Reframing Subjectivity with Modern Myths

The understanding of the current definition of climate change is a bit shaky. It doesn’t strike fear into the hearts of those who it affects – everyone. Since it happens over the course of time, the prospect of eminent consequences has long been ignored by the perpetrators of said climate change. We practice what Patricia Yaeger likes to call “dirty ecology”, the practice of only doing some things to improve our ecological practices while still partaking in the larger actions that make climate change inevitable (Yaeger).

With the eye-popping wonderscape of sensationalism in contemporary media, climate change doesn’t draw that kind of attention due to its ever-evolving shape and slow, gradual erosion. To change the way we see and react to climate change, as a society, we must reframe our subjectivity with modern versions of myths – or canons – that sensationalize the “mundane”. Lustrous forms of media, including music videos by Beyoncé, are the first step in addressing our subjectivity and thereby, the desire to act more urgently on climate issues.

Yaeger argues in “Beasts of the Southern Wild and Dirty Ecology” that we practice this dirty ecology to distract ourselves from placing the blame upon humans as tangible, geological factors that cause climate change. You can see this thinking littered throughout the entirety of Beasts of the Southern Wild: the boat made of the trunk of a truck, the reuse of Styrofoam and plastics, and the levee changing the way water builds up, impacting the poorer communities and wildlife in the “Bathtub”. The movie promotes a childlike mythological presentation drenched in animism and the prevalence of the “aurochs” that “mark the movie’s geologic concern” (Yaeger). In addition, these aurochs serve as an example of reimagining subjectivity by having these pig-like creatures serve as metaphorical representations of humans as geological agents. But this movie is from a child’s perspective. How do we serve the imagination of a wider audience? Modern myths, according to Yaeger, would need to include mystery, a topos, an epistemology, and an ethic (Yaeger). Beyoncé has provided a semblance of each of these parameters in her music video for “Formation” and her performance of “Freedom”.

Beyond the stellar vocal performance from one of the United States biggest stars, are the qualities of a modern myth for climate change. Looking past performance, we can see mysticism and tributes to the roots of black culture along with a contemporary look at issues such as environmental racism and climate change. Beyoncé uses the intentional aspects of film medium to emphasize and, probably unintentionally, create a mythos and/or universe that plays a part in sensationalizing climate change.

The ”Formation” music video opens with an almost melancholic scene of a city drowned out by the floods resulting from a hurricane, namely Katrina in the Louisiana area. Beyoncé stands atop a police car, which is half submerged by the stagnant water. Scenes of police presence, gentrified neighborhoods, flickering of lights, and highlighting of black cultures flashes across the screen through the first few seconds of the video. All these aspects are what the viewer could and should expect when entering not only the video but in poorer neighborhoods as well. To the untrained or unfamiliar eye, these scenes can be shocking and evoke despair or even pity. For those that are in the know, this is all too common. The video is also ruled by a, presumably, matriarchal society that is signified with the lack of patronizing paternal figures and an abundance of women and children. People of color are dressed in patronage largely reserved for the wealthy yet the homage to culture is still present.

The live performance of Freedom largely exhibits the same qualities. The presence of a mostly feminine practice complemented with the ostentatious performance of the song with tribal associations exemplifies mythos creationism that is rooted in traditional African roots. The stomping and crumping movements of the dancer in the ever-symbolic pools of water evokes a swelling pride and moving reaction for the viewers of this instance. What does all this have to do with mythmaking? Taking a look at Yaeger’s requirements to make a myth, each are present.

The lyrics and performance of the songs themselves, by nature, place awe in the audience, and the complementing visuals that are drenched in metaphors and symbolism countered with dark imagery create mystery. Second, each performance takes us to a geographical location within the cosmic sphere – the topos. We see the haunting remains of Louisiana specifically, but this could be any neighborhood a few miles from a suburb that has been impacted by natural disasters; that’s how prevalent these events can be. Each video focuses on a largely matriarchal society with limited paternal influence, as the patriarchy has long ruled society and the environment has suffered the consequences. You can see the flashes of determination yet nurturing presence of a matriarchy, previously stifled by stereotypes and gender constructs. This maternal figure leads with a guiding hand that encourages the exploration and embracement of culture, loving thy neighbor, and smile in the face of danger and change. Both the matriarchy and her guiding hand, each a cognitive function of nature, provide us with the final two elements needed for our modern myth – epistemology and ethics.

Using these addicting forms of modern myths like Beyoncé’s “Formation” and “Freedom” performances, we can evaluate our subjectivity by placing ourselves within the world they take place in. It’s easy to imagine ourselves swimming, nearly drowning, to find a car to climb atop of in a flood if Beyoncé does it. If the “black Bill Gates” is subjugated to the ails of climate change, then we certainly are as well. Using the shock value of these kinds of revelations in modern media (that is informationally accurate, reevaluating the way in which we see climate change is not only easy, but almost fun.