Wednesday, January 17, 2007
George Aiken's Uncle Tom's Cabin
On Tuesday(1/16) we discussed racial stereotypes and a "plantation mentality" of the South that persists in racial relations in the United States today. George Aiken's play Uncle Tom's Cabin uses several streotypes of Blacks in the South. What stereotypes of Whites did you find? Thinking about both Black and White stereotypes in the play, do you see any similar figures operating in contemporary theater and performance? What types of connections can you make? For example, we mentioned the resurfacing of the "Mammy" figure with Queen Latifah's various film roles, particularly 'Bringin Down the House." What other theater and film examples can you cite to push this discussion forward?
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12 comments:
First, I would like to say that I do not like these blog things because if you have a really stupid response, you will forever be reminded of it because its like blueprinted to the page...but anyway now that that is out of the way, the first thing that came to my mind when asked if there were any black stereotypes that have resurfaced in theater was the thought: What about in music? What aboue Lil' John with "Snap Ya Fingers"? But in film, in half the movies that Halle Berry stars in, she is always playing a hypersexualized Mullato figure sleeping with some white male conterpart. And quite frankly I'm sick of seeing her half naked in her movies. This is just my take on the matter.
-Onyi
White stereotypes:
Ophelia represents the hypocritical rich "philanthropist" who gives money to worthy causes, such as cancer research or disabled children, but I wouldn't put my money on ever seeing her give a cancer patient or autistic teenager a hug.
Cute represents the scam artist, personified today by identity thieves and used car salsemen. One of my favorite independent films, Blood, Guts, Bullets, and Octane, demonstrates a perfect example of this character in the form of Sid.
As far as black stereotypes in modern drama...
I can't believe the role Denzel Washington won his academy award for was Training Day. The academy couldn't give it to him for playing Malcolm X, but they give it to him for playing a combination between the Buck stereotype and the modern corrupt black LA police officer stereotype that fuels racist arguments. They can point to that film and say, "See what happens when you give a black man the power of a badge?"
The fact that the young white EVA dies and brings peace and solace to various characters makes me believe that she represents a Christ-like figure. You could also argue that Uncle Tom is Christ-like, but, the audience or reader never gets to see the world of the play after his death, as we do with Eva.
As for stereotypes, I find Paul Walker extremely annoying and talentless when playing "the hot white guy". Ashton Kuthcher falls under the same category for me.
For those keeping score
Paul and Ashton: 0
Mark: 1
I agree with John on the whole white philanthropist thing, it's so funny how white people think they're doing blacks (or any other minority for that matter)a huge favor by throwing money at them to solve a problem. The way the power structure was set during slavery still operates today. Back then it was white abolitionists, epitomized by Ophelia, who felt sorry for black people but wouldn't dare have them around. It's the same way today, most white people will say that they're not prejudiced but they're not comfortable sharing their world, social status, neighborhood, etc. with people of color.
There are enumerous amounts of black stereotypes still practiced today. The show Flavor of Love is pure ignorance. He basically parades himself around in these clownsih costumes saying his own signature slogans and just makes himself look stupid but he obviously needs the money he ain't been hot since Public Enemy's heyday.
Saqqara M.
Very few roles for African Americans in modern films are not based in stereotypes. As was previously mentioned, both Halle Berry and Denzel Washington have represented modern adaptations of the tragic mulatto and the buck in order to attain the coveted best actor/actress awards at the Academy Awards. I think one of the greatest tragedies of the modern resignation to the role of the buck is the failed attempt during the 1970s to recapture that stereotype as a positive. During the 70s the "blaxploitation" movement put forth films such as Superfly and Shaft, where black men were physically intimidating, and sexually desireable to women (both black and white). These characters represented a way in which black filmmakers were redefining the negative stereotypes and using them as a form of empowerment and the right to define their representation. Unfortunately the usage of this character as a form of empowerment managed to become so repetitive that it became a caricature of itself, and thus re-confined itself to that negative stereotype that it had originated as.
