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importance of tradition to african history
an essay about cultural heritage
an essay about cultural heritage
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Dee wants to emerge as dependent on her African heritage. She changes her family’s name to more African style name, Wangero. Dee also changes her fashion style to a more traditional African style. Dee depends on her new heritage as history, while her mother dependence of it is practical use. Dee pushes away her mother’s traditional values, but keeps the history of them instead of their everyday use. Mama’s heritage is close to dying as the practical use of the remaining items are becoming endanger of be forgotten. Dee’s mother sees these heirlooms for their practical uses and wants Maggie, Dee’s sister, to have them. Mama believes Maggie will most likely use them for their intended purposes and continue using them. Mama doesn’t want to see her other daughter changing the meaning of her heritage. Dee has no clue of her African heritage. Only things from her true past is her African heritage and her family’s heirlooms: the carved dashers and quilt. She views these’s artifacts as display objects and not for their actual practical use anymore. She pivots herself away from her family’s true heritage of poor black farmers and wants to value it differently as art and history. Art is history. Art is heritage. Dee’s new vision of her heritage is completely different from her mother’s vision, but Dee’s ideas for the family’s heritage is more correct when trying to preserve it. She values the past artifacts differently and wants to try to preserve her family’s heritage as art in her new apartment. Dee changes her name to a more African style name, Wangero as well as her clothing style too. She wants to express her family’s culture as history, using the carved dashers and quilts to display them like art, which is her version of heritage and better appreciation of them. Dee cherishes her African heritage and wants to preserve it as her mother is trying to hold on to the current tradition of it and fails to envision Dee’s new idea of their
By contrasting the family characters in “Everyday Use,” Walker illustrates lost heritage by placing the significance of heritage solely on material objects. Walker presents Mama and Maggie, the younger daughter, as an example that heritage in both knowledge and form passing from one generation to another through a learning experience connection. However, by a broken connection, Dee the older daughter, represents a misconception of heritage as material. Dee, the “heritage queen” portrays a rags to riches daughter who does not understand what heritage is all about. Her definition of heritage hangs on a wall to show off, not to be used. Dee’s avoidance of heritage becomes clear when she is talking to Mama about changing her name, she says, “I couldn’t bear it any longer being named after the people who oppress me” (Walker 75). Thus resembling that Dee just takes another name without even understanding what her original name means. She tries to explain to Mama that her name now has meaning, quality, and heritage; never realizing that the new name means nothing. Changing her name bothers Mama and Maggie because Dee’s name is a fourth generation name, truly giving it heritage. Dee likes to gloat to her friends about how she was raised, so she tries to show off by decorating her house with useful items from her past. Her argument with Mama about taking quilts that were hand stitched as opposed to sewn by machine gives readers a chance to see Dee’s outlook of heritage is short lived. Dee says to Mama, “But they’re priceless. . . Maggie would put them on the bed and in five years they’d be in rags. Less than that!” (Walker 77). Mama will not allow her daughter to take the quilts because she has been saving them for Dee’s sister, Maggie, and she wants the quilts to be put into everyday use. By helping
...nderstand each other’s view or just each other. Dee especially believes that these quilts are a representation of what has been discarded as trash just as her culture has, however what she doesn’t see is she was the first to disregard them just as she did her family.
Momma asks Dee what happened to her name and she says, “She’s dead. I couldn’t bear it any longer, being named after the people who oppress me”. (27) Dee has no idea her name comes from her own heritage. Momma explains to Dee, “You know as well as me you was named after your aunt Dicie. Dicie is my sister. She named Dee. We called her ‘Big Dee’ after Dee was born” (28). Wangero is very well educated and is only trying to understand the African portion of her heritage, but she in blind to the heritage from her family she grew up with. She looks down on her momma and younger sister, not realizing they are the most important parts of her
The main objects of topic throughout the story are the quilts that symbolize the African American Woman’s history. Susan Farrell, a critic of many short stories, describes the everyday lives of African American Women by saying “weaving and sewing has often been mandatory labor, women have historically endowed their work with special meanings and significance” and have now embraced this as a part of their culture. The two quilts that Dee wanted “had been pieced together by Grandma Dee and then Big Dee and me [Mother] had hung them on the quilt frames on the front porch and quilted them” (par. 55) showing that these quilts were more valuable as memories than they were just blankets. The fabrics in the quilts “were scraps of dresses Grandma Dee had worn fifty and more years ago. Bits and pieces of Grandpa Jarrell’s paisley shirts. And one teeny faded blue piece, about the piece of a penny matchbox, that was from Great Grandpa Ezra’s uniform that he wore in the Civil War” (par. 55) putting forth more evidence that these are not just scraps, but have become pieces of family history. The q...
