A Raisin in the Sun and African-American Stereotypes
African-American stereotypes have actually progressed during the last 400 years, beginning with servant trade around the mid-fifteenth century. Slave traders targeted and caught blacks because they believed they were animals without souls meant for hard labor and extreme manual labor. It prevailed for white colonists, inhabitants and servant traders to spread myths and mistaken beliefs to induce even more worry and hatred among them.
Throughout slavery, images, misconceptions and stereotypes of blacks continued to hinder their progress for centuries. Societal stereotypes of blacks appears in the truth that blacks were counted as just “three-fifths” of a person, rejected citizenship and separated from whites due to the fact that they were thought to be inferior and less smart. Consequently, Jim Crow laws and other mandated societal partition guidelines were established, which kept the races apart and whites oblivious of what black culture and life was truly about.
This ignorance was clearly present in the show business; African-Americans were usually represented as intellectually, economically, and culturally insufficient, and obtaining or in constant need of support from white Americans and others. These stereotypes of challenged African-Americans in matters such as household, culture, education, and wealth were common in movies, tv programs, and theatrical productions. In centuries before and throughout the first half of the 20th century blacks were still frequently depicted as poor, animalistic, uncivilized, un-Christian people.
The early Anglo-Saxon colonists brought these preliminary ideas with them to the US. White colonists frequently thought that blacks were inferior to white people. These thoughts assisted to justify black slavery and the organization of many laws that continually condoned inhumane treatment and perpetuated to keep black individuals in a lower socioeconomic position. Black individuals were normally depicted as slaves or servants, operating in cane fields or bring large stacks of cotton, or as devout Christians going to church and singing gospel music.
Considering That the Civil Liberty Motion in 1960, the stereotypical image of black people has altered significantly. After the true abolishment of slavery emerged, more favorable portrayals appeared where African-Americans were represented as great athletes, impressive singers, and dancers, for example. In many movies and television series considering that the 1970s, blacks are represented as excellent natured, kind and truthful people. Nevertheless, even after slavery ended, the intellectual capacity of Black individuals was still often questioned.
Lorraine Hansberry was one of the first playwrights to produce a practical portrayal of African-American life. When “A Raisin in the Sun” opened in March 1959, it was favored and greatly applauded from both white and black audience members. It is described as the first play to depict black characters, styles, and conflicts in a natural and practical way. Addressing many crucial concerns during the 1950s in the United States, “A Raisin in the Sun” can quickly be thought about a turning point in American carrying out arts.
The stereotype of 1950s America as a land of an exceptional white society and blacks content with their inferior status resulted in a rise of social bitterness that would lastly be discharged by the civil liberties and feminist movements of the 1960s, crucial issues that were well included into “A Raisin in the Sun.” In her play, Hansberry produced in the Younger family one of the first honest representations of a black family on an American stage, in an age when primarily black audiences merely did not exist. She revealed a typical black household in an uncomplimentary and reasonable light.
She utilized black slang and jargon throughout the play and raised important issues and disputes, such as hardship, discrimination, and the building and construction of African-American racial identity. “A Raisin in the Sun” checks out not just the tension between white and black society however also the tension within the black community over how to react to an overbearing white community. In her drama, Hansberry incorporates concerns about assimilation and identity. The play also resolves questionable issues such as abortion, sexuality, and female empowerment while challenging challenges like sexism, patriarchal ideology, and gender stereotypes.
The character who challenges racial stereotypes the most in this play is Beneatha. Unlike the stereotypical uneducated African-American, Beneatha is going to college and wishes to become a physician. This even challenges her own sibling’s ideal of what a Black female need to do. Several times throughout the play he asks her why she doesn’t become a nurse like other females. In addition, Beneatha is not content with the role that was appointed other Black ladies, females like Mother and Ruth who clean up other individuals’s homes or do their laundry.
Rather, Beneatha wants to explore various ways of revealing herself, even if it means that Ruth and Mom make fun of her efforts. She even has the audacity to state she does not believe in God, a remark she is rapidly required to reclaim when Mother slaps her. However she is likewise the character who helps Walter to withstand Linder and his deal. When Linder states he wishes to buy the Youngers out, Beneatha quips, “Thirty pieces of silver” alluding to the price placed on Jesus’ head. Nevertheless, Hansberry likewise seems to think that Beneatha still has a lot to learn from the standard methods, specifically those of Mother.
When Beneatha wishes to disown Walter for losing the cash, Mama is quick to ask “When is the time to like an individual the most?” and makes Beneatha remain to support her bro as he faces Linder for the second time. Therefore, Beneatha seems to represent a new kind of African-American, one who is educated, cultured but still can learn from the traditional values that assisted African-Americans make it through in a hostile world. In “A Raisin in the Sun,” all of this idealism about race and gender relations boils down to the larger, ageless point that dreams are vital.
Hansberry’s play focuses primarily on the dreams driving and encouraging its main characters; dreams that function in positive methods, by lifting their minds from their effort and tough way of life, and in unfavorable methods, by developing in them a lot more distress with their present circumstances. Hansberry seems to argue that as long as individuals make an effort to do the very best for their families, they can raise each other up. “A Raisin in the Sun” is an artwork that shows the ongoing dispute over racial and gender problems in addition to a cultural representation of a crucial period in American history.