WE MADE LEMONADE: BLACK WOMEN, SYNCRETIC RELIGION, AND VOODOO AESTHETICS IN AMERICAN CULTURE

Abstract

Historically, syncretic religion has never been positively represented with such a broad platform as it has through Beyoncé’s Lemonade. Through the historical origins of the practice with its inception in the Americas and the Caribbean during the colonial period through the commercialization of Voodoo culture in modern-day New Orleans, the true meaning and purpose for syncretic religious practice was lost up until April 2016. On April 23, 2016 Beyoncé released her visual album Lemonade. It addressed varying themes including her husband’s infidelity, her increasingly louder political voice, and her endless support for Black Women. Much to the surprise of many, Beyoncé also made references to syncretic religious practice throughout the piece. This invited the question, “Why did Beyoncé choose to highlight syncretic religious practice throughout Lemonade?” This thesis examines the role that syncretic religion played in Beyoncé’s 2016 visual album, Lemonade. Using an interdisciplinary method of analysis including anthropology, film, history, and cultural studies, I use varying texts and cultural figures to make my point that Beyoncé’s usage of syncretic religion in her visual-album transforms the negative connotation of syncretic religion into one that is more positive. I use Julia Dash’s Daughters of the Dust and Zora Neale Hurston’s Mules and Men as tools to demonstrate syncretic religion in Lemonade, and support the positive utility of the practice. I also highlight Marie Laveau, one of New Orleans’ most famous Voodoo Priestesses to illustrate the historical dominance of the practice through women. These sources, in conjunction with many more, highlight the importance of community development, normalization of the practice, and spiritual healing for Black Women throughout Lemonade.