black beauty and the american standards of beauty Essay

strike is generally defined as the woodland or combination of qualities in a person or matter that gives pleasure to the senses or pleasurably exalts the mind or spirit. While this comment supports the commonly-held belief that sweetie is in the eye of the beholder, American patterns of peach tree gift zero(prenominal) had many variations over the past few decades. Since the beginning of American history, in that location be possessed of been three ideal archetypal symbols of womanhood that have to do with physical dish light skin, a slim body, and satisfying blur.1 While there has been some dynamicity, it was very slight and has r arly eer encompassed physical characteristics more commonly attributed to women of color, such as a inconsol able-bodied complexion, a voluptuous figure, and thick, kinky bull. The prevalence of the Eurocentric American pattern of bag among young sinisters has led to self-esteem issues and controversy, but despite the pernicious aspec ts, it has been a unifying force in the African-American community.The European exemplar of dish, which has always been integrated into American glossiness, was formed long before African-Americans were introduced into the westerly hemisphere as slaves. It was used in comparison to African-Americans as a method of stripping color women of their womanhood and justifying their inferiority. In historical advertisements and optic performances, physical attributes associated with colour mucklesuch as bigger lips, darker skin, and, for women, a larger figurewere exaggerated in order to emphasize how diverse sears were from white people, and assert control over them in al intimately both aspect of life, especially how there were perceived by another(prenominal) races and their induce self-perception.2 As slaves, blacks did not have tools for self-adornment and, while black women could wear disparate hairstyles to express themselves, they often dressed in what was necessary fo r hard labor, which did not leave much room for femininity.The article, dishful Culture, by Tiffany M. Gill, tells of the creation of the black beauty culture industry, post-slavery, as a means of defining beauty in their own lives.3 This industry, however, was wrought with controversy because of the two categories of products available, those which enhanced the innate(p) physical traits of black women and those that seemingly attempted to conform to white beauty standards. The black beauty culture industry was faced with the task of battling stereotypes that suggested that blacks were innately ugly and that their physical attributes were the reason for their low political, social, and economic status. The importance of the black beauty culture industry is proven by the fact that, during the massive Depression, the industry did not face the same economic downturn as many other black businesses, and women were willing to barter food and other necessities in order to get their hair styled.4 As the public video display of black women increased, so did hair chemicals that allowed them to mimic the hairstyles of white women, and a well-groomed African-American woman became synonymous with straightened hair, which contradicted the political identities of black women.The shameful Power causal agent boasted the belief that dusky is graceful which was revolutionary in its appraisal of black culture, politics, and even style. This bring forthd a strong sense of racial pride in the African-American community and unity, especially as beauty colleges became key institutions in the black community. Hairdressers and salon owners were some of the most politically active people in black communities, and their places of business were a safe haven from the humiliations of Jim Crow.5 By accepting the physical differences between blacks and other ethnicities, the African-American community was able to assert more control over their own definition of beauty and improve the ir personal lives. stern women no longer had to conform to Eurocentric beauty standards and could stand together to show that they were just as sweet and feminine. This huge part of leisure culture also offered women alternatives to jobs as municipal servants or agricultural laborers. Yet, despite the wispy Power aesthetic beingness popularized over sixty years ago, the overall American standards of beauty passive do not accommodate women with darker skin and textured hair.The fact that American beauty standards still hold true to the ideal woman being light, thin, and straight-haired, is evidenced by a simple Google image search of scenic women. Of the top 100 results, only two ar African-American women. obscure women, despite an increase in black pride and acceptance of native features in their own community, atomic number 18 still being judged according to and oppress by Eurocentric beauty standards. According