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American beauty standards FOR AFRICAN AMERICAN WOMAN
African american impact on american culture
African american impact on american culture
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Recommended: American beauty standards FOR AFRICAN AMERICAN WOMAN
This beautifully illustrated book of black icons that have dazzled us throughout history, carefully examines how African Americans gradually conformed their ideas of black beauty to the standards set forth by the early European settlers. The question that the author, Ben Argogundade poses is “What is black beauty?” (8) His book was written as a guide that presents a better understanding concerning the history of black aesthetics altogether. Argogundade boldly examines the controversies that people of color experience regarding aspects of light skin being viewed as better than darker skin and Afro hair being viewed as “bad hair”. Ben Argundade parents were Nigerian and he started as an architect working in London on different building projects. Later he became a model and freelance writer while launching an international magazine dedicated to people who lead real lives. Ben argues that “In literary terms black beauty remains a cause without a portfolio” (8). His work pays homage to all the African American models and famous black celebrities that came before him. Black Beauty discusses some of Europe’s history and the influence Europe had over the western hemisphere during slavery. The focus is on the aesthetic experience of African descent, all who voluntarily migrated to live within the black diasporas of the west and United States, while others drifted through the cruelty of slavery. Interestingly, the author observes how mixed children of African descent were not uncommon in royal European families. According to the author’s research this has been going on in their culture for centuries. Queen Charlotte Sophia, (1744-1818), was described throughout history as being an unattractive mulatto wit... ... middle of paper ... ...our “free choice” is actually molded by the standards that earlier generations have set before us. With the way Ben carefully lays out and traces this historical information and even compares how societies like Asians, and Hispanics suffer from the same color caste system, you can’t help but to become aware of how our perception of beauty has been subliminally molded by the Hollywood madness. This book should be recommended not only to people of color, but to anyone that studies in the beauty, fashion, or history industry. Reading Black Beauty presents a better understanding of how people of color should view themselves by looking at our history. A history and celebration was definitely presented throughout these artistically glistening pages so the name is defiantly deserving of the title because reading this turns into a wonderful celebration for all!
There has been much debate over the Negro during the Harlem Renaissance. Two philosophers have created their own interpretations of the Negro during this Period. In Alain Locke’s essay, The New Negro, he distinguishes the difference of the “old” and “new” Negro, while in Langston Hughes essay, When the Negro Was in Vogue, looks at the circumstances of the “new” Negro from a more critical perspective.
The existing literature on ethnic and racial studies among African-Americans has focused on issues pertaining to beauty and body politics especially on natural hair. Spellers and Moffitt assert that the body politics that one assumes, guides how one relates to a particular political ideology in a particular society. Black natural hair is considered as a way by which the true identity of African women can be understood (Jacobs-Huey). It is a symbol of power among black women; it influences how people are treated by others.
Slave’s masters consistently tried to erase African culture from their slave’s memories. They insisted that slavery had rescued blacks form the barbarians from Africa and introduced them to the “superior” white civilization. Some slaves came to believe this propaganda, but the continued influence of African culture in the slave community added slave resistance to the modification of African culture. Some slaves, for example, answered to English name in the fields but use African names in their quarters. The slave’s lives were filled with surviving traits of African culture, and their artwork, music, and other differences reflected this influence.
In African American Studies/Literature I walked in thinking that I could be told nothing about African American culture or history because I’m African American. In some ways I knew that racism existed but I learned how it has been subtle in control the way we think. We have learned that colonization has not ended and that in many ways we are still being oppressed. In this paper I’m going to show how African American has used hip hop and black hair are two ways in which African Americans embrace their culture and fighting oppression. However, as we have review in many classes oppression is not easily escaped. So in this paper I’m going to show how cultural appropriation is used as a way of oppressing black culture. So this paper will be an expansion of what we have learned in the
By comparing “A Little Taste Outside of Love” (2007) by Mickalene Thomas (1971-Present) and “A Black Woman” (1775) by an unknown French painter this paper will demonstrate that although blacks were once degraded through the sexualization of their bodies in art, their nudity is now used to convey empowerment in contemporary art.
By the twentieth century, slavery had damaged black pride, and made it known that black features were inferior. When it came to black women and their hair, black women desperately wanted to match the standard of “white” beauty. Walker’s solution to this was to create a look that was Afro-American without trying to imitate whites. Walker spoke about beauty emphasizing that to be beautiful does not refer to the complexion of your skin, or the texture of your hair, but having a beautiful mind, soul, and character.
