Emma Carr
Read the article "The Sexual Politics of Women's Blues" by Hazel B. Carby before starting the assignment and then answer the following prompt...
Discuss, in detail, three ways the blues women achieved and inspired female autonomy while becoming cultural icons and leaders in feminism through their lyrics, attitudes and physical appearance.
The Blues Women Previous to the introduction of the Classic Blues to American Society, women were expected to remain in the passive and contained role of mother, housekeeper, and wife. With little chance to break this mold, women around the world were oppressed for centuries, forced to restrain their desires, thoughts, and idealistic lifestyles. However, with the emergence of the Blues Women,
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Cox describes her need for a man who will “love me like I like to be” and includes lines like “He needn’t eve take the lead… And I ain’t a looking for no speed,” (page 43), showing that she requires a man who will meet her needs, and not the other way around. Cox’s attitude carries through the song where she sings “Set your alarm clock papa, one hours that’s proper, Then love me like I like to be,” (page 43) and “I can’t stand no green horn lover, like a rookie going to war, With a load of big artillery, but don’t know what it’s for,” (page 43). This call for an experienced man speaks to the importance of sex for Cox, who does not have interest in anyone who will not be able to please …show more content…
Takes a hour ‘fore I get started, maybe three before I’m through. I’m a one hour mama, so no one minute papa, Ain’t the kind of man for me,” (page 44). Author Hazel V. Carby of “The Sexual Politics of Women’s Blues” describes this attitude in her own words, by writing “The articulation of the possibility that women could leave a condition of sexual and financial dependency, reject male violence, and end sexual exploitation,” (page 41) proves the point that the attitude of the Blues Women was intense, dominant, and focused on the reclamation of female
The reading this week brought to my attention that historic events have a way of repeating themselves. In Folklore of the Freeway, Eric Avila explains that during the “Freeway Revolt” there were different ways that communities organized and the types of issues they were fighting against. These issues and organization structures mirror current day protests. Likewise, the connections between how women were treated with respect to protests during the “Freeway Revolt” and the recent Women's match are astounding. In the context of these two events, white women are seen as saints for fighting a fight that doesn’t affect them, while women of color as ridiculed for making a big deal out of nothing.
In paragraph 3 it says, “...all the musicians in the 17-member band were women. Second, the group was racially integrated.” This quote supports the thesis because it says that the women came from many backgrounds, a not accepted idea at this time. Since other cultures were not accepted, the band helped the movement away from segregation. The group also supported the women's rights movement, showing that women can play just as well as men could.
Sister Citizen: Shame, Stereotypes and Black Women in America, by Melissa Harris Perry is a collection of statistical data, narratives and African American literature to accurately portray the history of black women while also proving that politics is not only voting and public policy. It is also a struggle for recognition and how that recognition holds immense political power to create change. The book offers the unique experiences and explanations of African American women in the American society that consistently overlooks their hardships and achievements.. For three centuries, black women have been under the shadow of black men’s fight for equality. Black women have fought hard to achieved such a high feat, but have only ended up as less than second class citizens; citizens that are not easily recognized to receive fundamental rights. These misrecognitions stem from the Perry’s main argument that the four common stereotypes falsely define black women, and misrecognizes them so much that society doesn’t deem them fit or worthy enough to have equal rights.
A significant component of Cooper’s work explores the intersection of being Black and a woman in a post-slavery American society.
Imagine growing up on a cotton plantation to former slaves in Delta, becoming an “orphan at the age of 7, becoming a wife at the age of 14, a mother at 17 and a widow at 20?” This all describes the early life of Sarah Breedlove, better known as Madam C.J Walker. “She supported her family by washing laundry and she used her earning as a laundress to pay for her daughter’s education at Knoxville College” .In 1889, Madam C.J Walker moved to St. Louis in search of a better future.
