The first major displays of stereotypes of African Americans were minstrel shows. Beginning in the nineteenth century, they used White actors who were dressed in blackface and attire which was supposedly worn by African-Americans in order to lampoon and disparageblacks.[1] Some nineteenth century stereotypes, such as the sambo, are now considered to be derogatory and racist. The "Mandingo" and "Jezebel" stereotypes portray African-Americans as hypersexual, contributing to their sexualization. The Mammy archetype depicts a motherly black woman who is dedicated to her role working for a white family, a stereotype which dates back to the origin of Southern plantations.[2] African-Americans are frequently stereotyped as having an unusual appetite for fried chicken, watermelon, and grape drinks.[3]
In the 1980s as well as in the following decades, emerging stereotypes of black men depicted them as being criminals and social degenerates, particularly as drug dealers, crack addicts, hobos, and subway muggers.[4]Jesse Jackson said the media portrays black people as less intelligent.[5] The magical Negro is a stock character who is depicted as having special insight or powers, and has been depicted (and criticized) in American cinema.[6] In recent history, black men are stereotyped as being deadbeat fathers.[7] African American men are also stereotyped as being dangerous criminals.[8] African Americans are frequently stereotyped as being hypersexual, athletic, uncivilized, uneducated and violent. Young urban African American men are frequently labelled "gangstas" or "players."[9][10] Black men are also stereotyped to be hypermasculine, hyperviolent athletes, gangsters and thugs.[11] In movies, Black people are stereotyped to live in the “hood”.[12]
Majority of the stereotypes of black women include depictions which portray them as welfare queens or depictions which portray them as angry black women who are loud, aggressive, demanding, and rude.[13] Others depict black women having a maternal, caregiving nature, due to the Mammy archetype.[2]
Laziness, submissiveness, backwardness, lewdness, treachery, and dishonesty are stereotypes historically assigned to African Americans.[14]
Historical stereotypes
Detail from cover of The Celebrated Negro Melodies, as Sung by the Virginia Minstrels, 1843
Minstrel shows became a popular form of theater during the nineteenth century, which portrayed African Americans in stereotypical and often disparaging ways, some of the most common being that they are ignorant, lazy, buffoonish, superstitious, joyous, and musical.[1] One of the most popular styles of minstrelsy was Blackface, where White performers burnt cork and later greasepaint or applied shoe polish to their skin with the objective of blackening it and exaggerating their lips, often wearing woolly wigs, gloves, tailcoats, or ragged clothes to give a mocking, racially prejudicial theatrical portrayal of African Americans.[15] This performance helped introduce the use of racial slurs for African Americans, including "darky" and "coon".[16]
This reproduction of a 1900 William H. Westminstrel show poster, originally published by the Strobridge Litho Co., shows the transformation from "white" to "black."
The best-known stock character is Jim Crow, among several others, featured in innumerable stories, minstrel shows, and early films with racially prejudicial portrayals and messaging about African Americans. [17]
The character Jim Crow was dressed in rags, battered hat, and torn shoes. The actor wore Blackface and impersonated a very nimble and irreverently witty black field hand.[17] The character's popular song was "Turn about and wheel about, and do just so. And every time I turn about I Jump Jim Crow."[18]
The character Sambo was a stereotype of black men who were considered very happy, usually laughing, lazy, irresponsible, or carefree.[16] The Sambo stereotype gained notoriety through the 1898 children's book The Story of Little Black Sambo by Helen Bannerman. It told the story of a boy named Sambo who outwitted a group of hungry tigers. This depiction of black people was displayed prominently in films of the early 20th century. The original text suggested that Sambo lived in India, but that fact may have escaped many readers. The book has often been considered to be a slur against Africans.
