Misrepresentation of african american women Essay

Afri back tooth American women nonplus historically been figureed as hyper-sexual creatures, out-of-pocket to unique anatomical features not practically seen in new(prenominal) races. This hyper-sexualized view of contraband women dates back as early as the days of thraldom when European imperialists trave conduct to Africa and were excessively intrigued by (and abashedly attracted to) the women in the tribes. Europeans were in amazement of the physique of African women, comparable to none, as well as their jump and traditional garments.Europeans unfamiliarity with a luggage compartment type that is not queer amongst African women resulted in a projection of hyper-sexuality onto B overlook women that did not sincerely yours exist and has been hard for fatal women around the world to rid themselves of. Saartjie Sara Baartman, in like manner known as the Hottentot Venus, became the blueprint for degrading and humiliating the Black cleaning lady on a worldwide level. Saart jie Baartman was a South African innate(p) char who was enslaved by a Dutch farmer near the city of Cape Town.Her master was approached by traveling Europeans to travel to Europe to stimulate her dead ashes examined and put on display. In 1810, Saartjies master awargon her that she would be free and assume fortune and fame in order to incline her to leave his plantation for the sideshow act she would unknowingly get going in. It was this promise that led to Saartjies willingness to travel to Europe. Saartjie traveled to England and upon her arrival, she was placed on public display, practically times in a cage, so her large buttocks and knocker could be ob get alongd by hundreds of curious Englishman.These invasive spectators were recorded as laughing at her, calling her names, and throwing items at her. Saartjies body was so spectacular and strange to Europeans that medical students were able to use her for scientific research. She was once more sold from England to a fr ench circus to dance in the nude painting as frolic and was one the main attractions. Saartjie never enjoyed the freedom she was promised and moody to alcohol to cope with her humiliation and entered prostitution to support her when she was no long-term necessary as a side show attraction.She died in 1815, merely five years after her arrival to Europe. Saartjies humiliation did not end with her death. She died of unidentified disease in France and her body was turned oer to a museum. Her brain, vagina, and her skeleton were removed from her body, preserved and put on display. Her frameless body was then preserved in much(prenominal) a modality that she stood put up as well. Her body was eventually buried in France but the move removed from her body remained on display in a French museum until 1974. The displays were removed that year and replaced with casts of Saartjies confiscated body parts.Saartjie Baartmans humiliating immurement marks the beginning of the Black womans degradation. She could be considered the introductory video-vixen model. However, refinement has changed such that women willingly dance erotically while scarcely clad or totally nude, whereas Saartjie was forced. This willingness has transformed the way the Black woman is viewed and the way the Black woman views herself. The manner in which Saartjie Baartman was treated is common mood of European attitudes round Black women and African standards of beauty.Saartjie was renowned for her physique, which Europeans responded to Saartjie as an quarry with disgust, intrigue, sexual attraction, and condescension. The removal of her organs indicates a perverse obsession with the body of the African woman. This attitude about the Black womans body has persisted, taking on new faces as close changes and pop culture emerged. Media images of Black women have long been degrading, unflattering, and/or extreme. Black women have specific functional roles in the media typically and most oft en as Jezebel, Mammie, and the offbeat mom.The Jezebel stereotype of the hyper-sexual, manipulative Black woman is more prevalent and more widely seen in the media from television, movies, magazines, and harmony videos. It is the Jezebel who is the African American woman who is not ashamed to take off her clothes in exchange for things she may need. The medicinal drug assiduity especially commonizes strippers and video models as an acceptable and sought after occupation for a Black woman. Not only do absolute majority of pelvic arch- cut lyrics dishonor women to the lowest level that a woman can be degraded, but the music videos take special c atomic number 18 to degrade the black woman even more.Rap music videos depict a false image of what a actual woman looks like in reality music videos have gotten so raunchy they might as well be pornography, presenting a hyper-sexual depiction of women that distorts and demeans the image of black women in particular. Even in the ta mer videos, women might as well be prostitutes. They ar intents, part of the bling-bling, like the platinum chains and diamonds sported by rappers (Daily fall over 7/4/04).It is safe in this way that Saartjie Baartman was displayed and responded to and it is in the way Black women have been consistently considered as objects of sexual exploitation. Hip decamp music has become explosively popular in the US and overmuch of the rest of the world in the last twenty years. Hip pass over music crooks larger society in powerful ways and has become a subculture that has transcended race, socioeconomics, and gender. Its popularity and ability to transcend across many social lines that atomic number 18 usually impenetrable is the biggest threat to the perception of Black women by others and by themselves.When leaders like President Barack Obama and other prominent politicians reference lines from popular rap metrical compositions, they are often received with admiration and excite ment by the media and larger public. Such a response from a pop culture reference reveals hip decamp musics ability to influence culture on a magnanimous level. Hip hop music is an industry