Nicki Minaj and Beyoncé are two of the most successful Black women artists in today’s popular culture. They occupy a hypervisible and invisible position in Black and mainstream popular culture, and therefore exist as a crucial discursive site to understand Black girls’ self-articulation as “blackgirlmagic” at this moment. Faced with the rise of public feminist and postracial discourses presented in new digital media forms, Minaj and Beyoncé’s representations of sexualized Black femininity reimagined popular notions of race, gender, sexuality, and representation. Both women navigate sexuality and play, which allows them to promote claims to sexual autonomy, consent, and empowerment for girls. Together, they articulated blackness as arrogance, femininity as sexual confidence, and friendship as powerfully seductive in the song “Feeling Myself” (2015). We argue that the song became a #blackgirlmagic anthem for Black girls and women because of the ways Black girls and women engaged with the song on social media. They created a visual language to articulate the political stakes of #blackgirlmagic in an age of police brutality, anti-blackness, and misogyny. Through the use of focus group data with young Black women, we assess how this particular brand of “blackgirlmagic” impacts the political behavior and empowerment of Black college aged women.

中文翻译：

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黑人女孩魔法圣歌的力量：尼基·米娜、碧昂丝和“感觉自己”作为政治赋权

Nicki Minaj 和 Beyoncé 是当今流行文化中最成功的两位黑人女性艺术家。它们在黑人和主流流行文化中占据着超可见和不可见的位置，因此作为一个重要的话语站点而存在，以了解此刻黑人女孩的自我表达为“blackgirlmagic”。面对以新数字媒体形式呈现的公共女权主义和后种族话语的兴起，Minaj 和 Beyoncé 对性感的黑人女性气质的表现重新构想了种族、性别、性取向和代表性的流行观念。两位女性都驾驭性和游戏，这使她们能够宣传对女孩的性自主、同意和赋权。在歌曲“Feeling Myself”（2015 年）中，他们一起将黑色表达为傲慢，将女性气质表达为性自信，将友谊表达为极具诱惑力。我们认为，由于黑人女孩和女性在社交媒体上参与这首歌的方式，这首歌成为了黑人女孩和女性的#blackgirlmagic 国歌。他们创造了一种视觉语言来表达#blackgirlmagic 在警察暴行、反黑人和厌女症时代的政治利害关系。通过对年轻黑人女性使用焦点小组数据，我们评估了这种特殊的“blackgirlmagic”品牌如何影响黑人大学女性的政治行为和赋权。