Thesis: Ntozake Shange uses her choreopoem to illustrate the challenges of working category dark-colored women within the context of the African Diaspora in the United States. The feminism of this poem exposes the raw agonies, frustrations and expectations of the working course dark-colored women.
Introduction: Tyler Perry's movie, "Colored Females" is dependant on the award being successful choreopoem by Ntozake Shange.
Ntozake Shange had written this experimental masterpiece of design which she called a chorepoem.
Movie mogul Tyler Perry reopen s controversy by causing a film version of the work.
The book continues to challenge traditional beliefs about race, course, and gender
Shange exposes the raw thoughts of BLACK women in their own words.
Shange breaks all the rules of grammar, spelling, and diction in her work.
Shange uses non-standard British to render the personas voices authentically.
Shange's work is too abundant and complicated to be discussed in a brief analytical newspaper.
The paper, therefore, targets three cycles of poems contained in the work.
The themes talked about are agony, irritation, and wish as portrayed by her individuals.
Lady in Brown
First Poem (p. 3). This inaugural poem introduces the theme of a taken girlhood. A central theme in all of the poems is the robbery of innocence by the brutality of your racist patriarchal world.
Second Poem (pp. 25-30). The girl in Brown recounts a years as a child in segregated America. Her love for equality leads her to adopt a historical body, who leads her in to the biceps and triceps of her first love.
Lady in Yellow
First Poem (pp. 7-10). The lady in yellowish loses her virginity to 1 of three cousins who"escorted" her after graduation festivities. She loses her virginity in the trunk seat of the Buick. The increased loss of Virginity becomes symbolic for the self applied which is damaged or damaged.
Second Poem (p. 45). The lady in yellow encounters the results of her mindless sexuality. Her love is tossed back in her face.
Lady in Orange
First Poem (pp. 14-15). The girl in orange handles the energy of the feminine body to be itself. The body's need to express itself with tracks, with sense, and motion.
Second Poem (p. 16). In her second poem, she again exalts the energy of dance. That is a Diasporic peculiarity.
Third Poem (42-43). On this third poem, the girl in orange provides the appraisal of the outside world of the dark (coloured) woman. She is demeaned into a irrelevance.
Conclusion: The poems are anguished renderings of the black experience, as seen through the sight of black women who share their raw unvarnished lives. The wish is found in the theology of the goddess. The goddess who resides within the central of each girl. When she actually is embraced, she heals the home and affirms the rainbow. Each sister is area of the rainbow and the "enuf". The sisterhood is greater than the anguish of useless babies, the marks of abortion, the disappointment of romance, and the brutality of rape. Sisterhood is the church of the Goddess. The sisterhood sometimes appears in the dialogue between your ladies in its nuance and its own honesty. Each girl in her own distinctive way forms a rainbow, the best symbol of desire. The rainbow image is as old as the bible. Shange creates a rainbow quilt with each woman building a thread in the quilt. A brilliant quilt of red, inexperienced, purple, blue, orange, yellow, and brownish threads.
Tyler Perry's movie, "Colored Ladies" is based on the award being successful choreopoem by Ntozake Shange. (Shange, Coloured Young girls) This movie has resulted in a reexamination of Shange's original work entitled, For Colored Young ladies who have considered suicide when the rainbow. Shange created a mix among poets, critics, scholars and activists equally. For African People in america of the existing generation, Ntozake Shange's poetry is part of the literary tradition of these parents. Why would there be such strong feelings surrounding a movie based after a chorepoem that was released and performed in 1975? Exactly why is it still appealing to the students of today? The controversy surrounding Perry's movie throws a limelight on the initial work. This paper seeks to understand why Shange has such a powerful influence on freelance writers of her era, as well as writers of today. It is interesting that Shange's first work continues to be influencing freelance writers like Toni Morison and Sapphire. Shange sometimes appears as a trail blazer, a article writer who breaks all of the taboos and presents herself and her artwork in a simply raw fashion. Her work is ground breaking, because it is written by and for dark-colored women. (Clark 