run by men, with overwhelmingly male artists who provide entertainment for other men. In this understanding of the industry, the images of women presented by means of this massively popular music are exclusively chosen by men.Additionally, hip hop music hunts to sell a lifestyle and not just a song or beats. As was previously discussed in the quote from Daily Review, costly material things and several beautiful and naked women are things to achieve and obtain. An object is for use of some kind and the hip hop music industry has single handedly crystallized the developing notion that women in general are objects for sexual pleasure exclusively. This idea is particularly harmful for Black women and girls in the face of a media that has very few other images of Black women. sinlessness women ar e of course objectified and hyper-sexualized in the kindred manner, but the damage of such objectification is buffered by other images of a range of professional White women, heroines in film and television, prominent White actresses, politicians, businesswomen, journalists, etc Historically, white women, as a category, were portrayed as models of self-respect, self-control, and modesty even sexual purity, but black women were often portrayed as innately promiscuous, even predatory. This depiction of black women is common sense by the name Jezebel (Pilgram, 2002).Black women and girls have very few other images to measure themselves against or look to for motivation or encouragement. These pervasive images of the Black woman as a promiscuous and manipulative Jezebel juxtaposed with the lack of other, more positive images, is extremely damaging to the Black womans self-esteem. These images in like manner inform others of how to perceive and ultimately treat Black women, which is hike up corrosive to the Black womans self-esteem. As if the power that images tend to have on the human psyche were not enough, hip hop music also incorporates lyrics that correspond to the tone of disrespect for Black women. disallow epithets that refer to a womans sexual and social doings like ho and bitch are common, frequent, and acceptable in hip hop lyrics and serve to further taint Black women. Often, rappers and fans alike lay down excuses for the disturbing images and lyrics featured in songs and videos, expressing that the women featured in the videos are functional of their own volition and are not being objectified. While the women of these videos are participating of their own volition, the degrading lyrics and the degrading images are not negated just because the women are choosing to participate.The message being sent is still clear and present Black women are objects of sexual gratification that do not have to be spoken to or spoken of as human beings. viewer s are influenced by these images and lyrics and are encouraged to develop stupid ideas about and monolithic perception of Black women. Additionally, because other, more positive images of Black women are missing in the media, viewers are left with little real information about the Black womans experience, life, and character.Hip hop music has also set the standard of presentation for female rappers as well. Female rappers who have debuted in the last 20 years turn on the power the same sexual images and presentations as the male rappers do. More modern female rap artists like Nikki Minaj have amplified the hyper-sexual stereotype about Black women with her sexually charged lyrics, provocative style of dress, and various implants to enlarge her breasts and buttocks, aspect not unlike Saartjie Baartman and the many beautiful women of Africa.Artists who pre-date Nikki Minaj, like Lil Kim and Foxy Brown, debuted in a similar fashion, using their sexuality through lyrics and risque m edia poses in which they were almost always scantily clad, to propel their careers. These female rappers only serve to further stir up the music industrys agenda to denigrate women, Black women in particular, by buying into and proudly displaying the very unimaginative behaviors that function to keep hyper-sexualized images of Black women in the minds of viewers. Female rappers serve the same purpose as those women dancing in hip hop videos to push the sexual agenda of a sexist music industry.However, the message delivered through female rappers is pronounced solely due to the fact that the artist is a female who is promoting a hegemonic patriarchal message. The sexual nature of hip hop in general is made more acceptable if the objects of sexual exploitation, women, also become hip hop stars. Lastly, the current female hip hop stars are adopting images of beauty from childhood icons such as Barbie, as is the occurrence with Nikki Minaj. The adaptation of Barbie for the purpose of hip hop is a clear recital that there is an agenda to capture all viewers minds to believe the images they are presented with about Black women.The most effectual approach to challenging the erroneous and negative images of Black women in the media is for those who are aware and knowledgeable to waylay the falsehoods of the pervasive stereotypes and ideas about Black women. Bibliography Frith, Susan. Searching for Sara Baartman. Johns Hopkins Magazine, June 2009. http//www. jhu. edu/jhumag/0609web/sara. html (accessed April 20, 2013). The Hottentot Venus. Accessed April 22, 2013. http//whgbetc. com/mind/hottentot_venus_emory. html. Payton, Brenda. Sorority Sisters set upon Explotiative Rap Images. Daily Review (Hayward, CA). 4 July 2004. Pilgrim , David.Jezebel. Jim Crow Museum of Racist Memorabilia. . http//www. ferris. edu/jimcrow/jezebel. htm (accessed April 23, 2013). Clemlyn-Ann , Pollydore, and Jennifer A. Richeson. affective Reactions of African-American Students to Stereotypical and Counterstereotypical Images of Blacks in the Media.. Journal of Black Psychology. no. 3 (2002) 261-275. Simmonds, Felly Nkweto. Shes Gotta Have It The Representation of Black Female sex on Film. Feminist Review. (1988) 10-22. http//www. jstor. org/discover/10. 2307/1395143? uid=3739936&uid=2129&uid=2&uid=70&uid=4&uid=3739256&sid=21102132644181 (accessed April 22, 2013).