The figure of the Golliwog, with black skin, white-rimmed eyes, exaggerated red lips, frizzy hair, high white collar, bow tie, and colourful jacket and pants, was based on the blackfaceminstrel tradition. The character was greatly popular among other Western nations, remaining so well into the twentieth century.[19] The derived Commonwealth English epithet "wog" is applied more often to people from Sub-Saharan Africa and the Indian subcontinent than to African-Americans, but "Golly dolls" still in production mostly retain the look of the stereotypical blackface minstrel.[20]
The term pickaninny, reserved for children, has a similarly broadened pattern of use in popular American theater and media. It originated from the Spanish term “pequeño niño” and the Portuguese term “pequenino” to describe small child in general, but it was applied especially to African-American children in the United States and later to Australian Aboriginal children.[21]
A variant of the pickaninny stereotype depicted black children being used as bait to hunt alligators.[22] Although scattered references to the supposed practice appeared in early 20th-century newspapers; there is no credible evidence that the stereotype reflected an actual historical practice.
Clipping from May 29, 1910, issue of the Chicago Tribune reporting a move to build a "monument" to "Ol' Black Mammy" in Washington, D.C. The subhead mentions "the sentiment that clings to this picturesque character of antebellum days."
The Mammy archetype describes African-American women household slaves who served as nannies giving maternal care to the white children of the family, who received an unusual degree of trust and affection from their enslavers. Early accounts of the Mammy archetype come from memoirs and diaries that emerged after the American Civil War, idealizing the role of the dominant female house slave: a woman completely dedicated to the white family, especially the children, and given complete charge of domestic management. She was a friend and advisor.[23]
Mandingo
The Mandingo is a stereotype of a sexually insatiable black man with a large penis, invented by white slave owners to advance the idea that Black people were not civilized but rather "animalistic" by nature.[24] The supposedly inherent physical strength, agility, and breeding abilities of Black men were lauded by white enslavers and auctioneers in order to promote the slaves they sold.[14] Since then, the Mandingo stereotype has been used to socially and legally justify spinning instances of interracial affairs between Black men and White women into tales of uncontrollable and largely one-sided lust (from either party). This stereotype has also sometimes been conflated with the 'Black brute' or 'Black buck' stereotype, painting the picture of an 'untameable' Black man with voracious and violent sexual urges.[25]
The term 'Mandingo' is a corrupted word for the Mandinka peoples of West Africa, presently populating Mali, Guinea, and the Gambia. One of the earliest usages found dates back to the 20th century with the publication of Mandingo, a 1957 historical erotica. The novel was part of a larger series which presented, in graphic and erotic detail, various instances of interracial lust, promiscuity, nymphomania, and other sexual acts on a fictional slave-breeding plantation.[26] In conjunction with the film Birth of a Nation (1915), white American media formed the stereotype of the Black man as an untamed beast who aimed to enact violence and revenge against the white man through the sexual domination of the white woman.[14]
The Sapphire stereotype defines Black women as argumentative, overbearing, and emasculating in their relationships with men, particularly Black men. She is usually shown to be controlling and nagging, and her role is often to demean and belittle the Black man for his flaws. This portrayal of a verbally and physically abusive woman for Black women goes against common norms of traditional femininity, which require women to be submissive and non-threatening.[27][28] During the era of slavery, white slave owners inflated the image of an enslaved Black woman raising her voice at her male counterparts, which was often necessary in day-to-day work. This was used to contrast the loud and "uncivilized" Black woman against the white woman, who was considered more respectable, quiet, and morally behaved.[29]
The popularization of the Sapphire stereotype dates back to the successful 1928-1960 radio show Amos 'n' Andy, which was written and voiced by white actors. The Black female character Sapphire Stevens was the wife of George "Kingfish" Stevens, a Black man depicted as lazy and ignorant. These traits were often a trigger for Sapphire's extreme rage and violence. Sapphire was positioned as overly confrontational and emasculating of her husband, and the show's popularity turned her character into a stock caricature and stereotype.[14][30]
This stereotype has also developed into the trope of the 'Angry Black Woman', overall portraying Black American women as rude, loud, malicious, stubborn, and overbearing in all situations, not only in their relationships.