The taxing nature of “southern womanhood” is demonstrated in every aspect of the 19th century. During the era of slavery women were conditioned to withstanding the emotional toll of violence towards slaves. An illustration from (DuBois 215) Through Women’s Eyes provides and illustration of a women beating a slave and consequently a women being beaten by a man for doing so. This is the pinnacle of hypocrisy, being that despite the ideals of “southern womanhood” a women is taught that violence is only ok against slaves, although when put into application it is prohibited. In the 19th the south had been going through a lot of change and the hardships and as a result the most effected were southern woman and female slaves, as they received the
Often times women were unable to break of their repressive bonds in their marriages. Throughout the 19th century, many women were left at home all day to oversee domestic duties. They had such great influence at home which gave men the need to constantly put them in their place, which was beneath theirs. It was the women’s job to please their husbands who dictated every aspect of their life. In all four texts, Kate Chopin’s “The Story of an Hour”, Emily Dickinson’s, “She Rose to His Requirement”, Susan Glaspell’s, Trifles and Zora Neale Hurston’s
It is often said that a new definition of a woman arose in the 1920s. But is that true? While most women experienced many newfound freedoms in the 1920s, black women could not explore these freedoms as easily as white women. In the novel Passing by Nella Larsen, Irene Redfield and Clare Kendry grew up in Chicago together and are now both two wives and mothers in New York City during the 1920s, but there is a big difference between them. The novel’s title refers to light-skinned black women masquerading as white women for social benefits.
The genre of blues exploded into the blues craze during the 1920’s. During this time, white record producers saw the untapped goldmine that was blues music performed by people of color. Ma Rainey was one of them, and to some, one of the first, giving her the title, ‘The Mother of Blues’. The 1920’s was not only an era of continuing homophobia from the past (although that would change, briefly, into a mild form of acceptance until the more conservative 1930’s), but also of harsh racism. And yet, one singer, Ma Rainey’s, broke these restrictions.
In the book Ar’n’t I a women the author, Deborah Gray White, explains how the life was for the slave women in the Southern plantations. She reveals to us how the slave women had to deal with difficulties of racism as well as dealing with sexism. Slave women in these plantations assumed roles within the family as well as the community; these roles were completely different to the roles given to a traditional white female. Deborah Gray White shows us how black women had a different experience from the black men and the struggle they had to maintain their sense of womanhood against all odds, resist sexual oppression, and keep their families together. In the book the author describes two different types of women, “Jezebel” and “Mammy” they
In the white press, gender became the essential element around which their careers were interpreted. In addition race was always a factor but it was secondary to gender and this is why Althea Gibson suffered from the emphasis on gender which was that the public began to perceive her tennis playing as too masculine. 3. Describe the gendered construction of stereotypical white femininity in 1940s-1950s America, and explain how these stereotypes differ from those that surround African American femininity?
They also had a readily constructed position of who they should be and how they should be in their homes, church and society at large. Like the dancer whose head was held up several times in the first part of cry, black women were proud of who they were irrespective of the challenges they faced. However, their pride was destroyed by the struggles they faced as subordinate beings in their society. They struggled really hard to oppose the hierarchical structure. This is represented by the manner in which the dancer pushed.
The 1920’s were a period filled with an overflow of social change and the literature of the time showcased this change, from the changing viewpoints on woman, to the voice of the black community gaining grounds, and the
I find that this example highlights the fact that while women had far less political power in society during the nineteenth century, the least the law could do was to protect the sexual integrity of women; However, African American women suffered from racial, gender and class discrimination that makes it difficult for them to prosecute those that sexually assault them. Furthermore, anger of white men were usually taken out on the wives of freed African American men and usually in the form of sexual assaults and this made the situation for African American women
Dee approaches culture by decontextualising it, while Maggie and Mama relate to it with a kind of ‘organic criticality’. The former stance is mere rhetoric and the later one is womanist. In one of her interviews, Alice Walker identifies three cycles of Black Woman she would explore in her woman’s writing: 1.