94-120) It never excludes dark-colored men, but it makes them to start to see the world through different eyes. This little reserve, which was picked on by Joseph Papp as a prelude to Broadway production, continues to have ripple results as it impacts the world of ideas. (Shange, For Colore Women who've Considere Suicide when the Rainbow is Enuf ix-xvi) Her poetry continues to be fresh and her insight is still willing. Shange handles to live up to the tribute paid her by Sapphire, " If there are shoulders modern African American women's literature stands after they belong to Ntozake Shange, who revolutionized theatre and books with her iconic work. . . Any of us writing today are inheritors of her genius. " This is high praise in one creative person to another. (Shange, Colored Young girls)
Shange's masterpiece is too sophisticated to explore with great aspect in a work the length of this newspaper. However, a short study of three sets of poems out of this book will clarify why this author's opus remains relevant to today's audience. To commence a talk of the task, one has to begin with the shortcoming to place the work into a genre. The task is theatrical, but is not really a play. You will find unnamed character types who are recognized by the colour of the dress that they wear on stage. The work is lyrical; each personality talks in a pattern of poems, which loosely suggest dialogue. The production is intended to acquire music and dance as integrated components of the task. (Clark 3)
The author creates a distinct genre on her behalf work, which she phone calls a choreopoem. In creating this genre she fuses the musical components of the choir, within the black church. This choir has the literary components of dramatic poetry and a hint of the classical Greek chorus. In this manner her choreopoem is authentically BLACK in form. The poems are reminiscent of the great poetic traditions of Walt Whitman and Emily Dickenson, as well as BLACK contemporaries such as Amiri Baraka or Sonja Sanchez. Shange, an Ivy Little league graduate, never appears to tire of classical parallels to African American life. The choir/chorus is a great illustration of how Shange fuses the classical component with the BLACK aspect. (Clark 95-96) No BLACK church is complete with out a choir; no attic drama is complete with out a chorus. The use of masks is another feature of attic dilemma that Shange, with her nameless girls, has again designed a classical aspect into this very DARK-COLORED work. Her masks hides personal information and reveals the personas of the play. In coloured girls, the women wear colored dresses to express figure, which obscures the individuality of the girl behind the dress. Rather than by using a mask to exhibit mood and character, Shange can convey feelings and character through color and cloth, which really is a very BLACK habit. In a more traditional way, Lorraine Hansberry expresses figure and spirits by the clothes worn by the female characters inside a Raisin in sunlight. Three years of DARK-COLORED women are recognized by the way they dress. As Mama says in an alternative context in the play, clothes she wears "expresses me".
Capitalization, spelling, grammar, and consumption are all nonstandard. She spells enough as enuf in the title of her work and she detects opportunities to experiment with the technical components of writing throughout her choreopoem. Shange's reformatting of the British terms allows her to escape from the narrow confines of Euro centrism. She aspires to make a truly Africanized rhetoric. Her rhetoric also escapes the confines of the guy dominated language. She has sentences which are as chopped up as the lives of the ladies. She's shown the same disregard for structure that a person might be prepared to find in a suicide word. The choreopoem is beautiful and lyrical; however, it is just a grammarian's headache. (Shange, For Colore Young ladies who have Considere Suicide when the Rainbow is Enuf) It is known that the author attempted suicide many times while at Barnard University, she appears to have made tries until she herself learned that the rainbow is enuf. (Appiah 1699)If this work is an extended suicide word, it is one which was intended to be found. Once found, the colored girl who composed it can receive medicine and move on with her life. The shaded girl who wrote this choreopoem made the transition to black womanhood and persists to write poetry. Shange seems to use the choreopoem as a way of self disclosure; she does this in quite similar way that Maya Angelou uses the autobiographical format to self disclose. Whereas, Angelou creates long specific prose, Shange uses condensed poetry to express herself.
