Robert Allen's Studies Burlesque: A Growing Phenomenon

The third stage of Black racial identity development refers to the immersion stage. This depicts the juncture in life when a black American’s viewpoints transform from the pre-encounter stage to a phase of enlightenment. These people have a broader awareness of the Black experience and embraces the Black culture, and its morals, virtues, and values. They take pride in the Black race and find beauty and perfection in Blackness. Dr. Cross asserts this phase to be similar to a religious conversion. Individuals within this stage usually focus on “all things Black”. They express rage and hostility towards the White race and reject its culture, while glorifying their

As Jewish immigrants settled in New York, some adopted American values. As a result, they assimilated into the mainstream of American culture. This is

" In the 1900's black searched for a place in the world after slavery... "Joe Turner's Come and Gone their identity is called their song,..However main characters have trouble finding their song because of the internal struggle of whom they were and whom they are now becoming as a freed slave..." (Sinclair 99). Joe's Turner Come and Gone provide an example to how African Americans' culture was established, its self-identity issues relate how African-American's find not only their self but their culture as well, and once one can conceive that, they've found their identity or their "song": " ...It is connecting yourself to that and understanding that this who you are. Then you can go out in the world and sing your song as an African" ( P. 1352).

Everyone is raised within a culture with a set of customs and morals handed down by those generations before them. Most individual’s view and experience identity in different ways. During history, different ethnic groups have struggled with finding their place within society. In the mid-nineteen hundreds, African Americans faced a great deal of political and social discrimination based on the tone of their skin. After the Civil Rights Movement, many African Americans no longer wanted to be identified by their African American lifestyle, so they began to practice African culture by taking on African hairdos, African-influenced clothing, and adopting African names. By turning away from their roots, many African Americans embraced a culture that was not inherited, thus putting behind the unique and significant characteristics

Wilson stated that ''The truth is that often where there are esthetic criteria of excellence, there are also sociological criteria that have traditionally excluded blacks.'' He then continued on to say ''... raise the standards and remove the sociological consideration of race as privilege, and we will meet you at the crossroads, in equal numbers, prepared to do the work of extending and developing the common ground of the American theater.'' Through these powerful words Wilson is saying that in order to reflect American culture in the theater, the history of African American’s must be reflected. There have always been systems in place that have excluded African Americans and white Americans will never understand the way that sense of oppression felt. White Americans will never understand how it feels to be enslaved, be powerless in protecting your family, and being sold off as property, as Eliza Harris from Uncle Tom’s Cabin, and millions of other slaves felt. Photographing the “American Negro” by Shawn Michelle Smith presented the idea that white Americans have tried to take away the histories of other races in America. People have always turned against embracing the histories of the African Americans because they were seen as alien to their owners. Their different skin tone separated them from the white Americans who thought of them as uncivilized before they were brought to work for them. Ultimately Wilson calls for Black Theaters to prevent the culture of the

Throughout the essay, Race, Culture, Identity: Misunderstood Connections, I found Kwame Anthony Appiah’s claims about social scripts to support my idea that we present ourselves differently depending on the circumstance. There are times when we try to play into the majority, as well as times where we try and fall into the minority; we choose which group we want to highlight depending on which will get us where we want to go.

“But on other levels, James’s gaze at “new immigrants” a racially inflected term that categorized the numerous newcomers from southern and eastern Europe as different both from the whiter and longer established northern and western Europe migrants to the United States and from the nonwhite Chinese and other “Asiatics” opened for him new possibilities and alien drama”, stated by Roediger (2005, 5 & 6). With white’s being on top of everything and the new immigrants are not being accepted very easy as to pass under the government’s regulations, it makes them confused of what they are really supposed to be and what identity they belong

Since the beginning of time, individuals have been discriminated against based on their religion, culture, race, and sexual orientation. The article “How Did Jews Become White Folks?” by Karen B. Brodkin highlighted the struggles that European immigrants, Jews, and African Americans faced in the United States pre and post World War II. In her article Brodkin focused on the idea of “whiteness” in America, and how the word has evolved over time to include a variety of ethnicities.