As far as black stereotypes in modern theatre & film, one thing comes to mind. The other night I watched "what women want," that mel gibson movie where he can hear women's thoughts. I thought it would be hilariously bad, which it was. Aside from ridiculously stereotyping women (some examples of the thoughts running through their heads: counting the day's calories, stressing about being 35 and not having children) the movie had one character that I thought was a really offensive black stereotype. You know that actress that always plays the obligatory "fat, sassy black woman" who was on Boston Public, in Crash, and (I just caught a couple minutes of this on cable, folks) that T.D. Jakes movie? She plays the doorwoman of Mel's building, and although she's always very polite to him, we find out that her thoughts go something like "mmmmmmhhhhmm I'd like to get a piece of that," WITH your fine ass," etc. I think she even Growls with lust. I don't know; I kind of just expected her to pop her eyeballs out or whatever like you would see in a really racist movie from the 30's. It reminded me of the part Hattie McDaniels had to play in the movie of Showboat (I think that was her, right?) I'm not sure what stereotype that falls into, but I guess it's the Mammy character. It's just a little different cause I don't think the mammy character is usually so sexualized. Anyway, as for white stereotypes, all you have to do is listen to any black standup comic. I'm not mad at them though; it's funny. But we don't ALL have really nasal voices and good credit. My credit's terrible.
Everyone had great comments on the stereotypes of whites found in George Aiken's Uncle Tom's Cabin," especially Saqqara's point that "Back then it was white abolitionists, epitomized by Ophelia, who felt sorry for black people but wouldn't dare have them around. It's the same way today, most white people will say that they're not prejudiced but they're not comfortable sharing their world, social status, neighborhood, etc. with people of color". I definitely agree.
Commenting on everyone's response to Halle and Denzel, my heart goes out to Halle and Denzel because I'm sure it eats away at their soul to have won their awards for such stereotypical roles. However, as social commentators I feel it was up to Halle and Denzel to turn down such roles and/or have a stronger voice against perpetuating stereotypical notions.
As far as figures such as the "coon" operating in contemporary theater and performance i noticed the exclusion of black comedy. Dating back to the days of the plantation South, Blacks have been ridiculed for entertainment value and forced to sing, dance, and tell jokes. Black comedians are laughed at, entertaining, lazy, and often seen as "no good". The typical characteristics of a coon. However, Simone makes an excellent point by arguing black filmmakers were “redefining the negative stereotypes and using them as a form of empowerment and the right to define their representation,” similarly many black comedians embrace stereotypes by satirizing the debasing views of non-blacks, highlighting genuine black community life, and outwitting the oppressor and "reown" the derogatory words or stereotypes.
Further, Black comedy has emerged as a platform to discuss issues such as racism, sexism, classism, and heterosexism. The vulgarity and stereotypes expressed in these works is argued to be their way of taking back their manhood and is attributed to their tendency to overcompensate for the emasculation of black men in society.
As far as the mammy, buck, and tragic mulatto stereotypes perpetuated in contemporary theater and performance I wanted to point out that it must be difficult as black entertainers because of the "twoness" that they must endure-- the double consciousness of looking at oneself through the eyes of others. Blacks are excluded from mainstream society and are made to feel secondary, however
on the basis of white enjoyment of black comedy, they have a closed circle that whites
can never fully relate to, but only be on the outside looking in.
Black comedy is a difficult subject to analyze for me because i acknowledge the fact that comedians such as Dave Chapelle has "ousted" many racist notions, how ridiculously hilarious are the "white power" skits, hahaha... whites must look at them and say to themselves "man KKK members are ignorant." On the other hand, black comedians perpetuate stereotypes. It's complicated!!!
When reading Uncle Tom's Cabin one of the white stereotypes I saw operating seemed to be very general but one that resurfaces a lot in drama. The Phineas character was the character most sympathetic to the abolitionist, he seemed to have a bleeding heart for slaves and even went so far as to help them. Another aspect of Phineas character is that he was extremely uncouth and very loose in his manners and etiquette. Although I'm sure what you would call this type of characterization, it seems familiar. There seems to be this rule that the white characters who sympathize with slaves or blacks always have to adopt some kind of lax behavior similiar to that of the lowly slaves or blacks. Its almost as though the author is saying that whites who have empathy for blacks are usually the ones who step outside of normal white behavior, and doing so, they somehow operate within the white society as an outsider which allows them to align themselves with black causes like abolition. As far as stereotypes that I see resurfacing, right now there is the Flavor of LOve, the coon character and then the spin-off, I Love New York. Both of these shows are centered around black charcaters who exemplify the ideas of the coon and topsy (with some aspects of the coon as well). These contemporary shows draw heavily from these stereotypes an are part of their great appeal among blacks and white. Its ridiculous but these shows highlight the staying power of stereotypes and archetypes in the national imagination.