It is unfortunate that we live in a society that places such a great emphasis and consideration towards the aesthetics of beauty. What is more unfortunate is that beauty itself is not defined by any realistic qualities or pragmatics. Rather it is defined by society and what the particular or dominant class in society feels beauty is. In today’s society in order for a woman to be looked at as beautiful she must posses a combination of qualities, such as, a slim body, straight hair, fair skinned, full lips, straight sort of raised nose and so on. In the society that the Breedloves lived in, beauty had a lot to do with racism and the dominant class that influenced it. To be a woman of beauty in that society you had to be blond hair, blue eyed and fair skinned. If you couldn’t exactly look like that the closer you came to it the better you were viewed. You also had to behave in a certain manner i.e. well groomed, soft spoken, and have high morals. In other words you had to look like a stereo typical European and for colored women loose all the funky things that made them who they were: “The careful development of thrift, patience, high ...
The early 1900s was a very challenging time for Negroes especially young women who developed issues in regards to their identities. Their concerns stemmed from their skin colors. Either they were fair skinned due mixed heritage or just dark skinned. Young African American women experienced issues with racial identity which caused them to be in a constant struggle that prohibits them from loving themselves and the skin they are in. The purpose of this paper is to examine those issues in the context of selected creative literature. I will be discussing the various aspects of them and to aid in my analysis, I will be utilizing the works of Nella Larsen from The Norton Anthology of African American Literature, Jessie Bennett Redmond Fauset, and Wallace Brown.
In the novel, the author proposes that the African American female slave’s need to overcome three obstacles was what unavoidably separated her from the rest of society; she was black, female, and a slave, in a white male dominating society. The novel “locates black women at the intersection of racial and sexual ideologies and politics (12).” White begins by illustrating the Europeans’ two major stereotypes o...
For years in the African American Community, there has always been a debate over the distinction between light skin and dark skin, good hair and bad hair, what's hot and what's not. About two years ago, I remember watching a reality show called love and hip-hop; when a rapper said, “light skin is the right skin” on TV. I was quite intrigued about it and I figured I would write about this when I was thinking of a topic. This paper is not aimed at proving what skin looks better but to discuss this issue.
The people of the black culture need a motivating force behind their community. They need a black aesthetic to motivate them and incline them to support the revolution. The black aesthetic itself will not be enough to motivate the people; they will need black art to help them understand what they are supporting. The art in the black culture needs an aesthetic to get the message across to its viewers and allow them to understand the meaning behind pieces of artwork. One of Ron Karenga’s points is how people need to respond positively to the artwork because it then shows that the artist got the main idea to the audience and helps to motivate them to support the revolution. In “Black Cultural Nationalism”, the author, Ron Karenga, argues that
It must be noted that for the purpose of avoiding redundancy, the author has chosen to use the terms African-American and black synonymously to reference the culture, which...
Gabriel, Deborah. Layers of Blackness: Colourism in the African Diaspora. London: Imani Media, 2007. Print.
Yet, once again, the airbrushed photo of a white model graces our magazine covers, and it is her white skin, thin frame and blonde hair that personifies beauty. A size 16 body; a full nose and lips; a head of curly, 'natural' hair; a darker coloured skin—such features are hastily dismissed, often with the entire accompanying race. Oh, you can almost hear the snobbish, distain-dripping voice
Lynch’s tactic was to replace the physical chains and whips of slavery with psychological tethers of oppression that had the possibility to last for 300 years (Lynch, 1712). Colorism operates in contemporary African-American community today through the perpetuation of the standards of beauty, superiority, and identity established during European colonialism. In reference to beauty, lighter skinned Black women are often perceived as more attractive than darker skinned African-American women (Hill, 2002). In addition, there is often an assumption that lighter skinned African-American women must be interracial due to their physical features (i.e. green eyes, loose texture hair) resembling that of a White person. However, people fail to realize that by making this assumption, it is suggesting that African-American women are beautiful only if they are mixed with another race that is not of African descent. From slavery until now, the identity of African-American women has been suppressed by those who see her as a subordinate to themselves, which cripples African-American women’s ability to know, accept, and love herself as fulfillment of her