to a survey psychoanalysis male parente by Dia Sekayi, 72.8 part of black women attending various historically black colleges throughout the United States, expressed discomfort with the way beauty for black women is defined by the media and societys expectations of them.6 Forty-six percent wish they had smaller bodies and thirty-two percent are displeased with their inherent hair texture.7 The use of chemicals and weaves to make black hair resemble the hair of white women and skin lightening lotions show that many black women are not pleased by their port. Its obvious that beauty has intangible asset elements, such as confidence and likability, but even these things can be affected by ones physical appearance. When young girls do not feel as if their beauty is being validated, concern for their appearance upholds their quality of life long-term. Scholarly literature supports the notion that that meeting or not meeting the ideal standard of beauty might impact the quality of girls experiences at school, both on a social and an facu lty member level.8This issue is important because without a less stringent view of American beauty, black women will continue to be judged by a standard of beauty, even if they choose not to embrace it, that is nearly impossible for most to meet. glowering women are currently resisting the dominant aesthetic standard and embracement their own cultural ideas of beauty but in many instances are pushed to hide their true selves. Women who have chosen to wear their hair unstraightened or braided have encountered discrimination in their workplace, despite kinky hair and braids being key hairstyles in black communities across the globe.9 While there may be a growing acceptance of natural hairstyles in many places of business, there are some Americans who dont insure that multiple standards of physical beauty must coexist, and if they do not, people who dont conform to the standard will suffer. It is important for young black girls to feel comfortable in their own skin and grow up knowin g that they can be their own special brand of beautiful and that there are people who look like them in the media, whether they are dark or light, slim or curvaceous.Battling against aesthetic hegemony is not elementary for black women living in the United States, and oftentimes dissonance and frustration is felt because of societys views on beauty and the impracticalness of American beauty in regards to women of all colors, shapes, and sizes. However, a lessening of assimilation into white culture is being seen and African-Americans are taking Eurocentric beauty trends and turning them into something more. Black women use their African roots and their own sense of artistry to create unique styles that reflect a black culture and the beauty and femininity that they were once disparaged of.BibliographySekayi, Die. Aesthetic impedance to mercenary Influences The Impact of the Eurocentric Beauty Standard on Black College Women. The diary of Negro Education 72, no. 4 (Autumn 2003) 4 67-477. http//www.jstor.org/ stable/3211197. (Accessed November 2, 2015)Gill, Tiffany M. Beauty Culture. Black Women in America, succor Edition, emended by Ed. Darlene Clark Hine. Oxford African American Studies Center, (2008) 1. http//www.oxfordaasc.com.proxy.library.vanderbilt.edu/article/opr/t0003/e0023 (accessed November 3, 2015).1 Dia Dekayi. Aesthetic fortress to Commercial Influences The Impact of the Eurocentric Beauty Standard on Black College Women. The Journal of Negro Education 72, no. 4 (Autumn 2003) 469.2 Tiffany M. Gill. Beauty Culture. Black Women in America, Second Edition, edited by Ed. Darlene Clark Hine. Oxford African American Studies Center. (2008) 13 Tiffany M. Gill. Beauty Culture. Black Women in America, Second Edition, edited by Ed. Darlene Clark Hine. Oxford African American Studies Center. (2008) 14 Tiffany M. Gill. Beauty Culture. Black Women in America, Second Edition, edited by Ed. Darlene Clark Hine. Oxford African American Studies Center. (2008) 1 5 Tiffany M. Gill. Beauty Culture. Black Women in America, Second Edition, edited by Ed. Darlene Clark Hine. Oxford African American Studies Center. (2008) 16 Dia Dekayi. Aesthetic granting immunity to Commercial Influences The Impact of the Eurocentric Beauty Standard on Black College Women. The Journal of Negro Education 72, no. 4 (Autumn 2003) 474.7 Dia Dekayi. Aesthetic Resistance to Commercial Influences The Impact of the Eurocentric Beauty Standard on Black College Women. The Journal of Negro Education 72, no. 4 (Autumn 2003) 474.8 Dia Dekayi. Aesthetic Resistance to Commercial Influences The Impact of the Eurocentric Beauty Standard on Black College Women. The Journal of Negro Education 72, no. 4 (Autumn 2003) 468.9 Tiffany M. Gill. Beauty Culture. Black Women in America, Second Edition, edited by Ed. Darlene Clark Hine. Oxford African American Studies Center. (2008) 1