The past sixty years have been full of monumentally huge changes for society in the United States. From the civil rights movement and the passing of the Civil Rights Act of 1964, to the election of the first black President and the legalization of same-sex marriage, equality has been the subject on hand. While it may be a big pill to swallow for some, those that have been discriminated against for quite some time finally have the freedom to be themselves, knowing that they are protected under the law. Those minorities that celebrate this equality have a lot to teach the bigots of the country in such a wonderful day and age – pride. Zora Neale Hurston shows how important it is to have pride in yourself, your differences, and where you come from, in her four-sectioned essay, “How It Feels to Be Colored Me.” In section one of Hurston’s essay, we come across the innocence of a young Hurston, …show more content…
Each person in this country has been raised as differently as the fingerprints we possess. While we may have little nothings in common with one another, our upbringing and heritage may be quite dissimilar. Hurston felt the deep, narcotic, almost primal tones of jazz music while seated next to a white man in The New World Cabaret (266). The primitive instinct and response to the music went wild in her body, whooping, yelling, and dancing the jungle way (268). When the last tone of the music descended, she “crept back to the veneer we call civilization… and found the white friend sitting motionless in his seat” (268). He did not feel the vibes of the music as she did, but Hurston was not fazed (268). We should not be concerned with the contrasts in eccentricities within our society. Each person has their own way of life and we should not let that impede upon our
Zora Neale Hurston grew up in Eatonville, Florida also known as “Negro Town” (Hurston, 1960, p.1). Not because of the town was full of blacks, but because the town charter, mayor, and council. Her home town was not the first Negro community, but the first to be incorporated. Around Zora becoming she experienced many hangings and riots. Not only did Zora experience t...
In the essay “How It Feels to Be Colored Me” Zora Neale Hurston describes her life growing up in Florida and her racial identity as time goes on. Unlike many, she disassociates herself with “the sobbing school of Negrohood” that requires her to incessantly lay claim to past and present injustices and “whose feelings are all hurt by it”. Although she acknowledges times when she feels her racial difference, Hurston portray herself as “tragically colored.” Essentially, with her insistence that she is unhurt by the people treat her differently, Hurston’s narrative implies she is happier moving forward than complaining. Ironically, Hurston is empowered by her race and the double standard it imposes stating, “it is thrilling [that for every action,] I shall get twice as much praise or twice as much blame.”. Moreover, with her insistence that we are all equal under “The Great Stuffer of Bags,” she accepts every double standard and hardship as good. Hurston’s narrative of self empowerment moves and entertains the reader, while still drawing attention unjust treatment Hurston
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences that give rise to the different racial identities. As music embodies the physical differences of human, racial differences are not only confined to the differences in physical appearances, but also the differences in many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which different racial identities are voiced and celebrated individually, it establishes the common ground and glues the differences
"”What she doin coming back here in dem overhalls? Can’t she find no dress to put on? – Where’s dat blue satin dress she left here in? – Where all dat money her husband took and died and left her? – What dat ole forty year ole ‘oman doin’ wid her hair swingin’ down her back lak some young gal? – Where she left dat young lad of a boy she went off here wid? – Thought she was going to marry? – Where he left her? – What he done wid all her money? – Betcha he off wid some gal so young she ain’t even got no hairs – Why she don’t stay in her class?” (Hurston Page 2).
Both essays, How It Feels to Be Colored Me by Zora Neale Hurston and Of The Coming of John by W.E.B Du Bois, are two renowned essays that were written during a time of great discrimination against African Americans in the United States. Despite these two essays having different plots and a different set of characters, their experiences are quite similar in many ways. How It Feels to Be Colored Me has to do with the author’s experience as an African American in 20th century America. Zora Hurston was raised in an all black community in Florida, but then left her home at thirteen and moved into Jacksonville. At her new home, she then realized that this new city is a lot more diverse and it was at this time that she began to “feel her race.” At
"How it Feels to be Colored Me" was written in 1928. Zora, growing up in an all-black town, began to take note of the differences between blacks and whites at about the age of thirteen. The only white people she was exposed to were those passing through her town of Eatonville, Florida, many times going to or coming from Orlando. The primary focus of "How it Feels to be Colored Me" is the relationship and differences between blacks and whites.
From slavery to the Harlem Renaissance, a revolutionary change in the African American community, lead by poets, musicians and artists of all style. People where expressing their feeling by writing the poem, playing on instruments and many more. According to the poem “ I, Too” by Langston Hughes and article “How it feels to be Colored Me” by Zora Neale Hurtson, the poem and article connects to each other. The poem is about how a African Man, who sits in the dinning café and says that, one day nobody would be able to ask him to move anywhere, and the in the article written by Zora Neale Hurtson, she describes how her life was different from others, she was not afraid of going anywhere. They both have very similar thoughts,
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences; Racial identities, inevitably, exist because of these differences. However, as racial identities are founded on the differences of physical appearances, they are displayed through the differences of music, as music embodies the physical differences of human. Racial differences are magnified through many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which the differences of racial identities are revealed, it glues them
One traditional cause for racism is the ignorance of one to additional races. Must to the time people have the propensity to fear what they do not comprehend. If a person has not grown up near a specific race previously, then the chance of the person being a racist to that particular group critically increases. Not always, but this happen when they do not have a real experiences with at list one of them. . The purpose of this essay is the people know the idea of being black, and I will explain how racism did not stop the dreams of a black woman. What Zora Hurston was as a person?
In “How It Feels to Be Colored Me,” Hurston breaks from the tradition of her time by rejecting the idea that the African American people should be ashamed or saddened by the color of their skin. She tells other African Americans that they should embrace their color and be proud of who they are. She writes, “[A socialite]…has nothing on me. The cosmic Zora emerges,” and “I am the eternal feminine with its string of beads” (942-943). Whether she feels “colored” or not, she knows she is beautiful and of value. But Hurston writes about a time when she did not always know that she was considered colored.
One of America’s musical styles has become one of the major music genres worldwide and it is jazz music. The genre was developed around the late 1800s to the early 1900s, and originated from African Americans in New Orleans and Louisiana (Issitt 1). Within Jazz there are many different categories such as Dixieland, swing, cool jazz, hard bop, jazz-rock, fusion, and many more (Philipp 3). In addition, “Jazz as a whole is frequently regarded as one of the United States’ greatest cultural achievements” (Issitt 2). However, Jazz was not only a source of entertainment, or a great accomplishment, but also a reliever of pain; and it encouraged people to explore deep into their minds and the world around them.
Jazz music broke the rules in American Culture African American experience over White American experience. In addition, the article called ‘History of Black Dance’ said “Harlem during the twenties became the ‘in place’ to be for both black and white New Yorkers.”3 (“History of Black” par. 2). Breaking the rules of the 1920s American culture has not been done before, both men and women, both black and white, together in one place to enjoy music. In Carter’s article, “The Devils Music: 1920s Jazz” as jazz music grew in popularity, so did political and social campaigns to censor what the older generation considered to be the devils music, also known as jazz music.4 The older generation of the 1920s, believed that jazz music was made by the devil and by the end of the twenties,