Post colonialist theory developed from early equal rights campaigns in Europe and America, and aims to critically expose the ideological dichotomy the "West" being superior to the "East". It includes the decolonisation of academia and art history in general, by exposing colonial conceptions of the Other in art and visual culture. In this essay, I will critically analyse the Carter's music video Apeshit (2018) in light of postcolonialism. I will discuss three stills from the video by focusing on the there main aspects of the theory, such as Othering, hair and hair politics and skin tone politics.
Write this in a form of a formal conclusion
In conclusion, postcolonialist theory has its roots in the early equal rights movements in Europe and America. Its primary objective is to challenge the ideological binary that constructs the "West" as superior to the "East." It advocates for the decolonization of academia and art history by exposing colonial perceptions of the Other in art and visual culture.
This essay aimed to critically analyze the music video "Apeshit" by Carter in light of postcolonialism. By examining three stills from the video, I focused on three key aspects of the theory: Othering, hair and hair politics, and skin tone politics.
Through the analysis, it becomes evident that "Apeshit" offers a platform that challenges Eurocentric norms and presents an alternative narrative. The video deconstructs traditional power structures by featuring black bodies, specifically celebrating black hair and skin tones. This challenges the dominant white standards of beauty and aims to reclaim agency for marginalized communities.
Moreover, the visual depiction of the Other in the video disrupts colonial conceptions, showcasing black individuals in positions of power and autonomy. This subverts traditional notions of Othering and positions blackness as a site of strength and resistance.
In summary, the analysis of "Apeshit" through a postcolonial lens highlights the music video's commitment to the decolonization of art and visual culture. By challenging notions of Othering, hair politics, and skin tone politics, the video contributes to the larger project of exposing and dismantling colonial ideologies. This critique and reimagining of the colonial gaze is a significant step in the ongoing struggle for equality and the recognition of diverse narratives and perspectives.
In conclusion, the analysis of Carter's music video Apeshit (2018) through the lens of postcolonialism allows us to critically examine the ideological dichotomy perpetuated by the concept of the "West" being superior to the "East". The theory of postcolonialism originated from early equal rights campaigns in Europe and America, aiming to expose and dismantle colonial conceptions of the Other in various aspects of society, including academia and art history.
Through the three stills examined in this essay, we can identify the three main aspects of postcolonial theory at play: Othering, hair and hair politics, and skin tone politics. The first aspect, Othering, highlights the construction of the "Other" as a means of establishing hierarchical power dynamics. By featuring the Louvre Museum as the background in the music video, Carter challenges the dominant narrative that positions Western art and culture as superior, thus unveiling the colonial gaze and subverting it.
Secondly, the exploration of hair and hair politics in the video challenges Western beauty standards and celebrates Black hair as a form of resistance against colonial ideals. Carter's emphasis on the beauty and diversity of Black hairstyles symbolizes empowerment and challenges the historically imposed notion of Eurocentric beauty norms, which have perpetuated marginalization and discrimination.
Lastly, the video delves into skin tone politics, challenging the Eurocentric notion that lighter skin is superior to darker skin. By highlighting the presence of a diverse range of skin tones among the dancers, Carter challenges the deep-rooted racial prejudice and colorism that have historically perpetuated social hierarchies and oppression.
Through its visual and lyrical content, Apeshit confronts the colonial mindset and promotes self-empowerment, cultural affirmation, and inclusivity. This aligns with the goals of postcolonial theory in exposing and dismantling the colonial conceptions of the Other in art and visual culture. As we continue to strive for a more equitable and inclusive world, it is essential to engage in critical analyses that shed light on the impact of colonialism and challenge dominant narratives. Only through such reflection and action can we work towards a more just and equal society.
In conclusion, the analysis of Carter's music video, "Apeshit" (2018), in the context of postcolonialism has shed light on the multifaceted aspects of this theory. By critically examining three stills from the video, the central themes of Othering, hair and hair politics, and skin tone politics have been explored.
One of the significant contributions of postcolonial theory lies in its aim to expose ideological dichotomies, particularly the notion of the "West" being superior to the "East." The video, "Apeshit," challenges this narrative through its portrayal of black excellence and empowerment, effectively countering the colonial conceptions of the Other in art and visual culture.
Furthermore, the examination of hair and hair politics in the video unveils the inherent symbolism and significance attached to different hairstyles. By showcasing a range of hairstyles, Carter's music video challenges Western standards of beauty and encourages a reclamation of black identity.
Similarly, the exploration of skin tone politics underscores the continued existence of colorism within society. The representation of diverse skin tones in "Apeshit" serves as a visual critique of the Eurocentric beauty standards perpetuated by colonialism.
By critically analyzing these aspects of the video, we have gained a deeper understanding of how postcolonialism can be applied to contemporary art and culture. It has revealed the need for decolonization within academia and art history, further emphasizing the importance of challenging and exposing colonial notions embedded in artistic representations.
In conclusion, the critical analysis of "Apeshit" through postcolonial theory highlights the power of art and visual culture in challenging dominant narratives and encouraging social change. As we continue to engage with postcolonialist perspectives, we contribute to the decolonization of knowledge and the cultivation of a more inclusive and equitable society.