Mrs. Johnson, the mother, is described as, “a large, big-boned woman with rough, man-working hands” (6). She tells some of her capabilities including, “I can kill and clean a hog as mercilessly as a man. . .I can work outside all day, breaking ice to get water for washing; I can eat pork liver cooked over the open fire minutes after it comes steaming from the hog” (6). This description informs readers that Mrs. Johnson has learned all the ways and traditions of her ancestors and knows how to survive from day to day. She and Maggie’s lives in the small home represent a simple, unsophisticated way of life. Dee, on the other hand is described as, “[light-skinned], with nicer hair and a fuller figure” who “wanted nice things” and “had a style of her own” (7). The clothes Dee wears and the phrases she uses to greet her mother and sister show that she has no real understanding of her background and where she comes from. This shows Dee to be materialistic, complex, and lead a life where heritage is looked upon as a trend and not for what it really represents.
Although all of the character’s views on heritage are expressed, Dee’s character is given the more detailed description of ways she strays from her heritage. From the beginning, Dee despises the home that they live in. When it is destroyed in a fire, her mother wants to ask her, “Why don’t you do a dance around the ashes?,” expressing Dee’s utter aversion towards the home (Walker 409). Most people take pride in their home and cherish it for all of the memories that it holds for them, but Dee is insensitive to the family’s loss. After becoming of age, Dee decides to go to college, where she begins to hold her newly found knowledge against her family because of their lack of it. This opportunity to go out of her town and see the world gives Dee a taste of a better lifestyle that she wants to become apart of, and leaves her family behind. While Dee is away at college, she denies the quilts that her mother has offered her saying that “they were old-fashioned, and out of style” because she is still longing to separate herself from her family as much as possible (Walker 413). One of the main things that Dee does to distance herself from her family, and tarnish part of her family’s tradition is the changing of her name Dee Johnson, to Wangero Leewanika Kemanjo, because she feels that it comes from “the people that oppressed me” (Walker 411). This act comes to Mama...
As Dee is becoming older and more wrapped up in society, she is not crediting her mother and acknowledging her sister and all of the heritage Dee left behind. The story was taken place during the 1960-1970’s. Because many colored people during this time, changed their names to become closer with a heritage that they are not really a part of. In the story, it was able to give you the mother’s point of view in their current situation. As Alice Walker states in Everyday Use, “Well, I say. Dee.” “No, Mama,” she says. “Not Dee,” Wangero Leewanika Kemanjo!” From this, we can already assume that Dee might have been ashamed of her name, or wanted to be a part of the new ways of society. From the example given above, we can understand the mother’s frustration in the story. Another example from Everyday Use “You know as well as me you was named after aunt Dicie, Dicie is my sister. She was named after Dee. We called her Big Dee after Dee was born” the mother knows Dee cannot cherish her quilts if she cannot even cherish her own generational name. In the story, Dee changing her name symbolizes how she has grown from her family and has grown closer with the society and their views on heritage and generations. We can determine the frustration the mother had about Dee and how she has forgotten everything that the family went through to even enable her to become who Dee is
Dee is a young, headstrong woman, who believes she deserves better than what her mother could ever give her. She reads to her mother and sister to show off the education her mother and church paid for. Dee doesn’t accept she came from, yet she’ll claim how proud she is of her heritage. this can be seen as situational irony, like when she wanted the quilts she didn’t want at college. Dee, is spoiled, hypocritical, and conceited due to her life experiences.
