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The Worlds of Ntozake ShangeAND DIGITAL STORYTELLING

Charista

The Meaning Behind my Archive Find: Blogpost #7

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Cup coasters I found in the Shange Archives. I reflected on each word on every coaster and realized their relationship to Shange’s work.

 

I found these cup coasters in the Ntozake Shange Archives. The box I found them in said that they were found in Shange’s home when her belongings were collected. As soon as I saw them, many thoughts ran through my mind. The words on the coasters read: consciousness, nonviolence, homeland, realization, environment, women, the journey, values, fulfillment, obstacles, hope, and freedom. 

Each word is a theme that is shown in a plethora of her works and pieces. Perhaps she used these coasters as her inspiration when she wrote? The coasters were, in fact, found laying around her house. Maybe she used a different coaster for each piece she wrote and tried to work that word/theme into it? 

These coasters make me think about each word and how every word is a significant and powerful theme that is ever-present in Shange’s pieces. The more obvious themes, to me, are the words that are almost self-explanatory: environment, women, the journey, values, fulfillment, obstacles, hope, and freedom. 

For example, let’s look at “consciousness, “realization,” and “homeland.” Consciousness and realization can be interpreted as “awareness” — awareness/realization of one’s self, awareness/realization of one’s body, awareness/realization of one’s surroundings, and awareness/realization of one’s capabilities– something that Shange often explores in pieces like Nappy Edges and for colored girls who have considered suicide/when the rainbow is enuf.

“Homeland” reminds me of Shange’s appreciation for black culture and tradition. A powerful underlying theme of Sassafrass, Cypress, and Indigo, and in many of her pieces in Lost in Language in Sound, is the significance of cultural tradition in the lives of contemporary black people. For example, my previous blogpost that talked about how Shange makes it evident that the portrayal and depiction of cultural heritage strongly affects the identity and character development of Sassafras, Cypress, and Indigo, partly because of their mother’s influence. As I continue to reflect on the words on these coasters, I will think of deeper meanings and ways these themes connect to Shange’s life, as well as my life, going forward in the semester.

 

The power of women of color feminism in inter- & transnational feminist theory

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On page 25 of Beins and Enzsner’s of “Inter- and Transnational Feminist Theory and Practice in Triple Jeopardy and Conditions” they channel Chandra Mohanty’s thought processes. They write, “internationalism is also associated with naïve and counterproductive objectives of global sisterhood in which some universal commonality (usually oppression by the patriarchy) is presumed to unite women throughout the world.” I think it is important that they noted how transnationalism recognizes how people across the world may share common oppressions, such as the exploitation of their labor or domestic violence, without presuming that the manifestation of these oppressions is the same.

I am reminded of the notion of intersectional feminism and how it closely investigates the overlapping systems of discrimination and sexism that women face based on factors such as gender, race/ethnicity, sexual orientation, and socioeconomic backgrounds. Intersectionality is crucial in order to understand how multiple oppressions interact to transform people’s lives and identities. With this being said, I feel that it’s important to note that women of color feminism and queer of color critique emerged out of the contradictions of racialized communities, which instead of being monolithic or united, is rather always already differentiated.

Just like Audre Lorde said in “Age, Race, Class and Sex: Women Redefining Difference,” one must recognize the fact that difference must be reconceptualized from a problem (something to fear, avoid or suppress) into a “springboard for creative change” (115). Women of color feminism and queer of color critique offer methodologies for understanding racialized communities as always constituted by a variety of racial, gendered, sexualized, and national differences. These intellectual traditions highlight the importance of an analysis that centers the intersection of race, gender, sexuality, and class, and thereby establishes a methodology for understanding coalition as emerging out of this difference. In conclusion, Beins and Enzsner’s discussion about transnationalism, along with women of color feminism and queer of color critique, is crucial for exploring and studying oppressions of various groups of individuals.

My beautiful mother who always encouraged me from a young age to embrace my unique identity and helped me get through bullying, harassment, and discrimination because of my mixed identity.

My mother, an immigrant who arrived to the US from the other side of the world with her sisters, is also a proud feminist and worked hard her entire life so I could attend Barnard to receive a wonderful education surrounded by intelligent women. I am so grateful to her for raising me the way she did.

 

The significance of cultural tradition – Blogpost #5

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As I was reading Shange’s Sassafrass, Cypress, and Indigo, I noticed that a powerful underlying theme of this piece is the significance of cultural tradition in the lives of contemporary black people, especially during the 1970s when this piece was written. In the piece, Shange makes it evident that the portrayal and depiction of cultural heritage strongly affects the identity and character development of Sassafras, Cypress, and Indigo, partly because of their mother’s influence. 

The mother, Hilda, was a weaver, who instilled values in her daughters to absorb the creativity and discipline of a life in craft which then results in their pursuit of their own individualized arts and passions. While all three daughters were creative– with Indigo cooking and Cypress dancing–Sassafrass is the one who continues her family’s traditional occupation of weaving. I want to focus on Sassafrass in this blog post because to me, she represented cultural tradition.

Even though Sassafrass viewed weaving was an art form, rather than an occupation like her mother, she recognizes that she has a place in a line of weavers and then associates this skill with female identity on the widespread cultural scale. This is evident when Shange writes: “Sassafras was certain of the necessity of her skill for the well-being of women everywhere, as well as for her own. As she passed the shuttle through the claret cotton warp, Sassafrass conjured images of women weaving from all time and all places….”

This quote from Sassafrass, Cypress, and Indigo displays this theme of the importance of culture and tradition that doesn’t seem to escape Sassafrass’ mind. This quote almost makes it seem as if Sassafrass is realizing her calling to this art form/occupation that holds such a great deal of significance to her mother by acknowledging the importance of weavers and other female weavers everywhere.

