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African American vernacular tradition
African American vernacular tradition
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Throughout the semester we have studied the black vernacular tradition and its attributes of competition, group interaction, the in- group, and pattern of call and response and we have learned to take those attributes and apply then to the complex subject of Black Hair. Black Hair is a complex subject not only because so little is known about it but because of the aesthetic, political, and interpersonal context through which Black hair can be studied and interpreted. Hair is honestly in just about every text and it is used to not only add insight to characters identity but to also give context to time. Many of the black vernacular tenets are seen throughout Margo Jefferson’s chapter in Negroland, in particular the first section called “The …show more content…
Hair is interpersonal because it allows for people to connect in ways they necessarily wouldn’t have connected other wise. Jefferson describes an encounter she has at a shore while she buying hair products. During the encounter, the cashier assumes that Jefferson isn’t Black and doesn’t understand Black hair, so he tries to reassure her that she is making the right purchase. Jefferson then goes on to say a series of cultural specific things to confirm her racial identity. She said that she must, “ articulate what we both know to be the chasm that divides ‘curly hair’” and “provide precision since his skin is black-brown and mine is cream-brown” and she ends by stating firmly, “I am African American”(1). I found it interesting that though they were both Black, Jefferson was the one who felt the pressure to have to “prove” her racial identity. She does this through talking a lot more then she should but hair gives her the avenue to have the conversation. In a final act to affirm her identity, Jefferson, while talking about her hair dresser, states, he “understands the mechanics of hair that goes from curly to frizzy to… nappy” (1). And with that single word they were able to connect and share laughs over hair struggles that only the “in” group, another vernacular aspect, understands. Jefferson was also to confirm her identity and establish a relationship though simply talking
In the article, “A Letter My Son,” Ta-Nehisi Coates utilizes both ethical and pathetic appeal to address his audience in a personable manner. The purpose of this article is to enlighten the audience, and in particular his son, on what it looks like, feels like, and means to be encompassed in his black body through a series of personal anecdotes and self-reflection on what it means to be black. In comparison, Coates goes a step further and analyzes how a black body moves and is perceived in a world that is centered on whiteness. This is established in the first half of the text when the author states that,“white America’s progress, or rather the progress of those Americans who believe that they are white, was built on looting and violence,”
The transition of being a black man in a time just after slavery was a hard one. A black man had to prove himself at the same time had to come to terms with the fact that he would never amount to much in a white dominated country. Some young black men did actually make it but it was a long and bitter road. Most young men fell into the same trappings as the narrator’s brother. Times were hard and most young boys growing up in Harlem were swept off their feet by the onslaught of change. For American blacks in the middle of the twentieth century, racism is another of the dark forces of destruction and meaninglessness which must be endured. Beauty, joy, triumph, security, suffering, and sorrow are all creations of community, especially of family and family-like groups. They are temporary havens from the world''s trouble, and they are also the meanings of human life.
“She was black as she could be, twisted like driftwood from being out in the weather, her face a map of all the storms and journeys she’d been through. Her right arm was raised, as if she was pointing the way, except her fingers were closed in a fist. It gave her a serious look, like she could straighten you out if necessary” (Kidd 70).
The work, the Souls of Black Folk explains the problem of color-line in the twentieth century. Examining the time following the civil war the author, W.E.B. Dubois, explains the African American experience of living behind the “veil”. To fully explain the experience of living behind the veil, he provides the reader with situations that a black race experiences in reconstruction. This allowed the readers to metaphorically step into the veil with him. He accomplishes this with the use of “songs of sorrow” with were at the beginning of each chapter, and with the use of anecdotes.
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.
Emancipation was a persistent issue in the twentieth century as was the problem of the color line. Many writers like DuBois argue that in both a conscious and sub conscious way the color line denotes limitations but also sets standards for African American people during this time. Through the use of the main characters and secondary characters as well as foreshadowing Chestnut in his book The Marrow of Tradition depicts the color line in Wilmington, North Carolina. The theory of the color-line refers fundamentally to the role of race and racism in history and civilization. Through the analysis of The Marrow of Tradition readers can recognize and understand the connection of race and class as both a type of supremacy and as an approach of confrontation on a domestic level during the twentieth century for African Americans.