Not only is Shange's work controversial in format, the task is controversial in content. Her critiques of the Black colored Nationalism of the 1960s and 1970s as destructively patriarchal in chemical and composition. Organizations like the Black colored Panther Party were notorious for his or her male hierarchies, which promoted a gun toting, testosterone fueled ethos that overlooked the sustaining contributions of the ever troubled "sisters". (Wikipedia) Shange refused to simply accept the degrading inequality endured by women like Elaine Brown, Erica Huggins, Angela Davis and Betty vehicle Patter. Refusing to accept the brutality and marginalization of dark-colored women as a "sacrifice" for the "have difficulty" Shange jobs the agonized pain of dark woman on to the consciousness of her audience. While critiquing the chauvinism of the black man in marriage to the dark-colored girl, Shange issues an similarly biting critique of white feminism. She will take feminism from the class and reputable salons of Midsection America to the brutal pavements of Urban America. Here the working class black female forges her personal information as part of a massive and brilliant sisterhood. Research shows that the original version of the choreopoem, that was published by an independent publisher, was called the Shameless Hussy Press. (Clark 94, 100)
In a recently available advantages to the up to date version of the choreopoem, Shange points out how her book was a more inclusive doc. (Shange, Colored Young ladies) The title of Shange's choreopoem is in fact her thesis, "For Colored Girls who've considered suicide when the rainbow is enuf". The name of the booklet demands recognition. The task had not been written for DARK-COLORED women, or dark-colored women or Negro women, but also for colored girls. In the name, she exposes the dehumanization of the dark-colored woman. Black women tend to be demeaned by such labels as female or gal, no subject the age or place in life. (Shange, Shaded Women) For if the black man is permanently "boy", as Dr. Ruler said in his notice from the Birmingham Jail, then the black woman is forever "young lady" in the eyesight the white world. The usage of the conditions "girl" or "lady" are ironic reminders of how that world sees them as well as well as the "mystique" that was denied them. The crushing alienation of her life brings the shaded girl to the idea of suicide. The stress and strain of being mother, girl, sister, wife, enthusiast, whore, saint, activist staff member, homemaker, teacher, goddess, etc. causes the colored female to consider suicide. When this beleaguered heroine appears around, she discovers that the rainbow is enuf. That colourful rainbow of coloured girls is enuf, the sisterhood is enuf. The rainbow is enuf. The choreopoem recognizes the type as ladies. This is again more controversy! Why are the characters identified as ladies of varied colors? Perhaps these nameless people reflect just how black women have emerged by the world as simple nameless individuals. Or the nameless female who bares your children or the nameless woman whose children are hanging out of the five tale brownstone. These nameless women are dignified with the ubiquitous honorific, "lady".
The first set of poems evaluated is those spoken by the lady in brown. The girl in brownish is the first persona to speak. This makes her the unofficial spokesperson for the sisterhood of the rainbow. She presents the audience to the injury of the "colored girl's" life. The lady in brown is unfamiliar with the feminine mystique of white feminism. Her feminism is not established upon catalogs read or the trendiness of feminist freelance writers such as Gloria Stienem, Betty Friedan or Simone de Beauvoir. This isn't a feminism of Martinis and Daiquiris, but a feminism of "dancing on ale cans and shingles". (Shange, For Colore Young ladies who have Considere Suicide when the Rainbow is Enuf 3)the girl in brown's initial poetic monologue deals with life as a boogie under impossible circumstances. The girl in brownish utters the blues, reiterated by the other women throughout the choreopoem. Her blues reflects the increased loss of innocence, which reflects as spokesperson for the group. The lady in dark brown introduces the central theme of lack of innocence, stolen in as much ways as there are women in the rainbow. She also recognizes the thief as a racist, patriarchal contemporary society. She lives in a society that won't respect her, nor honor the innocence that girls are entitled to. (Shange, For Colore Young girls who've Considere Suicide when the Rainbow is Enuf 3)
The lady in brown's discovery of Toussaint Louverture is emblematic of the longing that the shaded young lady has for a powerful mythic protector. She requires a protector who will protect her innocence and enable her personhood. Toussaint, with most of his mythic vitality, cannot protect one coloured young lady from being disqualified for reading about him. Her reading about him at once took her further than the Jim Crow world of St. Louis allows. At the same moment her reading about him unveiled her to the truth of that harmful racial reality. The truth of colored gal is a reality which owns so many other ways of stealing her innocence. The mythic offers way to the real, as the girl in dark brown is released to Toussaint Jones. Jones gives her what Toussaint L'Oveture cannot. (Shange, For Colore Ladies who have Considere Suicide when the Rainbow is Enuf 25-30) However, in doing so he needed every vestige of innocence. As is stated later in the e book, "he had taken her stuff".