The evolution of musical theater in America can be viewed through many lenses. Through the lens of hindsight, it is easy to reflect on the treatment and portrayal of African-Americans in the contextual fruition of live entertainment in the United States. Dating back to the later half to the nineteenth and into the early twentieth century, ethnic representation in musical theater underwent a gradual change paralleling a shift in societal opinion toward racial equality. Though by today’s standards, its depiction of African-Americans may seem archaic at best, Show Boat changed the way audiences viewed musical theater through its success as the first show to deal with racial issues in the United States.

Since the start of time, there has been individuals in society that have been discriminated against based on their religion, culture, race, and sexual orientation. The article “How Did Jews Become White Folks?” by Karen B. Brodkin highlighted the struggles that European immigrants, Jews, and African American faced in the United States pre and post World War two. Brodkin focused in on the idea of “whiteness” in America, and how the word has evolved overtime to include a variety of ethnicities.

To become an effective counselor to Jewish Americans or any race or diverse population is to be aware of one’s thoughts and opinions concerning racism and racial advantage, as well increase knowledge of culture’s different from oneself (Hays & Erford, 2014). Jewish Americans are referred to those Caucasian individuals who have immigrated to the United States from another country, such as Eastern Europe (Hays and Erford, 2014). In this paper, I will identify and provide a description of the Jewish population and how they differ from myself in a variety of ways. Additionally, I will provide a reflection of my immersion into the Jewish culture via my observations and highlight what I have learned

The movie 'Ethnic Notions' describes different ways in which African-Americans were presented during the 19th and 20th centuries. It traces and presents the evolution of the rooted stereotypes which have created prejudice towards African-Americans. This documentary movie is narrated to take the spectator back to the antebellum roots of African-American stereotypical names such as boy, girl, auntie, uncle, Sprinkling Sambo, Mammy Yams, the Salt and Pepper Shakers, etc. It does so by presenting us with multiple dehumanized characters and cartons portraying African-Americans as carefree Sambos, faithful Mammies, savage Brutes, and wide-eyed Pickaninnies. These representations of African-Americans roll

In exploring the problem of identity in Black literature we find no simple or definite explanation. Nevertheless, it is generally accepted that it is rooted in the reality of the discriminatory social system in America with its historic origins in the institution of slavery. One can discern that this slavery system imposes a double burden on the Negro through severe social and economic inequalities and through the heavy psychological consequences suffered by the Negro who is forced to play an inferior role, 1 the latter relates to the low self-estimate, feeling of helplessness and basic identity conflict. Thus, in some form or the other, every Negro American is confronted with the

In 1937, New York’s mayor, Fiorello La Guardia, outlawed the popular theater pastime, due to what he saw as “glorifying filth”, eighteen years later in 1955; State Supreme Court lifted the ban by court order, claiming illegal pre-censorship. The burlesque world never quite recovered from the ban, and coupled with the rise of nudity found in film and magazines, it lost its popularity. However, in the mid 1990s, a number of burlesque performers initiated a rebirth, fusing the earlier styles of stripteases with present day influences to what is known as the neo-burlesque movement (Mannino).. Since its 1990s revival, burlesque has gradually shifted focuses from social satire to simple stripping, a demographic form of objectification welcoming any women regardless of age or dress size (Penny). In Margaret Atwood’s poem “ Helen of Troy does Countertop dancing”, we are introduced to a strong female character called Helen of Troy, who

Note: This essay intends to explain the differences in first and third person narratives, highlighting examples within the two stories “Let them call it Jazz” and “A sense of shame”, both of which deal with racism and its subcultures in a first and third person perspective, respectively. The arguments presented are limited to that of first and third person perspectives only.