Dee is shallow and manipulative. Not only does her education separate her from her family identity and heritage, it prevents her from bonding with her mother and sister. If Dee could only push her arrogance aside, she would be able to develop a deep connection with her family. While connecting with her family, Dee would also develop a deeper understanding of her heritage. Maggie and Mama did not give in to the “whim of an outside world that doesn’t really have much to do with them” (Farrell par.1). In the attempt to “fit” in, Dee has become self-centered, and demanding with her very own family; to the extent of intimidation, and
In her short story Everyday Use, Alice Walker talks about a Mother Mama, and her two daughters Dee and Maggie, their personalities and reactions to preservation of their family heirlooms. She shows that while Dee has been sent to school for further education, Maggie is left at home and brought up in the old ways. Mama often dreams and longs for the day she can be reunited with Dee, like in the TV shows. She knows this may not be possible because Dee would read and shower them with a lot of knowledge that was unnecessary, only to push them away at the right moment, “like dimwits” (313); Mama and Dee have different conceptions of their family heritage. Family heirlooms to Mama means the people created, used
Alice Walker's "Everyday Use," explores Dee and Maggie's opposing views about their heritage by conveying symbolism through their actions. Maggie is reminded of her heritage throughout everyday life. Her daily chores consist of churning milk, helping mama skin hogs on the bench which is the same table her ancestors built, and working in the pasture. On the other hand, Dee moved to the city where she attends college. It is obvious throughout the story; Dee does not appreciate her heritage. When Dee comes back to visit Mama and Maggie she announces that she has changed her name to Wangero. Dee states "I couldn't bear it any longer, being named after the people who oppress me" (89). Her stopping the tradition of the name Dee, which goes back as far as mama can remember, tells the reader that Dee does not value her heritage. Another symbolism of her lack of appreciation for her heritage demonstrated through her actions is when Dee asks Mama if she can have the churn top to use it as a ce...
Another example of Dee's confusion about her own African-American heritage is expressed when she announces to her mother and sister that she has changed her name to "Wangero Leewanika Kemanjo." When her mother questions her about the change, Dee says, "I couldn't bear it any longer being named after the people who oppress me" (411). According to her mother, the name has been in the family since before the Civil War and most likely represents family unity to her. However, Dee does not realize that. Apparently, she believes that by changing her name she is expressing solidarity with her African ancestors and rejecting the oppression implied by the taking on of American names by black slaves.
...ly?s heritage. So ironically, while Dee is looking for her African-American culture, and it lies right in front of her eyes. Her sister, mother, grandmother, and herself are all a part of their family?s heritage, which stems from the African-American heritage that Dee is so desperate to find.
The main characters in this story appear to be polar opposites. Mama, the narrator of the story, describes herself as a "large, big-boned woman with rough, man-working hands" (paragraph 5). She does not paint an attractive picture of herself, however she goes on to list the many things she can do. Like the items in the setting around her, she seems more interested in practicality, and less interested in aesthetics. Dee, on the other hand, is defined by her sense of style, and does not seem to do anything. When her name was Dee, she hated the objects around her for their lack of beauty and style. When she became a member of the Nation of Islam and changed her name to Wangero, she saw these old items as a part of her heritage and works of art. At no time, however, did she ever have a real use for them.
Cultural capitalism is having assets that give an individual social mobility (Szeman & Kaposy 88). Such as, with knowledge and/or education, embody speech and personality and objectified: one’s belongings and/or clothing. Through the rise of the Civil Rights Era, Dee becomes more aware of the culture she came from through her surroundings and begins to “embrace” it. She visits Mama’s house to collect some the ancestral quilts in which she denied before. Dee attempts to get more in touch with her African roots by going as far as changing her name to Wangero Leewanika Kemanjo. When arriving at her mother’s house she shared the news of the name change. When Mama quickly questions her, “what happened to Dee?”, Wangero exclaims, “she is dead” (Walker 924). Wangero (Dee) goes the extra mile to her name to make a statement to those around her and becomes noticeable becomes Afrocentric. Mama explains to Wangero the deep family meaning to her name, Dee she nullifies her mother’s answer and explains to her that the name “Dee” originates from slaves given by white slave owners. In the process of Dee Wangero’s transformation to her “deep roots”, she dating an African American Muslim named Hakim-a-barber. With Dee Wangero changing her name and reclaiming her culture she offends her mother through the process but little does she know she is hurting her