The Intense Symbolism in Beyoncé’s Renaissance World Tour


from Vigilant Citizen:

Declared by media critics as “the greatest pop show on Earth”, the Renaissance World Tour is massive production where no expenses were spared. And no symbolism was spared neither. Here’s a look at the imagery and messages found in Beyoncé’s new show.

In case you didn’t know, Beyoncé is a big, massive, gigantic star. So, when the time came for her to embark on a new world tour, you better believe that the money was spent to create a big, massive, gigantic show. And considering the fact that we’re talking about Beyoncé, you better believe that the entire thing was replete with big, massive, gigantic symbolism.


I’m pretty sure that long-time readers of this site are not surprised at all. After all, my first article about Bey was over fourteen years ago and, since then, she constantly put out material that’s highly symbolic. There’s a reason for that. Beyoncé has a special status in the music industry: She’s the “Queen Bey”. She was given a royalty status that’s constantly reflected and everything she does.

While her entire persona is surrounded by a goddess-like aura, her status also means that she’s the ultimate prototype to carry all of the occult elite’s agenda of messages and symbolism. In many ways, she is the figurehead of the global pop music industry.

Ironically enough, when one decodes the symbolism surrounding her, Beyoncé is portrayed as the exact opposite of royalty – she’s a robotic slave who does as she’s told by those who programmed her.

If this last sentence makes absolutely no sense to you, keep reading. Because the imagery in her Renaissance World Tour could not be clearer.

Divided into six acts, the show is driven by an overarching narrative about Beyoncé’s “rebirth” as an android which culminates in an unsettling bit about mind control.

Let’s look into it.


Before the show even begins, the crowd is treated to LGBT Pride flags because, well, it’s just obligatory. And, throughout the show, the audience will be seeing male dancers dressed as women inserted here and there because that is now obligatory as well. There are even trans/drag dancers during the song Run The World (Girls) which is rather contradictory.

As stated above, Beyoncé was built to promote agendas. And the rest of the show explains how she was built – in a symbolic way, of course.

Right from the start, the show begins with some interesting symbolism.

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The show begins with a picture of Beyoncé that is gradually revealed one square at a time. For a few minutes, the fans are made to look at a subtle yet very present one-eye sign.

At this point, we already know that this will be elite-approved “entertainment”.

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The full picture reveals a Beyoncé that is not wearing a lot of clothes.

As you can see, there’s a lot of skin and flesh in the picture above. This is “human” Beyoncé. And, during the first part of the show, human Bey performs some of her slower or gospel-inspired R&B songs.

However, at the first intermission, a metamorphosis occurs.

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During the first intermission, we see the human Beyoncé turn into a shiny robotic thing.

This is where human Beyoncé turns into an artificial creation. As seen in previous articles, the elite loves to portray its industry slaves as androids who’ve been programmed through Monarch mind control. If you think I’m going too far, keep reading. Because the words “MIND CONTROL” will literally appear on that screen later during the show.

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Two robotic Beyoncés lay opposite each other – a way of representing the split personality of MK slaves.

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On several occasions during the show, we see this strange image: A winged Beyoncé riding a missile. The war agenda is here. In fact, there’s an entire segment of the show that revolves around war.

Then, we’re taken somewhere … else.

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The legs of the Beyoncé-bot are spread and there’s a tunnel right in the middle of it.

Yup, the viewers of the show are taken into Beyoncé’s vagina. And, apparently, it goes very deep.

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At the end of the tunnel, Beyoncé-bot appears (inside herself?) and mimics horns on her head. Gotta show us who programmed her.

Then Beyoncé re-appears to the crowd in a brand new outfit.

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Beyoncé stands under a sun/star while wearing a shiny android outfit.

This is a direct reference to the character of Maria in the 1929 movie Metropolis.

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The android in Metropolis under an inverted pentagram.

As explained in previous articles on this site, the movie Metropolis is extremely important to the occult elite – especially in the entertainment business. Throughout the years, numerous female artists have referenced Maria in their acts, including Beyoncé herself on several occasions.

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