Arron Hauptman SIKA African American Literature 4/24/2024 Prompt 3 Both Nafissa Thompson-Spires’ “Heads of Colored People” and Nana Kwame Adjei-Brenyah “Zimmer Land” use clothes and costumes as powerful themes that not only help to define the characters’ identities but also enhance the stories’ thematic relevance. These stories explore complicated problems of race, identity, and societal expectations through the meticulous choosing and portrayal of clothing. The Characters use clothing as a means of expressing their uniqueness, debunking myths, and navigating through the complexities of their particular settings. Throughout this essay, we will attempt to explore the significance of clothes and costumes in “Heads of Colored People” and “Zimmer …show more content…
As the protagonist deals with issues of identity, the contrast between human fragility and technological enhancement highlights the subject of agency and control throughout the story. Additionally, the outfit worn by the main character mirrors the power relationships that are present in both the reality game and the larger social setting it symbolizes. With the “hard brown orgometal pants” and “mecha-top” (Brenyah, 2) that emphasize his job as a law enforcement agent in the game, the protagonist of the mecha-suit occupies a position of authority and dominance. As the protagonist battles to understand the intricate details of his function in the world of Zimmer Land, the depiction of militarized clothing emphasizes the themes of monitoring and control. For example, one line from the text says the following: “I start with the mecha-bottoms: a pair of hard brown orgometal pants that make me limp before they’re activated, Once they’re activated, I can squat a half ton. Once I have the mecha bottoms on, I jump into baggy
Did you know that in 1960, Betye Saar collected pictures of Aunt Jemima, Uncle Tom, and Little Black Sambo including other African American figures in areas that are also invalid with folk culture and advertising? Since, Saar collected pictures from the folk cultures and advertising she also makes many collages including assemblages, changing these into social protest statements. When her great-aunt passed away, Saar started assembling and collecting memorabilia from her family and created her personal assemblages which she gathered from nostalgic mementos of her great aunt’s life.
Personal characteristics, appearance, or natural physical function seem to be the manner in which the black girls view most of the other characters in the story. From Mrs. Margolin, the troop leader, to other characters in the story, the description includes outer personal characteristics or appearance rather than inner qualities to be admired. The description of the camp counselor is an example. “Mrs. Margolin even looks like a mother duck--she had hair cropped to a small ball of a head, almost no neck, and huge, miraculous breast” (357). The description of her attire is equally non-complementary as references to Mrs. Margolin as “Big Fat Mamma. The historical south, as the narrator describes shows white individuals in their segregated locations and blacks in theirs, with only chance meetings as both races conducted daily routines such as shopping or moving about through the streets. Therefore, having the white Brownie troop being a part of the camping trip is like being invaders as Arnetta describes--“with their long, shampoo-commercial hair, straight as Spaghetti from the box” (358). Thus, hair as well as complexion added fuel to the flame of envy and hatred, which is alive in Arnetta’s mind. A physical function such as a sneeze, which causes mucus to drip from her nose caused the narrator to wear the name “Snot” since first
While exploring an unknown island and struggling to survive, a group of schoolboys reveal their primitive, barbarous identities in William Golding’s work, Lord of the Flies. Similarly, Paul Laurence Dunbar, an African American poet, describes the hidden nature of individuals in order to protect themselves and conceal their pain. Golding’s novel and Dunbar’s poem, “We Wear the Mask,” both express masks as means of escaping reality and a source of strength; however, the pressures of society suppress the characters in Dunbar’s poem while the boys in Lord of the Flies unleash true feelings through their innate savageness.
Ethnic group is a settled mannerism for many people during their lives. Both Zora Neale Hurston, author of “How It Feels to Be Colored Me; and Brent Staples, author of “Just Walk On By: A Black Man Ponders His Power to Alter Public Space,” realize that their life will be influenced when they are black; however, they take it in pace and don’t reside on it. They grew up in different places which make their form differently; however, in the end, It does not matter to them as they both find ways to match the different sexes and still have productivity in their lives.. Hurston was raised in Eatonville, Florida, a quiet black town with only white passer-by from time-to-time, while Staples grew up in Chester, Pennsylvania, surrounded by gang activity from the beginning. Both Hurston and Staples share similar and contrasting views about the effect of the color of their
The detail given in the passage helps the reader see and understand the character. To describe her appearance, she says, “the way I knew my skin was the color of a nut rubbed repeatedly with a soft cloth”(32-33). The audience now knows she is an African American. Race plays a big role in identity, giving people culture, history, and pride. Due to the fact she has just moved, her new environment holds a different culture that she must find where she fits in. While dressing, she puts on “a gay dress made out of madras cloth”(24) the same
This story takes place in the 1960s, at a time when many black Americans were interested in discovering their heritage. In particular, the “black pride” movement encouraged African Americans to not only celebrate but also affirm their culture. Many embraced African attires, hairstyle, names and African languages. This story revolves around a woman with her two daughters- Dee, who later on changes her name to Wangero Leewanika Kemanjo, and Maggie (Walker 55). Maggie’s body bears serious scars from burning and it is hard to say if her mother is sympathizing or empathizing with
Detrimental stereotypes of minorities affect everyone today as they did during the antebellum period. Walker’s subject matter reminds people of this, as does her symbolic use of stark black and white. Her work shocks. It disgusts. The important part is: her work elicits a reaction from the viewer; it reminds them of a dark time in history and represents that time in the most fantastically nightmarish way possible. In her own words, Walker has said, “I didn’t want a completely passive viewer, I wanted to make work where the viewer wouldn’t walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful”. Certainly, her usage of controversial cultural signifiers serve not only to remind the viewer of the way blacks were viewed, but that they were cast in that image by people like the viewer. Thus, the viewer is implicated in the injustices within her work. In a way, the scenes she creates are a subversive display of the slim power of slave over owner, of woman over man, of viewed over
When a party guest stereotypes Invisible Man and asks him to sing a “spiritual” he disrespects and de-legitimizes the artistry and cultural heritage of African-Americans. This points to a larger issue in the novel of how one utilizes one’s heritage for identity purposes and how the de-legitimizing of vernacular forms of expression through stereotyping can alienate one’s self from its own history and
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.
