Beyoncé and her legacy to be a subject of a new course at Yale

Yale University is set to offer a unique course next year focusing on the cultural legacy of Beyoncé Giselle Knowles-Carter, one of the most influential figures in contemporary music. Titled Beyoncé Makes History: Black Radical Tradition, Culture, Theory & Politics Through Music, the one-credit class will explore her work from her groundbreaking 2013 self-titled album to her recent genre-blending release, Cowboy Carter.

The course, spearheaded by African American Studies Professor Daphne Brooks, will use Beyoncé’s expansive repertoire and live performance footage to examine her connection to Black intellectual traditions. Through her music, the class aims to engage students with the philosophies of thinkers such as Frederick Douglass and Toni Morrison, as well as to evaluate how Beyoncé’s work intersects with and sometimes diverges from these traditions.

“We’ll take seriously the ways in which some of the greatest thinkers in American culture resonate with Beyoncé’s artistry,” Brooks said. “We’ll also explore how her music reflects on race, gender, and sexuality within the broader context of African-American history.”

Beyoncé’s music often delves into themes of social justice, cultural identity, and historical memory, making her an ideal figure for academic inquiry. Brooks credits her with using her platform to elevate awareness of grassroots movements and political ideologies, including the Black Lives Matter movement and Black feminist thought.

“She’s a fascinating artist,” Brooks explained, “because she embodies historical memory and creates an archive of that memory through her work. It’s a quality you rarely see in other musicians.”

Beyoncé is not the first pop icon to inspire a college-level course. Bob Dylan has been a frequent subject of academic study, and more recently, universities have offered classes on Taylor Swift’s lyrics and cultural influence. However, Brooks sees Beyoncé as distinct in her ability to integrate activism and artistry on a global scale.

“Can you think of any other pop musician who has so spectacularly engaged with grassroots activists in multimedia album projects?” she asked, pointing to her works since 2013 as prime examples of her unique storytelling about race, gender, and sexuality within the historical context of African-American experiences.

Brooks is no stranger to teaching about Black women in popular music. At Princeton University, she previously offered a class that covered a range of artists, though she found students were particularly enthusiastic about Beyoncé’s section. This enthusiasm inspired her to create a dedicated course at Yale.

While demand for the course is expected to be high, Brooks plans to keep the class size relatively small to foster in-depth discussion and engagement.

The course will also serve as a window into Beyoncé’s distinctive approach to creativity, which blends music, visuals, and activism into cohesive narratives. Students will analyse her music videos, live performances, and albums as cultural artefacts, exploring how they encapsulate historical, social, and political themes.

Despite its focus on Beyoncé, the class won’t offer any direct access to the star herself. “It’s too bad,” Brooks joked. “If she were on tour, I’d definitely try to arrange for the class to attend.”

Beyoncé’s legacy as a performer, songwriter, and cultural icon continues to influence discussions about the intersection of art and activism. Through this course, Yale students will gain a deeper understanding of how her music not only entertains but also challenges and redefines cultural narratives.

For those lucky enough to secure a spot in the class, it promises to be an intellectual exploration of one of modern music’s most compelling figures.