 

My grandmother on Mother’s Day in 2016.

 

One of the cultural traditions in my family is learning to cook traditional Filipino dishes with my grandmother. Here are some of the materials we use and some of my mother’s homemade lumpia (Filipino eggrolls).

The importance of using an intersectional lens- Blogpost #4

by Charista 1 Comment

In “Multiracial Feminism: Recasting the Chronology of Second Wave Feminism” Becky Thompson writes about how some timelines have been published about the emergence and contributions of Second Wave feminism that promotes “hegemonic feminism.”

This outlook is problematic in more ways than one. “Hegemonic feminism” revolves around white communities and continues to oppress women of color by promoting sexism as the true, main oppression. This piece got me thinking about how intersectionality comes into play when thinking about Second Wave feminism and other types of feminism. The lack of an intersectional approach/lens creates a discriminatory and oppressive dynamic that will continue to be ever-present around the world if we don’t fix that now.

The introduction of intersectionality by Kimberlé Crenshaw was meant to provoke thought and idea about the persistence of inequality and discrimination as a result of the oppressive overlap of one or more dimensions of a person’s identity, such as race, gender, and class. In order to understand and explore how multiple forms of discrimination–such as racism, sexism, and classism–intersect especially in the experiences of marginalized individuals or groups, it is crucial to use an intersectional lens. This approach is valuable in that it not only allows people to better digest and comprehend intersectionality, but it also allows for their self-realization and awareness of the role intersectionality plays in their and other people’s lives. With this being said, when exploring different types of feminist groups, just remember that using an intersectional approach will help build resistance to oppression more effectively and help intervene in how people conceive different issues in the first place.

This is one of my favorite Audre Lorde quotes that helps simplify the mission of using an intersectional lens and highlights the importance of intersectionality.

The power and beauty of self-expression– Blogpost #3

by Charista 1 Comment

Audre Lorde writes in “The Uses of the Erotic,” that oppressive systems have created a “false belief” of the erotic with pornography, creating a “distrust” and “fear” in women of their erotic power. She explains, “For this reason we have often turned away from the exploration and consideration of the erotic as a source of power and information, confusing it with its opposite, the pornographic.” I’ve been thinking a lot about how censorship has limited expression and creativity due to fear of being judged, shamed, and miscategorized into the pornographic. 

I think if the erotic was used as a “source of power that has the ability to create change,” like Lorde writes, then the female gaze would be more prevalent in society. Lorde writes, “[the] erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling.” Women often see themselves as objects to be looked at by men in art, on film, and in society all the time, so using the erotic as power tears down the idea that the female body is controlled by men and would empower women further to explore and express their sexuality. 

Lastly, I think one of the most powerful points of discussion in this piece is Lorde’s clarification that distancing ourselves from the power of the erotic is “not self-discipline, but self-abnegation.” Lorde’s encouragement of using the erotic as self-expression is pivotal especially in the society we currently live in. The power of the erotic is important not only because of the power it holds in itself, but also because of the energy it gives ut to “pursue genuine change within our world.” By using the erotic in this way, I now realize how it can possibly help empower us to go beyond and accomplish more things with this sense of self-liberation. Because ultimately, the power and beauty of self-liberation and self-love can take you almost anywhere.

 

Universality & “Oneness” — Blogpost #2

by Charista 1 Comment

          Ntozake Shange’s choreopoem “For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf” struck me to my core. The choreopoem debuted in 1976 which amazes me because it holds so much significance and truth in relation to the age we currently live in. During this time, the choreopoem’s format and subject matter was revolutionary. 

          The stories and emotions of seven black women telling their truths and experiences of abuse, rape, abortion, infidelity, courtship and the bonds that are forged between them is so extremely powerful and made me reflect on the relevance this choreopoem will hold for eternity as a part of history. The content of the choreopoem is not only still relevant to society today, but it’s also shedding a light on the urgent reminder that women of color are still being mistreated and disregarded by society, even during the #MeToo era.

          Something this choreopoem made me think a lot about was theme of universality and “oneness.” After each woman speaks her truth, another woman tells hers, sometimes interjecting for questions. It truly makes you visualize one woman speaking, while the other women stay on stage behind her. This makes “For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf” feel like a conversation, as opposed to a set of a few monologues–ultimately reinforcing the message that these experiences are universal, not individual. These struggles were felt by the entire group, not just applicable to that one woman. In moments like this throughout the choreopoem, I was able to feel the power of both individual experience as well as a sense of collective empathy which reminded me that these systematic failures and social problems are deeply rooted in history.

 

A Mother’s Dream – Charista Blogpost #1

by Charista 1 Comment

As I was reading through Adrienne Rich’s Of Woman Born: Reflections on Motherhood as Experience and Institution, these lines struck me.  I rearranged the lines so the reader can take pauses after each line and so the words look more alive, almost like they’re floating in the air. It reminded me of my own personal experiences with my mother and how she raised me. I am the eldest of three daughters born to an immigrant mother, who arrived here from the opposite side of the world with my grandparents and her two sisters to seek the American dream.

Working double and triple jobs in menial labor despite college degrees in their native land, my grandparents instilled the virtues of education to their children –all three ultimately earning doctorate degrees, including my mother. The adults in my life inspire me. I model my courage, ambition, and kindness after them. My mother is the bravest, strongest, and most hardworking woman I know. She raised my sisters and I with values that prioritize family and education to ensure our lives would be different than her childhood growing up.

She always puts her children first, even still to this day. My mother constantly tells us to live freely and follow our dreams so we can live the lives we want, the lives she always dreamt we’d have. My mother means everything to me. I’d be lost without her and all of her guidance and love. I often reflect on my life and how grateful I am to have such a strong, independent woman as my mother who inspires me to pursue my passions with the mindset that anything is possible.