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.
Paul Laurence Dunbar’s “We Wear the Mask” is a lyric poem in which the point of attraction, the mask, represents the oppression and sadness held by African Americans in the late 19th century, around the time of slavery. As the poem progresses, Dunbar reveals the façade of the mask, portrayed in the third stanza where the speaker states, “But let the dream otherwise” (13). The unreal character of the mask has played a significant role over the life of African Americans, whom pretend to put on a smile when they feel sad internally. This ocassion, according to Dunbar, is the “debt we pay to human guile," meaning that their sadness is related to them deceiving others. Unlike his other poems, with its prevalent use of black dialect, Dunbar’s “We Wear the Mask” acts as “an apologia (or justification) for the minstrel quality of some of his dialect poems” (Desmet, Hart and Miller 466). Through the utilization of iambic tetrameter, end rhyme, sound devices and figurative language, the speaker expresses the hidden pain and suffering African Americans possessed, as they were “tortured souls” behind their masks (10).
"We Wear the Mask" by Paul Dunbar was published in the late 1800’s, a time when African-Americans, like Paul Dunbar, were treated very poorly and had access to very few rights. Many changes were occurring during this time, and individuals were having a difficult time coming to terms with them. African Americans in particular found themselves caught in a culture that was not suitable for them. Dunbar expresses these feelings in the tone, which is shown by misery, anger and unhappiness. He uses the metaphor of wearing a mask to express the overall oppression of African Americans in this time period. Dunbar uses a lot of figurative language throughout this poem. He uses the word "we" to speak for the entire African American population as well as his self. He does this because he is painfully aware of the status his own race is living in. Throughout this poem, Paul Dunbar illustrates the horrific injustices they had to undergo while "wearing the mask" to hide their true emotions behind a smile. I have chosen a few lines in the poem “We Wear the Mask” to break down and show what each line really means through this figurative language Dunbar uses. I chose to examine lines 1 through 11, and 14 and 15.
Paul Laurence Dunbar, dispatches the cold troubles of African Americans in the lyrical poem, "We Wear the Mask." In this poem, Dunbar links imagery, rhythm, rhyme, and word choice to in order to institute a connection to the reader. From reading the poem, one can infer that Mr. Dunbar is speaking in general, of the misery that many people keep concealed under a grin that they wear very well. But if one were to go further and take the time to research Mr. Dunbar’s selection of this piece and the era of which this poem was written, one would come to understand that this poem focuses entirely on Paul Laurence Dunbar’s viewpoints on racial prejudice and the struggle for equality for the African-American’s of his time period. Though this analysis is not based on the meaning of this poem, it is necessary that in order to demonstrate the sound of analysis, one must first understand the poem.
Truth’s place setting combines references to her African heritage and her prominent roots in American history. In this runner, Chicago connects the African origins of quilting with its history in the US. Stylistically, Truth’s place setting is characterised by bold and vibrant colours, complex patterns, and detailed craftsmanship. Chicago incorporates textile art, such as embroidery and needlework, bringing traditionally associated women’s roles. Through the use of textiles, Chicago shows Truth’s background as a former slave and her advocacy for African-American women’s rights, since they were often associated with domestic roles.
Although artists like Al Bernard and Bert Williams were performers of physical blackface on stage in the 20th century, the hipster has shown to become a form of non-physical blackface. A type of blackface that isn’t ridiculed or criticized by society, but accepted or sometimes even ignored as a grand section of American popular culture. The essay gives us a walkthrough by Mailer on how he thinks the hipster and the Negro have joined together in the form of the White Negro. The psychoanalysis and exploration of the struggle of the hipster by Mailer throughout his essay leads to an almost perfect understanding of the new concept that he is trying to convey.