One cannot disregard that this section of the choreopoem is a muted homage to 1955. This was the entire year that the Supreme Court docket ended segregation in classes, Emmet Right up until was butchered in Mississippi, Rosa Parks was expelled from a bus in Birmingham, and Paulette Williams included an elementary school in St. Louis, Missouri. No wander the girl in brownish concludes that, "1955 was not a good calendar year for lil blk girls. " (Shange, For Colore Young girls who have Considere Suicide when the Rainbow is Enuf)
The loss of virginity is a key aspect in the choreopoem. Loss of virginity is the doorway to adulthood. Its reduction appears a significant factor in the shaping of the female identification. Shange uses the girl in yellow expressing the significance of this loss. It really is juxtaposed with the American ritual of participating a graduation get together. The party referred to in the choreopoem begins as a raucous party and descends into a squalid meditation upon the breakthrough of adulthood. For the coloured woman, simple life occasions are dangerous and can betray innocence. Childhood friends may also be a source of betrayal. The deepest secret and greatest wonder of all is that one's own body can betray you. The body betrays the shaded female by yielding to emotions not sensed before. Within the confusion of the moment, our girl in yellow does not know which of the three suitors actually "takes her products" for the very first time. The visitors is left to speculate if more than one of these cousins has his way with her or if most of them have her. On web page forty-five the girl in yellow is ruminating about the many men who have come her way. She appears to have one lover at heart who have danced with her, but has not danced her boogie. A fan who sings with her, but never sings her melody. (Clark 109)Her eagerness to love is devalued and rejected. This creates the metaphysical dilemma. The lady in yellow is left with metaphysics. Metaphysics is the analysis to be and the globe any particular one lives. It really is ironic that entire work handles a womanist attempt at metaphysics. Metaphysics tries to understand the world that rejects coloured women and leads the shaded girl to consider suicide. It is a metaphysic similar from what Virginia Wolf contemplated. There is irony in the actual fact that the colored young lady has little in common with Ms. Wolf or the men who dominate metaphysics. These white people fashioned a metaphysics which demeaned women and dismissed the very presence of colored females. The girl in yellowish confesses, "I haven't conquered yet". (Shange, For Colore Ladies who've Considere Suicide when the Rainbow is Enuf) The problem is simple, does she continue on the path of momentary pleasure and invite my want to be cured with scorn or does indeed she take the road which causes self affirmation? She concludes that, "my love is too fragile to have thrown back again on my face. "
The female in orange is obviously Shange's homage to Walt Whitman. You can almost hear the girl in orange, "sing your body electric" (Shange, For Colore Ladies who have Considere Suicide when the Rainbow is Enuf 42)as she abandons words for melodies and party. Her body is not limited by dark-colored music or boogie, but it yearns for a diasporic experience. Equally as the pre-Broadway version of the choreopoem included all women of color, irrespective of origin. The girl in orange appeals to the diaspora in her party and track. Certainly the coloured woman phenomenon is not only an African American problem, but a diasporic problem. The shaded girl is a problem which all members of the African Diaspora must offer with. Shange's rainbow is huge enough to encompass all colors of the rainbow. (Clark 100) This rainbow allows Spanish, English, French or Dutch sound system, it does not discriminate. It accepts Swahlli, Kwazulu or Bantu it perceives no variation. The rainbow occupies cries from the exhausted and huddled public of the African Diaspora. The ladies who have been used and abused by the machine or the men who'll not or cannot accept the love of an colored girl. (Shange, For Colore Women who've Considere Suicide when the Rainbow is Enuf)
The girl in orange comes to the realization that she actually is only a Cassandra, a prophetess without an audience. Nobody will pay attention to her beautiful music or boogie her captivating dance or sing her alluring song. The girl in orange attempts to deny the inescapable reality of being a colored young lady. She was born prepackaged as this, ". . evil woman, a bitch, or a nag. " Her realization is no less metaphysical than the girl in yellowish. The imagery is stark, talking about her relationship with her perennial enthusiast as, "being in underneath of yr shoe. " She realizes that her plight is redundant. The plight of the shaded girl is redundant. Redundancy with its constant pain and sorrow is the existence of the coloured girl. It is not unusual that she considers suicide. She actually is Sisyphus, eternally doomed to a life of pushing her love up the steep hill of demeaning non-acceptance, only to have that love roll back off in her face. She cannot endure the demeaning irrelevance of this existence. Within the myth, Sisyphus is smarter than other people, even the gods. (Wikipedia) However, in the long run his cleverness dooms him to eternal frustration. The lady in yellow is smart, she's much to provide, but she always sees herself in a aggravating relationship where the other person will get the benefits and she actually is only gum under his feet. She scrapes herself off only to find herself under feet again. Unlike Sisyphus, the girl in orange can break free. She can scrape herself off and continue to a freedom which Sisyphus can never know. He can never break, free whatever he does. The lady in orange can evade, for she has the rainbow which is her path of get away. Sisyphus is a reminder that being only is a sacrificing strategy. (Shange, For Colore Women who've Considere Suicide when the Rainbow is Enuf 42-43)With all of his brilliance, Sisyphus never works with others. He tries to solve his problems alone. Moreover, the coloured gal is a loner, who feels powerful enough to resolve her problems by herself. However, the power for escape and affirmation is based on unity with other people who have similar pains, hardships, and problems. In unity she discovers strength and capacity to overcome. Colored girls are only and adrift, dark-colored women are powerful and free. The girls can surmount whatever hill they must climb. Without unity the colored gal is doomed to irritation and agony as she climbs the hills and mountains of life together. (Shange, For Colore Females who've Considere Suicide when the Rainbow is Enuf 16)
There is hope for the colored girl, you have the rainbow. The rainbow is a symbol rich with biblical imagery; it is the grand wish of the coloured woman. If she locates the rainbow, she'll find that it's enuf. In the Bible, the rainbow was given to Noah as an indicator of covenant. For the colored young lady, the rainbow is a covenant from the goddess within, a promise that she actually is not alone. A reassurance that there are other colored young ladies, girls who have been beaten, abused, and neglected. They form a powerful and indissoluble rainbow.
