accepting, advocating for and praising, without critique, popular feminist practices within commercial organizations, as the "process of taking feminism into account," without questioning the ways this practice constructs femininity as consumption or considering the relations of power behind this move.

As McRobbie writes, "...the process of taking feminism into account is a complex strategy, one which can actually have the effect of 'undoing' feminism, and of actively discouraging its renewal. Popular feminism is celebrated in such a way as to suggest that the politics of feminist struggles are no longer needed" (533). In this way, in lieu of feminism, consumption becomes the voice of "female freedom" for girls and young women. Thus, consumer culture has contributed to the misguided proclamation of a post-feminist society. Gender equality has been achieved, thus feminism is no longer needed. In a way, McRobbie has a point in calling out feminist media and cultural studies scholars. Being too quick to welcome consumer culture's apparent embrace of feminist values, feminist scholars missed the ways in which consumer culture re-appropriates feminist values and disguises consumption as feminism, creating an illusion of power.

I think this still very much applies today and we must continue to call each other out. However, I am more optimistic that McRobbie. On the one hand, I agree with her analysis and call to focus on the power relations behind consumer culture's appropriation of feminism, but on the other, I do feel that popular culture, including consumer culture, can serve as sites of feminist resistance. I think the problem lies in trying to align oneself with one viewpoint or the other, rather than taking both viewpoints into account as viable.

The most relevant and prevalent example I can think of in this discussion, with regards to McRobbie's argument is the discussion around Beyoncé and feminism.

Beyoncé being a boss.

Beyoncé has been dubbed as popular culture's queen of feminism, especially after the release of her surprise album. She is considered the utmost proponent of feminism within popular culture. While other female artists in popular culture like Taylor Swift and Katy Perry denounce feminism, Beyoncé claims it. By claiming feminism, Beyoncé has sparked quite the discussion in both the feminist blogging and academic community. Much of the discussion focuses on whether or not Beyoncé's can truly be called a feminist. There are definitely inherent contradictions in Beyoncé's feminism, however, that does not invalidate the impact her claim of feminism on such a large stage can have for feminist resistance.

I think a good example is her song "Run the World (Girls)."

In this song and video, Beyoncé exemplifies everything that McRobbie discusses. The language of feminism is being used to disguise consumption and create an illusion of power. Beyoncé uses this notion of "girl power" and "girls run the world" to celebrate female freedom. The obvious problem here is that Beyoncé's claim is not true. Girl's certainly do not run the world. The not so obvious problem here is the ways in which this so-called feminist anthem reinforces consumer culture's appropriation of feminism and creates an illusion of female freedom and power through consumption.

While there are definite problems her song, on the other hand, it does send a positive message to young girls everywhere. Girls everywhere look up to Beyoncé and she's telling them that they can be powerful. Beyoncé is aware that gender equality has not been achieved, at least in the sense of socio-economic status. Knowing that she's fully aware of gender inequality, the only other possible reason she could have for this song is to tell girls and young women everywhere that they are powerful enough to run the world as a way to make an impact in the lives.

So while I do believe we must be critical of the ways consumer culture re-appropriates feminism and instrumentalizes it to stage consumption as female freedom, like in Beyoncé's "Run the World (Girls),"as well as calling each other, including Beyoncé, to be more critical in our discussions of such, I also feel that McRobbie ignores the impact these texts can have.

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For any of those interested in reading more on this, a more lengthy and interesting article on Beyoncé can be found on the Bitch Magazine website,