Blackness, Colorism, and Epidermalization of Inferiority in Zora Neale Hurston’s Color Struck: A Fanonian Reading of the Play. Article (PDF Available) · January. She treats them poorly solely for the color of their skin and because it produced (according to Zora Neale Hurston: Collected Plays edited by. Color Struck. A Play in Four Scenes. Time: Twenty years ago and present. Place: .A Southern City. JOHN- A light brown-skinned The Man. EMMALINE- A Black.
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Geography and migration played a key role in the description and formation of the Harlem Renaissance-New Negro era. Indeed, during the s, nearly a half a million African Americans left the rural south for the urban north. The work of Zora Neale Hurston c. Hurston was a playwright hurson anthropologist who felt that migration, while affording some positive opportunities, was also violent and costly.
Color Struck – Wikipedia
She saw the results of the Great Migration as terrifying and spasmodic, unbearably inhumane and devastating to those left behind. For Hurston, rural black people were being forgotten, disappearing amidst the heady enthusiasm of the urban Strucl Negro Movement. Hazel Carby makes the claim that Hurston wanted coloe represent “rural folk” and their cultural forms as measured “against an urban, mass culture. African American women and the Great Migration, and the fragmentation of characterization in Color Struck.
Hurston’s attempt to analyze changing black demographics will be examined in the process.
I will also focus on the author’s personal expressions of fragmentation as they relate to the play’s protagonist, making use of what Crispin Sartwell calls Hurston’s “bits and pieces” of self-identity that inform her fiction.
Rural culture among black southern women was for Hurston what Hazel Carby calls the artistic representation of the folk that is “not only a discursive displacement of the historical and cultural transformation of migration, but also is a creation of a folk who are outside history. Emma represents Hurston’s creation taken to symbolic representation; by dint of the fact that she is black, poor, disenfranchised, and rural, she epitomizes the outsider in every way.
She is not the “New Negro” fashioned by the doyens of the Harlem Renaissance. Rather, she defies commodification as a cultural artifact made for the amusement of whites and the progressive faction of the black elite. Barbara Johnson emphasizes that Hurston both “deplored the appropriation, dilution, and commodification of black culture” typical during the roaring-twenties jazz age, and constantly tried to define the difference between “a reified ‘art”‘ fixed in the minds of her audience and “a living culture” that is neither unyielding nor simplistically understood.
Color Struck ‹ Undermain Theatre
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Color Struck by Zora Neale Hurston
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