Jezebel
The Jezebel is a stereotype of a hypersexual, seductive, and sexually voracious Black woman. Her value in society or the relative media is based almost purely on her sexuality and her body.[31]
The roots of the Jezebel stereotype emerged during the era of chattel slavery in the United States. White slave owners exercised control over enslaved Black women's sexuality and fertility, as their worth on the auction block was determined by their childbearing ability, ie. their ability to produce more slaves.[32] The sexual objectification of Black women redefined their bodies as "sites of wild, unrestrained sexuality",[33] insatiably eager to engage in sexual activity and become pregnant. In reality, enslaved Black women were reduced to little more than breeding stock, frequently coerced and sexually assaulted by white men.[34]
Post-emancipation, the sexualization of Black women has remained rampant in Western society. Modern-day Jezebels are pervasive in popular music culture; Black women more often appear in music videos with provocative clothing and hypersexual behaviour compared to other races, most notably white women.[31] The Jezebel stereotype has also contributed to the adultification and sexualization of Black adolescent girls.[35]
Tragic mulatta
A stereotype that was popular in early Hollywood, the "tragic mulatta," served as a cautionary tale for black people. She was usually depicted as a sexually attractive, light-skinned woman who was of African descent but could pass for Caucasian.[36] The stereotype portrayed light-skinned women as obsessed with getting ahead, their ultimate goal being marriage to a white, middle-class man. The only route to redemption would be for her to accept her "blackness."
Uncle Tom
The Uncle Tom stereotype represents a black man who is simple-minded and compliant but most essentially interested in the welfare of whites over that of other blacks. It derives from the title character of the novel Uncle Tom's Cabin, and is synonymous with black male slaves who informed on other black slaves’ activities to their white master, often referred to as a "house Negro", particularly for planned escapes.[37] It is the male version of the similar stereotype Aunt Jemima.
Black brutes or black bucks are stereotypes for black men, who are generally depicted as being highly prone to behavior that is violent and inhuman. They are portrayed to be hideous, terrifying black male predators who target helpless victims, especially white women.[38] In the post-ReconstructionUnited States, 'black buck' was a racial slur used to describe black men who refused to bend to the law of white authority and were seen as irredeemably violent, rude, and lecherous.[39]
From the Colonial Era to the American Revolution, ideas about African Americans were variously used in propaganda either for or against slavery. Paintings like John Singleton Copley's Watson and the Shark (1778) and Samuel Jennings's Liberty Displaying the Arts and Sciences (1792) are early examples of the debate under way at that time as to the role of black people in America. Watson represents an historical event, but Liberty is indicative of abolitionist sentiments expressed in Philadelphia's post-revolutionary intellectual community. Nevertheless, Jennings' painting represents African Americans in a stereotypical role as passive, submissive beneficiaries of not only slavery's abolition but also knowledge, which liberty had graciously bestowed upon them.
As another stereotypical caricature "performed by white men disguised in facial paint, minstrelsy relegated black people to sharply defined dehumanizing roles." With the success of T. D. Rice and Daniel Emmet, the label of "blacks as buffoons" was created.[40] One of the earliest versions of the "black as buffoon" can be seen in John Lewis Krimmel's Quilting Frolic. The violinist in the 1813 painting, with his tattered and patched clothing, along with a bottle protruding from his coat pocket, appears to be an early model for Rice's Jim Crow character. Krimmel's representation of a "[s]habbily dressed" fiddler and serving girl with "toothy smile" and "oversized red lips" marks him as "...one of the first American artists to use physiognomical distortions as a basic element in the depiction of African Americans."[40]
Scholars agree that news-media stereotypes of people of color are pervasive.[41][42][43][44][45][46] African Americans were more likely to appear as perpetrators in drug and violent crime stories in the network news.[47]
In the 1980s and the 1990s, stereotypes of black men shifted and the primary and common images were of drug dealers, crack victims, the underclass and impoverished, the homeless, and subway muggers.[4] Similarly, Douglas (1995), who looked at O. J. Simpson, Louis Farrakhan, and the Million Man March, found that the media placed African-American men on a spectrum of good versus evil.