Noah got a patriarchal God who lived someplace in the clouds. The shaded girl sees her goddess within her very being. The goddess within is a metaphysical witness to the damage of the patriarchy. When she is embraced, she heals the do it yourself and affirms the rainbow. Each sister is area of the rainbow and the "enuf". The sisterhood of the rainbow is higher than the anguish of deceased babies, the marks of abortion, the disappointment of associations, and the brutality of rape. The sisterhood of the rainbow is broader than church and deeper than pain.
Metaphysics isn't just a philosophical term which is intellectual in dynamics, it deals with the spiritual or spiritual or hidden mother nature of things (occult). The poetry cycles which may have been selected because of this newspaper do not package with the spiritual aspect of coloured women. Yet, it is clear that traditional spirituality offers hardly any to the coloured girls. There is a strong undertow of African and Caribbean spirituality in the task. The whole idea of embracing an inner goddess can't be separated from the goddess worship which came to these shores from Africa and also have been suppressed by a patriarchal God. This yearning for another type of spirituality or metaphysic is a continuing thread in white feminism. The embrace of the interior goddess is a metaphysical method of faith which is unorthodox and self applied affirming. The coloured young lady has been refused personhood by the oppressive white patriarchy in concert with a weaker and debased dark patriarchy. (Shange, For Colore Females who've Considere Suicide when the Rainbow is Enuf 106-110)
Men are not individuals in this choreopoem, however, their life and influence can't be denied. They can not be refused, because they appear to bring on pain and pleasure. Men will be the inescapable "other" that your colored women need to endure. Men appear to be an addictive medicine administered early and often. No matter how bad the man treats her, she comes back to get more detailed. If he beats her, she keeps with him anyway. If he rapes other women she won't think that her captivating beau could be a rapist until he rapes her. Men are the drug of choice for colored young girls. Drugs and alcohol only cover the pain of the principal intoxicant. The colored gal is a junkie and it is only by the sophistication of God that she overcomes her deadly addition. A lot more pain he provides, the greater she wishes him. It is only when she provides up on her addition that she becomes a dark-colored female and ceases to be a colored gal. (Shange, For Colore Young girls who've Considere Suicide when the Rainbow is Enuf 45)
The sisterhood sometimes appears in the dialogue, which exists between the girls as a understated connection which unites every one of the poems. The poems are only a metaphor for the women themselves. If there is an interconnection among the list of poems, then there's a possible dialogue between each girl in the choreopoem. Each female makes her own distinctive contribution to the rainbow, this ultimate symbol of desire. The colored young lady can never appreciate the rainbow until she considers suicide. Suicide clarifies the problem that the shaded woman must face. She must give up her addiction to that unpleasant "other" or face personal destruction. Not all colored girls make this life affirming decision; most are swallowed up in the allure of suicide. For those who start to see the choice as life or fatality, the only acceptable choice is life. Affirmation of life for the shaded young lady means affirmation of the goddess within. (Shange, For Colore Women who've Considere Suicide when the Rainbow is Enuf 56)
Shange creates her own rainbow quilt; each female is a patch in the quilt. A patch helps to create or complete the complete. Together they may be a strong beautiful quilt, which provides value and friendliness on a cool night. This colourful quilt of red, renewable, purple, blue, orange, yellow, and brownish threads is also a robust caution of what God informed Noah, "It won't be water, but fire the next time. " Possibly the fire will be the uncontrolled rage of the black woman that has found her voice through the energy of poetry or other forms of the spoken term. The planet that is usually to be destroyed could very well be a metaphor for a patriarchy. A patriarchy that won't bend or modify and must be uprooted and burned. The colored girl has only to lose her chains.