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Black Sexism and Black Backlash Presentation

I really enjoyed my presentation from last week primarily focusing on Black Macho and the Myth of the Black Superwoman by Michele Wallace. The themes that came up in this particular reading were issues that I’ve been researching and noticing for a while now. The thing that struck me the most was that the tension and the hostility between black men and women stems from 50 years ago during the civil rights movement.

The civil rights movement for many black people was supposed to be seen as solidarity between black men and black women trying to fight one cause, white supremacy. However, there were underlying issues such as the erasure of black womens’  importance in the movement. The main thing that I was especially fascinated about was black mens’ sudden preference for white women and their hate for black women. Due to the patriarchal norms of the 1950s, it seemed like the downplaying of black women’s role in the civil rights movement was also normalized into American society. The most interesting part was that many of the black men in the civil rights movement began dating white women that participated in the movement. Wallace made sure to delve deeper into the history of why black men began pursuing white women. Because black men were emasculated during slavery and reconstruction, they felt that it was an accomplishment or an achievement to have à white woman on their arm. This made him feel more like a man. I already knew the perfect video that would fit this situation, the Iyanla Fix My Life episode from three years ago that was supposed to help dispel the stereotype of the “angry black woman”. Iyanla Vanzant set the stage for a difficult conversation and the black men in the video let their hate for black women be known. I was not expecting that the same reasons that the black men used in the video from 2016 were the same reasons that black men used in 1979. It is honestly disappointing that 40 years later, we hear the same baseless excuses.

However, it makes sense why the same stereotypes are still being displayed today. Even though we have made some progress as a nation from the 60s and 70s, we still have a long way to go. Many of the same harsh realities of racism and discrimination still persist today in 2019. Although the excuses and stereotypes that that black men in the Iyanla video made were baseless and problematic, we still see a link between the men of the 60s versus the men of 2016. Black men are still being emasculated but in different ways than they were in the past. Therefore, they continue to push the same stereotypes of black women to still find a way to feel more masculine. As problematic as their statements are, it is important to see that we as a people are still facing the same harsh realities of racism and discrimination.

i found god at the public – event post

by Elizabeth 1 Comment

“for colored girls” at the public theater, 2019

Seeing for colored girls was one of the most special theatrical experiences I’ve ever had. I was initially nervous about sitting onstage and engaging so intimately with the material. I think if we’d gone to the show at the beginning of the semester, I probably would not have been able to do it. After this whole semester of getting to know Shange’s work, I feel more comfortable in engaging with these ideas. I have really started to realize the source of my original discomfort. I think there was something about for colored girls that made me feel helpless when I was younger- I felt that Black women’s pain was inevitable- at the hands of society and the government, at the hands of Black men we are supposed to trust.

Throughout the semester I’ve told my mom and some of my friends that it’s so frustrating for me to be taking this class now, just a year after Shange passed. As grateful as I am to have the opportunity to read her work at all, it often feels like I just missed her. I think that night finally showed me that for colored girls came right when I needed it. Being required to read (and finally finish) the choreopoem for this class finally got me to the incredibly important ending- Shange and the colored girls’ declaration that is just as much an imperative – i found god in myself and i loved her / i loved her fiercely.

Post # 8

by Thompson 2 Comments

For my last post, I want to briefly speak to the last suggested prompt offered, to nominate a short excerpt of Shange’s work for the “Shange Mixtape”. One of the Shange pieces that resonated with me the most was Sassafrass, Cyrpress & Indigo and I think that the book, in really concise and revelatory ways, reveals some of Shange’s central themes such as: creation, the creation of new worlds, the magic of music and the moon and “women”, community and communion and the ghosts that play in the shadows of our words.

Pages 27-34 constitute a really helpful excerpt. The excerpt would not need to be that long but the narrative encapsulated between those pages feel really full of the central concepts that I pulled from the book. Page 27 begins with a chapter in which Indigo is learning to pray with her fiddle. She “invit[es] the moon in” and lets the “holy ghost” pour out of her creation, as she makes life, goes wild. And her mother is exhausted by it, it is too much and too off kilter, too loud and unwieldy. Indigo may need to go elsewhere to create her music.

 

Later in the pages, she meets the Junior Geechee Captains Spats and Crunch and shows them another world with her music, blows them away, scares them a littl, even. Shange writes then “Indigo’s specialities were other worlds” with the places she goes and sees in her music. Her nickname in the group becomes “digo” meaning to say– to speak into the silence– and if that isn’t a lot to unpack, I don’t know what is. So I think that that excerpt, cushioned by a little context of the book’s narrative, would be a really helpful entrance to the larger themes within some of Shange’s work.

2010 Cover of Sassafrass, press & Indigo

Cite:

Shange, Ntozake. Sassafras, Cypress and Indigo. St. Martins, 210.