A postcard showing an African-American girl eating a large watermelon; note the use of eye dialect to reinforce the stereotype
There are commonly held stereotypes that African Americans have an unorthodox appetite for watermelons and love fried chicken. Race and folklore professor Claire Schmidt attributes the latter both to its popularity in Southern cuisine and to a scene from the film Birth of a Nation in which a rowdy African-American man is seen eating fried chicken in a legislative hall.[48]
The welfare queen stereotype depicts an African-American woman who defrauds the public welfare system to support herself, having its roots in both race and gender. This stereotype negatively portrays black women as scheming and lazy, ignoring the genuine economic hardships which black women, especially mothers, disproportionately face.[49]
The magical Negro (or mystical Negro) is a stock character who appears in a variety of fiction and uses special insight or powers to help the white protagonist. The Magical Negro is a subtype of the more generic numinous Negro, a term coined by Richard Brookhiser in National Review.[50] The latter term refers to clumsy depictions of saintly, respected or heroic black protagonists or mentors in US entertainment.[50]
In the 21st century, the "angry black woman" is depicted as loud, aggressive, demanding, uncivilized, and physically threatening, as well as lower-middle-class and materialistic.[13] She will not stay in what is perceived as her "proper" place.[51]
Controlling image
Controlling images are stereotypes that are used against a marginalized group to portray social injustice as natural, normal, and inevitable.[52] By erasing their individuality, controlling images silence black women and make them invisible in society.[13] The misleading controlling image present is that white women are the standard for everything, even oppression.[51]
Education
Studies show that scholarship has been dominated by white men and women.[53] Being a recognized academic includes social activism as well as scholarship. That is a difficult position to hold since white counterparts dominate the activist and social work realms of scholarship.[53] It is notably difficult for a black woman to receive the resources needed to complete her research and to write the texts that she desires.[53] That, in part, is due to the silencing effect of the angry black woman stereotype. Black women are skeptical of raising issues, also seen as complaining, within professional settings because of their fear of being judged.[13]
Mental and emotional consequences
Due to the angry black woman stereotype, black women tend to become desensitized about their own feelings to avoid judgment.[54] They often feel that they must show no emotion outside of their comfortable spaces. That results in the accumulation of these feelings of hurt and can be projected on loved ones as anger.[54] Once seen as angry, black women are always seen in that light and so have their opinions, aspirations, and values dismissed.[54] The repression of those feelings can also result in serious mental health issues, which creates a complex with the strong black woman. As a common problem within the black community, black women seldom seek help for their mental health challenges.[55]
Interracial relationships
Oftentimes, black women's opinions are not heard in studies that examine interracial relationships.[56] Black women are often assumed to be just naturally angry. However, the implications of black women's opinions are not explored within the context of race and history. According to Erica Child's study, black women are most opposed to interracial relationships.[56]
Since the 1600s, interracial sexuality has represented unfortunate sentiments for black women.[56] Black men who were engaged with white women were severely punished.[56] However, white men who exploited black women were never reprimanded. In fact, it was more economically favorable for a black woman to birth a white man's child because slave labor would be increased by the one-drop rule. It was taboo for a white woman to have a black man's child, as it was seen as race tainting.[56] In contemporary times, interracial relationships can sometimes represent rejection for black women. The probability of finding a "good" black man was low because of the prevalence of homicide, drugs, incarceration, and interracial relationships, making the task for black women more difficult.[56]
As concluded from the study, interracial dating compromises black love.[56] It was often that participants expressed their opinions that black love is important and represents more than the aesthetic since it is about black solidarity.[56] "Angry" black women believe that if whites will never understand black people and they still regard black people as inferior, interracial relationships will never be worthwhile.[56] The study shows that most of the participants think that black women who have interracial relationships will not betray or disassociate with the black community, but black men who date interracially are seen as taking away from the black community to advance the white patriarchy.[56]
The "black bitch" is a contemporary manifestation of the Jezebel stereotype. Characters termed "bad black girls," "black whores," and "black bitches" are archetypes of many blaxploitation films produced by the Hollywood establishment.[57] The term "black bitch" was use in an episode of the 2019 television show Total Control with the intent of reclaiming a racial slur, however the public was unhappy. Few were unfazed by the term but the masses were taking to social media in an up rage speaking of hurt and their own personal racist experiences with the derogatory title.[58]
Strong black woman
The "strong black woman" stereotype is a discourse through that primarily black middle-class women in the black Baptist Church instruct working-class black women on morality, self-help, and economic empowerment and assimilative values in the bigger interest of racial uplift and pride (Higginbotham, 1993). In this narrative, the woman documents middle-class women attempting to push back against dominant racist narratives of black women being immoral, promiscuous, unclean, lazy and mannerless by engaging in public outreach campaigns that include literature that warns against brightly colored clothing, gum chewing, loud talking, and unclean homes, among other directives.[59] That discourse is harmful, dehumanizing, and silencing.
