The fetishization of Black women in mainstream culture is no novel notion. Black women have been seen as sexual objects since slavery, but the topic has reemerged via the Nicki Minaj’s and Beyonce’s. In its most basic form, a fetish is defined as “something, such as a material object or a non-sexual part of the body, that arouses sexual desire and may become necessary for sexual gratification” or “An abnormally obsessive preoccupation or attachment; a fixation.” The objectification of Black women in regards to their body parts is just that—a fixation. And it’s all too prevalent. From movies to videos, to photos on Instagram, it’s everywhere you turn. Question however is, do Black females empower the black community when they exploit America’s fetishization of the hyper-sexualized black female body or is this exploitation objectifying and therefore devalues rather than of empower the black community.
Jezebel: “The woman who was a she-devil” was a term used to describe Black woman pre-slavery. The term itself has biblical roots; Jezebel was the wife of Israeli King Ahab and her actions exemplified lust. The ‘Jezebel’ African American stereotypically figure was constructed through the initial European encounter with Africans. They associated their nakedness (which was due to the high temperature) to their lewdness and their polygamy practices to them not being able to control their lebidos. Jezebel “the promiscuous female with an insatiable sexual appetite” came to represent the African American woman. Depicting Black women as eroticlaly appealing and openly seductive was used to excuse White Slave owners abuse of their female slaves. The sexual myth of ‘jezebel’ serves as a tool for controlling Black women and throughout history our court systems have also exploited the Jezebel myth; using the Jezebel image to make racism and sexism appear somewhat natural. More recently, we still see the residual effects of this stereotype, as sexual promiscuity is imputed on most black women, even absent specific evidence of their individual sexual histories.
Where a “Jezebel” was what black women were defined as pre-slavery, “Mammy” was used to explain the sexualization of black women immediately after slavery. The History of Slavery in the South served as the background for the “Mammy” figure. In slavery, female slaves were often tasked with domestic duties in White American households; preparing meals, cleaning homes, and nursing/rearing their owners children. These circumstances influenced the rise of the “Mammy.” Many black feminist, most notably Melissa Harris-Perry have argued that the “Mammy” figure was created through the imagination of White Supremacist thought. Who reimagined the powerless, coerced slave girls as comfortable consenting women. Like stated before, while originating in slavery the “Mammy” figure was rose to prominence in the reconstruction Era. Mammy’s were characterized as large black women with their hair tied up and no sex life nor family of their own. She lived to take care of her white ‘family’ as she was the premier house servant; “she could do anything better than everyone.” She was extremely devoted to her white chargers (children she was in charge of). Everything about Mammy demonstrated deference to White authority. With her idealized figure of a caregiver: amiable, loyal, maternal, non-threatening and obedient. As her being ‘asexual’ “devoid of any personal desires that might tempt her to sin” helped her serve as both a confidant and a moral guide to her young charges, capable of keeping them in line.
In more modern times, women in general but more specifically black female performers are taking the reigns as far as liberating their body, as they have the right to. Beyonce’s self titled album, “Beyoncé,” track after track with her explicit non-censored lyrics encouraged women that they are allowed to be sexual. The album is in fact feminist, with greater exploration of gender issues and conflated with what she describes as “an unwavering look at black female sexual agency.” Soraya McDonald of The Washington Post viewed Beyoncé as significant to black feminism as it celebrates black female sexuality in mainstream music and in the context of hip hop, where it is often only shown through the male perspective. Additionally, Peter Robinson of The Guardian hailed the shock release as “Beyoncégeddon”, describing it as a “major triumph […] a masterclass in both exerting and relinquishing control.” Similarly, Nicki Minaj’s controversial “Anaconda” music video was intended to be hyper-sexualized. Showcasing that women care about sex just as much as their male counterparts.
The debate whether or not women exploiting themselves in a sexual manner empowers or devalues them will continue to live on. I personally may not agree with every music video, song lyric, or red carpet look these women choose to do, however I find the idea of them being in control of their body/sexuality in whatever manner to be empowering. Those stereotypes discussed earlier where forced upon these women, they didn’t choose to be seen or portrayed as ‘sexual’ or prudish’ and by exploiting their own bodies they are taking that control away from others; using their bodies in whatever way they see fit, and that to me is empowering.
[…] the backlash against male heteronormativity in the music industry, the age-old stereotype of the promiscuous black woman is now being turned on its head. Again, Gillen follows the current societal narrative and refrains […]