Pigtails, Ponytails, and Getting Tail: The Infantilization and Hyper-Sexualization of African American Females in Popular Culture

2013 ◽  
Vol 46 (4) ◽  
pp. 745-771 ◽  
Author(s):  
Sika A. Dagbovie-Mullins
Keyword(s):  
African American ◽  
Popular Culture ◽  
African American Females

A Performative Memoric Investigation of YoungGiftedandFat

2016 ◽  
Vol 5 (1) ◽  
pp. 51-62
Author(s):  
Sharrell D. Luckett ◽  
Audrey Edwards ◽  
Megan J. Stewart
Keyword(s):  
African American ◽  
Performance Studies ◽  
African American Females ◽  
Stage Manager ◽  
The Arts ◽  
Assistant Director ◽  
Power Negotiations ◽  
Research Collective

In 2013, Sharrell D. Luckett formed the Performance Studies & Arts Research Collective, which encourages members to explore their identities through the arts. Around this time, Audrey Edwards and Megan J. Stewart—both African American females and Collective members—became interested in autoethnography, and Luckett invited them to study closely with her. In this performative essay, Luckett, Edwards, and Stewart implicitly highlight various power negotiations enacted as professor/student, actress/stage manager, actress/assistant director, and mentor/mentee, while all working on their own autoethnographies, and while working collectively on Luckett's autoethnographic performance: YoungGiftedandFat.

Call Your "Mutha"

2020 ◽  
Author(s):  
Jane Caputi
Keyword(s):  
African American ◽  
Popular Culture ◽  
The Other ◽  
Political Class ◽  
Mother Nature ◽  
And Gender ◽  
Mother Earth ◽  
Made In

The proposed new geological era, The Anthropocene (a.k.a. Age of Humans, Age of Man), marking human domination of the planet long called Mother Earth, is truly The Age of the Motherfucker. The ecocide of the Anthropocene is the responsibility of Man, the Western- and masculine-identified corporate, military, intellectual, and political class that masks itself as the exemplar of the civilized and the human. The word motherfucker was invented by the enslaved children of White slave masters to name their mothers’ rapist/owners. Man’s strategic motherfucking, from the personal to the planetary, is invasion, exploitation, spirit-breaking, extraction and toxic wasting of individuals, communities, and lands, for reasons of pleasure, plunder, and profit. Ecocide is attempted deicide of Mother Nature-Earth, reflecting Man’s goal to become the god he first made in his own image. The motivational word Motherfucker has a flip side, further revealing the Anthropocene as it signifies an outstanding, formidable, and inexorable force. Mother Nature-Earth is that “Mutha’ ”—one defying translation into heteropatriarchal classifications of gender, one capable of overwhelming Man, and not the other way around. Drawing upon Indigenous and African American scholarship; ecofeminism; ecowomanism; green activism; femme, queer, and gender non-binary philosophies; literature and arts; Afrofuturism; and popular culture, Call Your “Mutha’ ” contends that the Anthropocene is not evidence of Man’s supremacy over nature, but that Mother Nature-Earth, faced with disrespect, is going away. It is imperative now to call the “Mutha’ ” by decolonizing land, bodies, and minds, ending rapism, feeding the green, renewing sustaining patterns, and affirming devotion to Mother Nature-Earth.

scholarly journals Age Differences in STDs, Sexual Behaviors, and Correlates of Risky Sex Among Sexually Experienced Adolescent African-American Females

2011 ◽  
Vol 37 (1) ◽  
pp. 33-42 ◽  
Author(s):  
Jessica M. Sales ◽  
Jennifer L. Brown ◽  
Ralph J. DiClemente ◽  
Teaniese L. Davis ◽  
Melissa J. Kottke ◽  
...  
Keyword(s):  
African American ◽  
Age Differences ◽  
Sexual Behaviors ◽  
Risky Sex ◽  
African American Females

A Discussion of African-American Females on the Effect of HIV/AIDS: A Call for Action

2008 ◽  
Vol 43 (3-4) ◽  
pp. 21
Author(s):  
Necoal Holiday-Driver ◽  
Chippewa Thomas ◽  
Monica Hunter
Keyword(s):  
African American ◽  
African American Females ◽  
Hiv Aids

Prenatal steroid exposure promotes expression of renal injury indices in African American females (1134.11)

2014 ◽  
Vol 28 (S1) ◽  
Author(s):  
TanYa Gwathmey ◽  
Mark Chappell ◽  
Patricia Nixon ◽  
Lisa Washburn
Keyword(s):  
African American ◽  
Renal Injury ◽  
African American Females