The "strong black woman" narrative is a controlling narrative that perpetuates the idea it is acceptable to mistreat black women because they are strong and can handle it. This narrative can also act as a silencing method. When black women are struggling to be heard while facing times of difficulties in life, like everyone else endures, they are silenced and reminded that they are strong, instead of actions being taken toward alleviating their problems.[59]
The "independent black woman" is the depiction of a narcissistic, overachieving, financially successful woman who emasculates black males in her life.[60]
The "Black American Princess" (BAP) refers to an African American woman who is seen as materialistic, privileged, and detached from the struggles of less fortunate Black communities. The term reflects stereotypes of wealth, style, and a superficial nature, and is identical to the so-called 'princess syndrome' of any and all other races. This narrative positions these women as overly concerned with wealth, status, and appearance, similar to the "valley girl" or the "dumb blond" stereotypes associated with White women.
The BAP figure is often critiqued as a product of post-segregation Black wealth, where women who gained access to educational and social institutions are seen as having a sense of entitlement and detachment from their racial identity.
The BAP narrative is a controlling stereotype that reinforces class distinctions within the black community, suggesting that Black women who achieve certain socioeconomic status are less "authentic" or betraying their roots. This can be harmful because it simplifies and overlooks the effort that these women put into promoting positive representations of Black womanhood.
Black people are stereotyped as being naturally more athletic and potentially superior at sports than all other races. Even though they make up roughly 12-14% of the US population, 75% of NBA players[61] and 65% of NFL players are Black.[62] African-American collegiate athletes may be viewed as getting into college predominantly on their athletic ability; relying on academic merit to a lesser extent.[63]
Black athletic superiority is a theory that says black people possess traits that are acquired through genetic and/or environmental factors that permits them to excel over other races in athletic competition. White people are more likely to hold such views, but some Black people and other racial affiliations do as well.[64]
Several other authors have said that sports coverage that highlights "natural Black athleticism" has the effect of suggesting White superiority in other areas, such as intelligence.[65] The stereotype suggests that African Americans are incapable of dominating in "White sports" such as ice hockey[66] and swimming (the latter is rooted not in athleticism itself, but a separate stereotype that suggests Black people are fearful of large bodies of water).[67]
Following the stereotypical character archetypes, African Americans have falsely and frequently been thought of and referred to as having little intelligence compared to other racial groups, particularly white people.[68] This has factored into African Americans being denied opportunities in employment. Even after slavery ended, the intellectual capacity of black people was still frequently questioned.
Early minstrel shows of the mid-19th century lampooned the supposed stupidity of black people.[70] Even after slavery ended, the intellectual capacity of black people was still frequently questioned. Movies such as Birth of a Nation (1915) questioned whether black people were fit to run for governmental offices or to vote.
