Beyoncé is a feminist

 Adelaide has sporadic explosions of open, dynamic engagement with philosophical and social issues through pop culture. Sometimes a little agitation is necessary to nudge the creaking cultural framework and provoke more intense, critical conversations, particularly regarding complicated navigations of contemporary feminism. The invocation by a curator of pop superstar Beyoncé Knowles-Carter and her music as an apparatus for artists’ examination and expression of their experiences of feminism provides a spark of humour and unashamed delight for the artists and the audience alike. Music, in any genre, triggers immediate sensation in audiences and captures emotive articulations of the lived experience. Beyoncé’s pop music, for all of its faults, creates moments of enjoyment and abandonment in which neither sex nor ego are dirty words, and sentiments that contradict the status quo are belted out with enthusiasm as lyrics grow to be anthems – ‘‘Who run the world? Girls!’’

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