Eusebia Cosme and Black Womanhood on the Transatlantic Stage

Meridians ◽  
2017 ◽  
Vol 15 (2) ◽  
pp. 389-411
Author(s):  
Takkara Brunson
Keyword(s):  
2007 ◽  
Vol 175-176-177 (1) ◽  
pp. 738
Author(s):  
Anne Adams
Keyword(s):  

Author(s):  
Alisha Gaines

Chapter Three considers the political, racial, and social crises plaguing the late 1960s by reading Soul Sister, Grace Halsell’s 1969 memoir. A freelance journalist and a White House staff writer for the Lyndon B. Johnson administration, Halsell was also a protégé of John Howard Griffin, who famously passed for black in 1959. While previous scholarship on Griffin has wrestled with his place as an enduring icon of racial empathy, this chapter details Griffin’s previously unknown mentorship of Halsell. Bolstered by extensive archival research, this chapter demonstrates how Halsell prepared for her performance of black womanhood by relying exclusively on Griffin’s instruction without any advice from black women. The chapter also situates Halsell’s blackness within important discussions around the contentious relationship between racial equality and 2nd wave feminism. Ultimately, Halsell’s six-months as a black woman in Harlem and Mississippi during the burgeoning black power movement ironically reveals grotesque assumptions about black sexuality, authenticity, and class.


2021 ◽  
pp. 137-146
Author(s):  
Meina Yates-Richard
Keyword(s):  

2020 ◽  
pp. 12-45
Author(s):  
Cat M. Ariail

This chapter chronicles the international athletic experiences of Alice Coachman, the first black woman to win an Olympic gold medal, examining how her successes, especially at the 1948 Olympic Games, challenged the ideal image of American athleticism and, in turn, American identity. The relative invisibility of Coachman in the white sporting press indicates that she raised uncomfortable questions about race, gender, and American belonging. The interracial homecoming held in her hometown of Albany, Georgia, and a visit to Oval Office further expose how Coachman’s achievement required white America to rethink the relationship between race, gender, and American identity. While black sport culture lauded Coachman, they presented her as figure of black womanhood, reinforcing the centrality of traditional gender roles to ideal Americanness.


2016 ◽  
Vol 25 (1) ◽  
pp. 70-91 ◽  
Author(s):  
Kameron J. Copeland

In the midst of a revival of gospel theater aimed at Black female Christian audiences, Tyler Perry mastered a successful approach to Black independent gospel plays. Eventually, Perry transferred his work to the film screen, exploring the struggles of Black women in their relationships with Black men. While his depiction of Black men has garnered much controversy, Perry characterizes Black masculinity throughout his romantic storylines using a formulaic approach seeking to uplift his predominately Black female audience, while exploring the faults and various tropes of Black masculinity. In Perry’s female-oriented romantic storylines, Black men are usually categorized as an affluent shape-shifter, neglected love interest, transformed hard worker, crooked hoodlum, or Black messiah redux. Throughout this study, Perry’s usage of these characterizations is explored. Unlike 1990s New Black Realism films, which could have driven the explosion of female-oriented gospel-themed works, Perry fuses Black theological perceptions of manhood with a patriarchal-centered exploration of Black womanhood.


Sign in / Sign up

Export Citation Format

Share Document