First, I have a big issue with "stereotype". I think that a stereotype has a kernel of truth at the root of it. Otherwise, where do they come from? Those little kernels of truth are then exaggerated and applied to describe a group of people. So, let's see here. White stereotypes...I could say the powerful white man, but is it really a stereotype if it was true back then, and still is now? Sorry, I'm rambling. It's how I get the thoughts flowing. How about the weak and spoiled, yet naggy wife. St. Clare's wife was privileged and she was completely annoying. You still see that today. And people like Paris Hilton, Nicole Richie, and other members of young Hollywood who haven't had to work to obtain their wealth is not helping to dispel this caricature.
I definitely think that there are white stereotypes, but the characterizations in "Uncle Tom's Cabin" don't seem to be as prevalent as the black stereotypes.
I was listening to Will Smith's "Lost and Found" CD and in one of his songs he says that a radio host referred to him as anUncle Tom. And I know that Bryant Gumble has been seen that way. I also heard Colin Powell referred to as a Tom while he was Secretary of State. I don't think that this character is as prevalent anymore, because black people have been saddled with a new stereotype, that of the buckish coon. Males and females in television (because that's how I spend most of my time) are fast-talking and sexually charged.Look at Chris Tucker, who made lots of money in the two "Rush Hour" films and working on another one. Chris Rock, too.
To be honest, I can't name a lot of examples from "Black" movies because I don't watch "Black" movies. They have same plots (Man from impoverished circumstances learns to dance/stomp/kill somebody and bed the woman of his current dreams) and the stereotypes bug me a lot. It's the same reason why I don't watch romantic comedies.
- Taylor
Well first off the sterotypes of white characters in "Uncle Tom's Cabin" are there. Ophelia seems to best encompass what I feel the white, northern sentiment was towards blacks at that period in history, where you have almost a "not in my house" type thing going where Ophelia, and by extention most northerners, opposed the existence of slavery under those current settings. However, the white northerners were just as racist as the southerners when it came to the treatment of blacks. Jim Crow laws, while espeically brutal in the south, existed in the entire country. Ophelia, while being philanthropic and noble in purpose, will not associate with those she alleges to champion.
Sterotypes, both black and white, extend to today as well. Some examples I haven't seen yet are "The White Rapper Show" and "Keenan and Kel". The White Rapper Show, while perhaps trying to blend racial barriers, fails miserably in my opinion. By just looking at the house the rappers live in, you see a complete commodification of the hip-hop culture into images spraypainted across the walls. Special guests reiterate the roots of hip-hop and the importance of history to the movement, but then the producers juxtapose this against unfolding drama between people who use the N-word and those who do not, or forcing themselves to introduce themselves to community members with welcome baskets which include crackers.
Keenan and Kel, while being extremly entertaining to the audience it is marketed to, applied tried-and-true black sterotypes into what could be a modern day minstrel show, with Keenan and Kel both being coons, one crafty the other plain dumb.
As far as white stereotypes presented in 'Uncle Tom's Cabin', I'd have to agree with everyone else who pointed out Ophelia. I also definitively agree with the comment "the way that the power structure was set during slavery still operates today". I recall in the film "Cruel Intentions" when the weathly white woman finds out that her daughter has been dating her black music instructor, she fires him and kicks him out the house. When he calls her on her prejudices, her response is basically, "How dare you call me racist, me and my husband give money to Colin Powell." There is this mentality of well I'm not this or that because I support the "other" but when that other steps foot in your world and it gets to close to home then all of a sudden it's a problem and you're not so supportive anymore.
As far as sterotypes working in today's society, I'm going to have to say that the coon is the biggest one in the African American community. From Flavor of Love (everyone from Chuck D to Spike Lee have referred to this shows as the new minstrel show) to this new Chicken Noddle Soup dance, I feel like a good amount of African American representations have some sort of root in cooning. If an African American theatrical release doesn't feature some sort of "cooning" more than likely it's not going to do that well in the box office. I guess going back to Halle & Denzel's Oscar wins for their protrayal of sterotypical characters, the fact that these are the things recognized and rewarded with awards, high ratings, box office succes just speaks of the impact that this sterotypes have had and continues to have on our society today.
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