The Black And White Cultures

The time has come again to celebrate the achievements of all black men and women who have chipped in to form the Black society. There are television programs about the African Queens and Kings who never set sail for America, but are acknowledged as the pillars of our identity. In addition, our black school children finally get to hear about the history of their ancestors instead of hearing about Columbus and the founding of America. The great founding of America briefly includes the slavery period and the Antebellum south, but readily excludes both black men and women, such as George Washington Carver, Langston Hughes, and Mary Bethune. These men and women have contributed greatly to American society.

The black race has faced many hardships throughout American history. The harsh treatment is apparent through the brutal slavery era, the Civil Rights movement, or even now where sparks of racial separation emerge in urbanized areas of Baltimore, Chicago, and Detroit. Black Americans must do something to defend their right as an equal American. “I Am Not Your Negro” argues that the black race will not thrive unless society stands up against the conventional racism that still appears in modern America. “The Other Wes Moore” argues an inspiring message that proves success is a product of one’s choices instead of one’s environment or expectations.

The final film by Marlon Riggs, Black is…Black Ain't, is concerned with the state of the African American community. This film essentially asks the question, what does it mean to be black? The director and producer, Marlon Riggs, guides viewers along an “an up-front examination of racism, sexism, and homophobia within the black community itself. Bringing together personal stories, interviews, music, history, and performance, Black Is...Black Ain’t asks African Americans: What is black, black enough, or too black?”1

One aspect of life for black people in the United States of America that has always remained consistent is white racial hostility. A history of slavery, segregation, unequal protection of the law, and second class citizenship inflicted by a white power structure that dominates on a national level has created a harmful reality for black people. Every aspect of black public life must either be under the control of or in opposition to white supremacy. Every state-sanctioned institution works to use black bodies as tools for the production of capital in any form, yet simultaneously exploits and maltreats black people so that they cannot fully participate in and benefit from the systems which they are indoctrinated to invest in. White America leverages its money, comfort, and tyranny on Black America. It is for this reason that separate spaces are not merely essential to the viability of black counter-publics but inherent to their existence, since black involvement in white spaces and systems typically leads to black assimilation or marginalization. Within these black counter-publics, hip hop and mass connection through new media forms direct attention and allow for personal expression which shapes black worldview and public opinion, but this simply makes black people more comfortable with their oppression and less involved in politics.

The arrival of African slaves, sold in the plantations of colonial America, definitely triggered a superior-inferior relationship and mentality between “the whites” and “the blacks”. This present-day culture, resulting from a society of masters and slaves, has struggled against central concepts deeply rooted in the nations past .With strong cultural values on racial discrimination, the path towards the concept of racism in America was a vital moment in the course of the nation’s history. Social concepts and attitudes could not be altered overnight, but it can be altered. Indeed, in the quest for social progress, the struggle for equality has gone a long way, with black Americans now holding high-ranking

The Unites States is a true melting pot of ethnicities and cultures. For many members of minority groups a certain hybridity is readily adopted, but for others, cultural assimilation can be quite difficult. Chicana author, Sandra Cisneros described this phenomenon as “always straddling two countries… but not belonging to either culture” (Doyle. 54). African American author, Alice Walker shared Cisneros’ sentiment, but focused her attention on the assimilation of black cultures and subcultures within the United States. Cisneros and Walker make the same poignant statement about the strains of cultural assimilation, with reconciliation of split identities as the goal, in their respective works, 1991’s “Woman Hollering Creek,” and 1973’s “Everyday Use,” yet their unique ethnic perspectives allow them to make it in surprisingly different ways.

This theme helps illuminate how black people came to be treated in America both when slavery existed and beyond into today’s society. The theme that black people are disposable bodies within American society. Because of the tradition of treating black people as objects or whose value strictly came from their ability to make profit, the idea of what it means to be black in America is imbedded in the danger of losing one’s body. Although slavery has ended, the racism remains as a violence inflicted on black people’s bodies. Coates is more than happy to emphasize that racism is an instinctive practice.

American actor Anthony Mackie once said “There are a lot of limitations and stigmas that are placed on young actors, specifically young black actors.” You have probably seen black male actors play the leading role of a drug addict, drug dealer, abusive husband or a even a thief. Although they do get a chance to be displayed on the media, they more often than ever are represented or viewed as the antagonist. Why? Because they are set up according to certain limitations in which they must obey. The lack of accurate representation on black actors in the media today is the result of prejudice and racism occurring in society. Racism and prejudice which are demonstrated in the films directed by Spike Lee, Do the Right Thing and Jungle Fever.

If a movie of this sort had such an emotional impact on me, it is no wonder people embraced these ideas back then. The use of new and popular media methods in those days was more than adequate in transferring the black inferiority ideas to the general public. Beginning at the early 19th century with the happy, dancing, toothless, drunken Negro with big, bold and white lips to the image of the mid 21st century African-American, the media has always used these images to convey inferiority. These images implied inherent traits in the black community. This whole community was represented in the new media as one who can not be collateralized and integrated in to society without being happily enslaved. Most of these images had great commercial values that made it all the more impossible for the rest of the nation not to embrace the African American stereotypes.

According to Tukachinsky, Mastro, and Yarchi, prior to 1930, the role of Blacks on screen were seen involving mostly in criminality and idleness (540). That role still persists until the present, with Blacks usually have to withstand to “longstanding and unfavorable media stereotypes including sexually provocative females and aggressive male thugs” (Tukachinsky 540). 1970’s movies such as The Mack, Black Caesar and Coffy have reinforced this stereotypic image of the black community. The

In 1925, philosopher and leading black intellectual Alain Locke published the short essay The New Negro. In this essay, Locke describes the contemporary conditions of black Americans, and discusses the trajectory and potential of black culture to affect global change in its historical moment (Locke 47). Locke wrote this essay in the midst of the Harlem Renaissance, a period in which black artists and intellectuals sought to reconceptualize black lives apart from the stereotypes and racist portrayals of prior decades (Hutchinson). The New Negro and the discourse around Locke’s work attempted to push forth a bold project: that of reshaping the cultural identity of black America with respect to the existent structures of American culture, as

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were

Between 1970 and 1980 there was a cultural film explosion, there were over 200 films released by major and independent studios that hyped major black characters and themes. Prior to the Blaxploitation era black actors had been relinquished to playing small parts that usually presented stereotyped images of the black race with roles such as waitresses or shoeshine boys. This however all changed when in 1971 when the first successful black film "Sweetback's Baadasss Song" showed a black man coming out on top over the white establishment. The term blaxploitation both helped and destroyed the genre. While many blaxploitation films were box office successes, they also fueled the public's perception of blacks as cold-hearted heroes, gangsters,

In “What is this ‘black’ in black popular culture?”, Stuart Hall explores the importance of assuming a dialogic approach over an essentialist approach when it comes to examining black popular culture. He believes that essentialism presents racial differences as being natural and universal rather than being a concept constructed by society to create social hierarchies which we coexist in today. Hall felt as if essentialism aided in the creation of imaginary racial boundaries that people would attempt to remain within, resulting in behaviors that they felt were appropriate for their race. Hall believed that the discourse of black popular culture had to be acknowledged in regards to other discourses, such as the influences of black and white cultures

[2] For films concerning slavery, the role of the filmmaker as educator is substantially heightened. All too often slavery films categorically vilify whites as oppressive forces, polarizing race and stereotyping the white