...orld about the interpretation of “Black English”, but flaws in the execution of her publication could prevent her audience from grasping her claim. Her biggest problem is the pathos that oozes from the paper. Whether it is the use of outside comments or hybrid dialogue, the pathos could block the minds of literary scholars. The ethos that Smitherman tries to achieve through quotations and research does not work when the quotes are pathos-charged and are from irrelevant time period. The support to her claim that “Black English” should remain strictly to Black culture doesn’t make a lot of sense. It is illogical to think that the only solution is to stop correcting for the grammar of “Black English” and still keep it only amongst African Americans. Smitherman’s claim for better treatment of “Black English would be perceived far better without the strong use of pathos.
In fact, it is clear to the reader that Huggins makes a concerted effort to bring light to both ethnicities’ perspectives. Huggins even argues that their culture is one and the same, “such a seamless web that it is impossible to calibrate the Negro within it or to ravel him from it” (Huggins, 309). Huggins argument is really brought to life through his use of historical evidence found in influential poetry from the time period. When analyzing why African Americans were having an identity crisis he looked to a common place that African American looked to. Africa was a common identifier among the black community for obvious reasons and was where Authors and Artists looked for inspiration. African American artists adopted the simple black silhouette and angular art found in original African pieces. Authors looked to Africa in their poetry. In The Negro Speaks of Rivers by Langston Hughes, the names of rivers in Africa such as the Euphrates, the Congo and the Nile were all used and then the scene switches to the Mississippi river found in America showing that blacks have “seen”, or experienced both. Huggins looks deeply into Countee Cullen’s Heritage discussing “what is Africa to me?” a common identifier that united black artistry in the Harlem Renaissance, “Africa? A book one thumbs listlessly, till slumber comes” (Countee). The black community craved to be a separate society from white Americans so they were forced to go back to the past to find their heritage, before America and white oppression. Huggins finds an amazing variety of evidence within literature of this time period, exposing the raw feelings and emotion behind this intellectual movement. The connections he makes within these pieces of poetry are accurate and strong, supporting his initial thesis
Racism was and forever will be a dark part of the American past, and no one can change that, no matter how many books one may alter. In this book a number of dialects are used, to wit: the Missouri negro dialect; the extremest form of the backwoods Southwestern dialect; the ordinary “Pike County” dialect; and four modified varieties of this last. The shadings have not been done in a haphazard fashion, or by guesswork; but painstakingly, and with the trustworthy guidance and support of personal familiarity with these several forms of speech. I make this explanation for the reason that without it, many readers would suppose that all these characters were trying to talk alike and not succeeding. (Twain 2)
Hooks, Bell. “Straightening Our hair”. Good Reasons. eds, Lester Faigley, Jack Selzer. Boston: Longman Publishers, 2001. 446-452.
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.
It is no surprise hair texture varies based on ethnic background. But what exactly determines the hair texture of someone based on their ethnic background? In today’s society, image is everything and hair is a great part of one’s image. In fact, the total revenue of the hair care industry in 2013 was $64.8 billion, according to the 2013 Professional Salon Industry Haircare Study. Because the hair industry is so lucrative, it is safe to say that hair is important to many.
Black Dialect is used in many stories throughout American history. This dialect represents a time period of freedom. The representation of dialect writing was a “chain” it linked African American’s to a conventional past that was contrived by others (Nicholls 277). The dialectal writings show no concern for racism. The American language is intended to absorb the racial and ethnical differences (Nicholls 279). Its intent is sought for the reader’s attention not only by the storyline itself but by the dialect it uses to draw out the reader’s imagination in the story.
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.
“Hair is a women’s glory and they share that glory with their family”- Maya Angelou. Good Hair is a movie narrated by Chris Rock that focuses on the issues of how African-American women have perceived and styled their hair throughout history. He explores the current styling industry and visits places such as barber shops, beauty salons, manufacturers and hair conventions like the Bronner Brothers’ International Beauty Show held in Atlanta, Georgia. Chris Rock got the idea for the movie when his 3-year-old daughter Lola asked him, “Daddy, how come I don’t have good hair?”