By Shirley Anne Tate (auth.)
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Additional resources for Black Women’s Bodies and The Nation: Race, Gender and Culture
These children, as ‘mulattoes’, were placed outside of whiteness and must be relegated to Sable-Saffron Venus 31 their native land, Frying Pan Island, which is the location in which they have any meaningful social place as his offspring. The idea of ‘Native Land’ in this pane at once shows distance from the West Indies even though he has gone native, at the same time as it also points to the ‘natives’, the Black others whether enslaved Black women like Mimbo Wampo or their ‘mixed race’ children to whom we then turn in pane 6.
Baker’s iconic shot represents her through melancholic repetition as the child/adult of colonialism. This particular body politics places her as in need of white guidance at the same time as being seductress through her body’s submission. The melancholic repetition wrought by this iconic image as it circulates in our times erases Black British women’s Sable-Saffron Venus 43 bodies as themselves caught within a melancholic repetition in which Blackness belongs out there somewhere else but not within the body of the nation.
In ‘Single Ladies’ potential partners are told ‘if you want it put a ring on it’. We are also shown what ‘it’ is, legs, bottom, breasts, sexuality. Hypersexuality highlights the myth of the necessity for the respectability of marriage for sensible Black women. Sasha Fierce is not a Sable-Saffron Venus or a Sapphire irrespective of the shapeliness of the parts of the body she displays. She is a woman of the world who knows how things work and who wants a relationship on her own terms. Political correctness is as much passé as subtlety and demure femininity in her Black Third Wave feminist anti-racist world.