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Stout (2020) further posits that the creation of visuals that celebrate the ‘joy’ and ‘freedom’ of water offsets the iconography of Black women as victims of traumatic situations, such as colonialism and apartheid. In Figures 3 and 4, the women depicted look blissful, with their eyes shut and their bodies supine. Although the women are mostly naked, the focal point of the photographs is arguably the beauty of the female forms against the textured surfaces of water. Here, Lynda Nead’s envisioning of a feminine ‘utopia’ is connoted with Charmaine’s intimate images of the women floating freely, naked and unfettered by the stares or limitations placed on their bodies by others. Janell Hobson (2003: 89, 100) maintains that body-positive portrayals of and by Black women are often salves to what she calls ‘unmirrored’ reductions of Black female figures that have reduced Black women to one-dimensional tropes.
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As Rana A. Emerson (2002: 122-123) has shown, music videos that feature Black women have tended to favour light-skinned, thin, young, and hyper-sexualised women. Despite their sexualisation, Emerson also demonstrates that music videos have served as a place for subversions of stereotypes about Black women (2002: 126,133). While many music videos portray Black women as being excessively sexualised, there is a rebellion against tropes with visual motifs that imply a sense of ‘agency,’ ‘independence,’ and ‘glamour’ through ownership of that sexuality. In a similar vein, Murali Balaji demonstrates that Black female artists are usually aware of their sexualisation and commodification in media spaces but can manoeuvre their own representation so that there is a better degree of what she refers to as ‘self-definition’ (2010: 17-18).