Some critics have considered Mark Twain's Adventures of Huckleberry Finn as "racist" because of its depiction of the slave Jim and other black characters. Some schools have excluded the book from their curricula or libraries.[71]
Stereotypes pervaded other aspects of culture, such as various board games that used Sambo or similar imagery in their design. An example is the Jolly Darkie Target Game in which players were expected to toss a ball through the "gaping mouth" of the target in cardboard decorated using imagery of Sambo.[72]
Other stereotypes displayed the impossibility of good relations between black and white people, instilling the idea that the two races could never coexist peacefully in society. The intent was to lead audiences to the conclusion of the proper solution to remove black people from American society entirely.[73]
In film, black people are also shown in a stereotypical manner that promotes notions of moral inferiority. For female movie characters specifically, black actresses have been shown to use vulgar profanity, be physically violent, and lack overall self-control at a disproportionately higher rate than white actresses.[74]
African-American women have been represented in film and television in a variety of different ways, starting from the stereotype/archetype of "mammy" (as is exemplified the role played by Hattie McDaniel in Gone with the Wind) drawn from minstrel shows,[75] through to the heroines of blaxploitation movies of the 1970s, but the latter was then weakened by commercial studios.[76] The mammy is usually portrayed as an older woman, overweight, and dark-skinned. The "mammy" embodies the ideal caregiver, characterized by traits such as loyalty, nurturing qualities, and respect for the white authority. The mammy stems from the portrayed as asexual while later representations of black women demonstrated a predatory sexuality.[77]
With the advent of "talkies" in Hollywood, the use of blackface began to wane, yet the prevalence of harmful stereotypes persisted. This development brought about a complex outcome: while it created more opportunities for African American actors, it also entangled them in the reinforcement of negative images. For instance, Hattie McDaniel’s portrayal of the mammy in Gone with the Wind won her the first Academy Award for a Black actor, but also solidified that stereotype. Similarly, characters like Buckwheat from the Little Rascals exemplified the pickaninny trope, while both adaptations of Imitation of Life highlighted the tragic mulatto narrative. Thus, the transition to sound in films marked both progress and a continuation of problematic representations.[78]
Fashion
In print, black people are portrayed as overtly flamboyant. In a study of fashion magazine photographs, Millard and Grant found that black models are often depicted as more aggressive and sociable but less intelligent and achievement-oriented.[79]
In Darwin's Athletes, John Hoberman writes that the prominence of African-American athletes encourages a lack of emphasis on academic achievement in black communities.[80] Several other authors have said that sports coverage that highlights "natural black athleticism" has the effect of suggesting white superiority in other areas, such as intelligence or game management.[65] Some contemporary sports commentators have questioned whether black people are intelligent enough to hold "strategic" positions or coach games such as football.[81]
In another example, a study of the portrayal of race, ethnicity, and nationality in televised sporting events by the journalist Derrick Z. Jackson in 1989 showed that black people were more likely than whites to be described in demeaning intellectual terms.[82]
According to Lawrence Grossman, former president of CBS News and PBS, television newscasts "disproportionately show African Americans under arrest, living in slums, on welfare, and in need of help from the community."[83][84] Similarly, Hurwitz and Peffley wrote that violent acts committed by a person of color often take up more than half of local news broadcasts, which often portray the person of color in a much more sinister light than their white counterparts. The authors argue that African Americans are not only more likely to be seen as suspects of horrendous crimes in the press but also are interpreted as being violent or harmful individuals to the general public.[85]
Mary Beth Oliver, a professor at Penn State University, stated that "the frequency with which black men specifically have been the target of police aggression speaks to the undeniable role that race plays in false assumptions of danger and criminality."[86] Oliver additionally stated that "the variables that play contributory roles in priming thoughts of dangerous or aggressive black men, are age, dress, and gender, among others which lead to the false assumptions of danger and criminality."[86]
New media stereotypes
Social media
In 2012, Mia Moody, assistant professor of journalism, public relations and new media in Baylor's College of Arts and Sciences, documented Facebook fans' use of social media to target US President Barack Obama and his family through stereotypes. Her study found several themes and missions of groups targeting the Obamas. Some groups focused on attacking his politics and consisted of Facebook members who had an interest in politics and used social media to share their ideas. Other more-malicious types focused on the president's race, religion, sexual orientation, personality, and diet.[87]