Prologue

2020 ◽  
pp. 1-24
Author(s):  
Christopher Tomlins
Keyword(s):  
African American ◽  
Popular Culture ◽  
American Popular Culture ◽  
Historical Presence ◽  
Autobiographical Narrative

This introductory chapter considers what called William Styron's fictive realities into being, and how they were crafted. Styron had written The Confessions of Nat Turner (1967), which represented itself as the autobiographical narrative of the African American slave-turned-rebel leader, Nat Turner. The chapter asks what made his work a “meditation on history”—and why it failed. It also takes a look at whether it might be possible to redeem Nat Turner from endless deferral—the effect of multiple attempts to “understand” him as a figment of text without listening to (or for) him as a person. African American popular culture has tried, with some success, to retrieve Nat Turner, to recognize and assimilate him to itself, without deferral. However, this chapter considers whether or not he will ever be able to achieve a historical presence of his own that is other than past, and how.

Introduction

2018 ◽  
Author(s):  
Terrence T. Tucker
Keyword(s):  
African American ◽  
Popular Culture ◽  
American Literature ◽  
African American Literature ◽  
Julia Kristeva ◽  
Malcolm X ◽  
Ishmael Reed ◽  
American Life ◽  
History Of ◽  
Definition Of

This chapter establishes the definition of comic rage and traces the history of humor and militancy in African American literature and history. It distinguishes between comic rage and satire, culminating in an examination of George Schuyler’s Black No More. It details how comic rage acts as an abjection (from Julia Kristeva) that breaks down simplistic ideas about race and representations that appear in literature and popular culture. While identifying Richard Pryor as the most recognizable employer of comic rage, this chapter also points to figures like Sutton Griggs, Ishmael Reed, and Malcolm X; who embody the multiple combinations of anger and comedy that appear in the chapters of the book. It outlines the contents of the chapters that trace the development of comic rage in relation to the various political and literary moments in American and African American life.

Introduction

2017 ◽  
Author(s):  
Ira Dworkin
Keyword(s):  
African American ◽  
Popular Culture ◽  
The Political ◽  
James Weldon Johnson ◽  
Career Trajectory ◽  
American Popular Culture ◽  
Wide Range ◽  
Love Song ◽  
Political Activist ◽  
Transnational Engagement

This introduction uses the popular James Weldon Johnson and J. Rosamond Johnson song “Congo Love Song” to consider the way that African American popular culture—in this instance a wildly successful vaudeville song—were integral parts of a larger culture of African American transnational engagement with the Congo. The song was written and first performed in 1903 at the height of an African American campaign against King Leopold II of Belgium’s colonial regime. The political significance of the song is further highlighted by the career of James Weldon Johnson, who was not only a songwriter, but also a novelist, journalist, lawyer, educator, diplomat, and political activist with the NAACP. His longer career trajectory points to the ways that the Congo is deeply embedded with a wide range of African American cultural and political engagements.

‘Satyre upon a Saxaphone’: Fitzgerald and Music

2019 ◽  
pp. 85-113
Author(s):  
Jade Broughton Adams
Keyword(s):  
African American ◽  
Popular Culture ◽  
Short Story ◽  
Short Fiction ◽  
Musical Culture ◽  
Tin Pan Alley ◽  
Popular Songs ◽  
Popular Magazine

This chapter demonstrates how Fitzgerald invokes music in his short fiction, which heavily features jazz. Fitzgerald shows how white artists such as the Castles and Irving Berlin often profited from the appropriation of African American musical culture such as jazz and blues. Fitzgerald’s explorations of Tin Pan Alley’s output demonstrate that a more malleable treatment of established formulae can yield valuable results. This book draws parallels between Irving Berlin’s subversion of tired Tin Pan Alley formulae, and Fitzgerald’s own manipulations of the popular magazine short story genre. In his later use of music, Fitzgerald explores the limitations of language, the role of the artist in society, and questions the value of popular culture itself. He satirises the conventions of popular songs, and subtly parodies short story conventions (particularly romantic short story conventions). Fitzgerald identifies with the songwriter, whose role is to provoke emotion and forge an intimacy with the consumer, much like the commercial short storyist. By positioning Fitzgerald’s thematic and character repetitions and concessions to the magazine format as deliberate rather than desperate, this chapter suggests that his self-parody is a conscious aesthetic decision in the process of exploring the identity of the authentic literary craftsman, dancer, or musician.

Sign in / Sign up

Export Citation Format

Share Document