Moody analyzed more than 20 Facebook groups/pages using the keywords "hate," "Barack Obama," and "Michelle Obama." Hate groups, which once recruited members through word of mouth and distribution of pamphlets, spread the message that one race is inferior, targeted a historically oppressed group, and used degrading, hateful terms.[87]
She concluded that historical stereotypes focusing on diet and blackface had all but disappeared from mainstream television shows and movies, but had resurfaced in new media representations. Most portrayals fell into three categories: blackface, animalistic and evil/angry. Similarly, media had made progress in their handling of gender-related topics, but Facebook offered a new platform for sexist messages to thrive. Facebook users played up shallow, patriarchal representations of Michelle Obama, focusing on her emotions, appearance, and personality. Conversely, they emphasized historical stereotypes of Barack Obama that depicted him as flashy and animalistic. Media's reliance on stereotypes of women and African Americans not only hindered civil rights but also helped determine how people treated marginalized groups, her study found.[87]
Hip hop music has reinforced stereotypes about black men. Exposure to violent, misogynistic rap music performed by African American male rappers has been shown to activate negative stereotypes towards black men as hostile, criminal and sexist.[90][91] Hip hop portrays a stereotypical black masculine aesthetic and has stereotyped black men as hypersexual thugs and gangsters who hail from an inner city ghetto.[92][93] Listening to this misogynistic and violent hip hop has effects on African-American men and their cognitive performance. They perform worse in tests resembling the Graduate Record Examination after listening to this kind of music compared to white men under the same conditions.[94] African-American women are degraded and referred to as “bitches” and “hoes” in rap music.[95] African-American women are over-sexualized in modern hip hop music videos and are portrayed as sexual objects for rappers.[96] Over-sexualization of African American women in rap music videos may have health implications for viewers of such videos. In a survey study, adolescent African American women watching rap videos and perceiving them to contain more sexual stereotypes were more likely to binge drink, test positive for marijuana and have a negative body image.[97]
Blackface is the practice of performers using burnt cork, shoe polish, or theatrical makeup to portray a caricature of black people on stage or in entertainment. Scholarship on the origins or definition of blackface vary with some taking a global perspective that includes European culture and Western colonialism. Scholars with this wider view may date the practice of blackface to as early as Medieval Europe's mystery plays when bitumen and coal were used to darken the skin of white performers portraying demons, devils, and damned souls. Still others date the practice to English Renaissance theatre, in works such as William Shakespeare's Othello.
A mammy is a U.S. historical stereotype depicting Black women, usually enslaved, who did domestic work, among nursing children. The fictionalized mammy character is often visualized as a dark-skinned woman with a motherly personality. The origin of the mammy figure stereotype is rooted in the history of slavery in the United States, as enslaved women were often tasked with domestic and childcare work in American slave-holding households. The mammy caricature was used to create a narrative of Black women being content within the institution of slavery among domestic servitude. The mammy stereotype associates Black women with domestic roles, and it has been argued that it, alongside segregation and discrimination, limited job opportunities for Black women during the Jim Crow era.
Ethnic pornography is a genre of pornography featuring performers of specific ethnic groups, or depictions of interracial sexual activity.
A video vixen is a woman who models and appears in hip hop-oriented music videos. From the 1990s to the early 2010s, the video vixen image was a staple in popular music, particularly within the genre of hip hop. First appearing in the late 1980s, when hip-hop culture began to gain popularity. It was most popular in American pop culture during the 1990s and 2000s. Video vixens are aspiring actors, singers, dancers, or professional models. Artists and vixens have been criticized for allegedly contributing to the social degradation of black women and Latinas.
Living in a wide range of circumstances and possessing the intersecting identity of both black and female, enslaved women of African descent had nuanced experiences of slavery. Historian Deborah Gray White explains that "the uniqueness of the African-American female's situation is that she stands at the crossroads of two of the most well-developed ideologies in America, that regarding women and that regarding the Negro." Beginning as early on in enslavement as the voyage on the Middle Passage, enslaved women received different treatment due to their gender. In regard to physical labor and hardship, enslaved women received similar treatment to their male counterparts, but they also frequently experienced sexual abuse at the hand of their enslavers who used stereotypes of black women's hypersexuality as justification.
Black women generally refers to women of sub-Saharan African, Aboriginal Australian, and Melanesian descent.
An Asian fetish is a strong sexual or romantic preference for people of Asian descent or heritage. The term usually refers to women specifically of East or Southeast Asian descent, though may also include those of South Asian descent.
There are stereotypes of various groups of people which live within the United States and contribute to its culture. Worldwide, a disproportionately high number of people know about these stereotypes, due to the transmission of American culture and values via the exportation of American-made films and television shows.
African Americans, and African American males in particular, have an ethnic stereotype in which they are portrayed as dangerous criminals. This stereotype is associated with the fact that African Americans are proportionally over-represented in the numbers of those that are arrested and convicted for committing crimes. It has appeared frequently in American popular culture, reinforcing the negative consequences of systemic racism.
The representation of African Americans in speech, writing, still or moving pictures has been a major concern in mainstream American culture and a component of media bias in the United States.
The presence of African Americans in major motion picture roles has stirred controversy and been limited dating back decades due to lingering racism following slavery and segregation. "Through most of the 20th century, images of African-Americans in advertising were mainly limited to servants like the pancake-mammy Aunt Jemima and Rastus, the chef on the Cream of Wheat box." While African American representation in the film industry has improved over the years, it has not been a linear process; "Race in American cinema has rarely been a matter of simple step-by-step progress. It has more often proceeded in fits and starts, with backlashes coming on the heels of breakthroughs, and periods of intense argument followed by uncomfortable silence."
Racism is a concern for many in the Western lesbian, gay, bisexual and transgender (LGBTQ) communities, with members of racial, ethnic, and national minorities reporting having faced discrimination from other LGBT people.
The angry black woman stereotype is a derogatory racial stereotype of Black American women as pugnacious, poorly mannered, and aggressive.
Racial stereotyping in advertising refers to using assumptions about people based on characteristics thought to be typical of their identifying racial group in marketing.
Carolyn Marie West is associate professor of psychology, at the University of Washington Tacoma, and was the first holder of the Bartley Dobb Professorship for the Study and Prevention of Violence (2005-2008).
Concepts of race and sexuality have interacted in various ways in different historical contexts. While partially based on physical similarities within groups, race is understood by scientists to be a social construct rather than a biological reality. Human sexuality involves biological, erotic, physical, emotional, social, or spiritual feelings and behaviors.
The oppositional gaze is a term coined by bell hooks the 1992 essay The Oppositional Gaze: Black Female Spectators that refers to the power of looking. According to hooks, an oppositional gaze is a way that a Black person in a subordinate position communicates their status. hooks' essay is a work of feminist film theory that discusses the male gaze, Michel Foucault, and white feminism in film theory.
The strong black woman schema, as defined by scholars, is an archetype of how the ideal Black woman should act. This has been characterized by three components: emotional restraint, independence, and caretaking. Strong black women must hold back their emotions to avoid appearing weak, portray themselves as strong and independent while being responsible for the problems of others, and take care of those problems as if they were their own. Stemming from stereotypes of enslaved Black women, the schema grew from the intersectional oppression Black women face from society's expectations. The notion that as women, they must uphold feminine standards, but as Black women, they must balance that with the responsibility of being emotionally and physically strong; this is also known as intersectionality.
Sister Citizen: Shame, Stereotypes, and Black Women in America is a book published in 2011 through Yale University Press written by the American MSNBC television host, feminist, and professor of Politics and African American Studies at Tulane University, Melissa Harris-Perry. The book is an exploration of Black female identity in the US and the politics surrounding the perception of Black culture in America.
Adultification bias is a form of racial prejudice where children of minority groups, such as Black American children, are treated by adults as being more mature than they actually are. Actions committed by these children that would be deemed normal for child development are more likely to be treated as opportunities for discipline and children are more likely to be seen as having malicious intentions. A clear example of this bias in action is when a Black child is assumed to be older than their actual age. These perceptions could in turn perpetuate the maturity of Black children and the assumptions of adults.
References
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