Black performance evolution and respectability politics

Morgan Davis Dr.Harris English 2017 Due Date: 4/22/2026 Black performance evolution and respectability politics Black performance refers to performances created and depicted by African Americans that influence and shape the culture. These performances express the lived experiences, creativity, resistance, and storytelling within Black art. Music and Black performance have changed over time as societal norms shift through time. For my mixtape, I created a playlist with traces of the evolution of Black music and performance stemming from early jazz and blues to R&B and southern feminist rap. For my major project topic, I will be exploring how music and Black performance and how they have changed over time. I will be referencing “playlist pt 2”(In the modules) and “Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South”. These references will explain the intricacies and essence of Black performance and music and its change throughout history, and they will also explain the respectability politics for men and women, and how it still impacts the community. Black performance refers to artistic expression created and depicted by African Americans. This includes music, dance, singing and other cultural practices of communication through music and sound of expression, through lived experiences of the Black community. Black performance also shares history and community; it also challenges the narrative that is depicted of African Americans, such as stereotypes by non-people of color. Black performance over time has been changed and duplicated by many non-people of color to use as trendy or different. Most non- people of color who have duplicated or copied people of color's music/ performance have made more impact and gotten more attention in their line of work. Black music and performance have changed over decades in adjustment to social norms, political conditions, and expectations. Throughout history, black performers have been placed in a box created to centralise them. Dividing Black performers in a box that depicts and separates them from others in an attempt to define their performance as acceptable, respectable, and marketable for them to perform. In Playlist pt 2 provided by Dr. Harris, some songs that stood out to me were: 19413 “It don't mean a thing” by Duke Ellington, 1957 “Hound Dog ” by Big Mama Thorton, “ Lucille” by Little Richard, 1964 “A Change Is Gonna Come” by Sam Cooke, and 2008 “I need love” LL Cool J. I like the variety of these songs and how each performance adapted within its time period . From 1931 with Duke Ellington's and his song “It Don't Mean a Thing,” which had a witty style while also being swinging music. At that time, Black performers in the 1930s/1940s jazz as well as swing music were very mainstream. Later on, starting to create even more genres of music. Compared to the playlist part 1 time frame, which included a lot of negro spirituals, as well as field songs and more. At this time, the main representation of black performance was Men. Representation of men at these times was more polished, and they either sang religious music and started to make more catchy, witty songs before rock and roll and rhythm and blues, songs for change, and hip-hop came into play. These artists show a new age of genres of Black performance and its evolution. It also reveals the same old story of respectability politics and how they control the narrative of men and women in music and media. For instance, in the article “Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South,” the author explains how respectability politics and feminism influence the media and the music scene, especially for southern hip-hop women. As we know, respectability politics are rules in place that are known but unsaid in places that you go, for example, the South. These rules are set to dictate what aspects are respectable for things such as clothes that you wear and the way that you act in certain settings as acceptable. Respectability politics usually affect Black women more than men. As we see in these songs and performances that are around in the early 1930’s and onward . Black performance has evolved in both genre and lyrical components, mostly becoming more explicit and expressive over time. Respectability politics have been used to target black women and police them on their bodies, sexuality, and artistic expression. Black women's influence has grown as women have challenged those expectations depicted on them and have used their voice and body to reclaim the narrative. Playlist pt 2 tracks (Jazz, Blues, Early Rock) It Don’t Mean a Thing – Duke Ellington - jazz/ swing music with a catchy harmony and tune. Lucille – Little Richard - rock and roll, was energetic and Hound Dog – Big Mama Thornton- R&B- powerful song with lyrics and a beat that you can feel in your soul- later copied by Elvis A Change Is Gonna Come – Sam Cooke - Songs for change, made to cause change during that time and share hope, witty, inspirational songs. I Need Love – LL Cool J- hip-hop - a change in how we depict love songs, but also made a moment in the change of sound surrounding hip-hop My mixtape songs R&B, Soul, and Emotional Expression Knocks Me Off My Feet – Stevie Wonder I Have Nothing – Whitney Houston The Lady in My Life – Michael Jackson Hip‑Hop, Feminism, and Respectability Politics U.N.I.T.Y. – Queen Latifah Big Ole Freak – Megan Thee Stallion Bodak Yellow – Cardi B Suck My Dick – Lil’ Kim Back That Azz Up – Juvenile Bark Like You Want It – Khia Hut Hut – Southern rap Imma Shaker – Southern dance track These tracks embody Dirty South Feminism: It claims sexuality It rejects respectability politics Uses twerking, bass, and explicit lyrics as expression women controlling the narrative instead of being controlled by it! Black Womanhood, Identity, and Power If I Were a Boy – Beyoncé Diva – Beyoncé -pro-claming identity as well as challenging social norms throughout history . Community, Joy, and Black Social Spaces Irreplaceable – Beyoncé This Is How We Do It – Montell Jordan Can You Stand the Rain – New Edition Dance With Me – 112 Piece of My Love – Guy On Bended Knee – Boyz II Men Just Kickin’ It – Xscape No Scrubs – TLC Soldier – Destiny’s Child Say My Name – Destiny’s Child Playlist link https://open.spotify.com/playlist/6pVrCMQzm7xaJGSUCycnfi?si=hrg44FVARVuLc-EVWFgLLA In conclusion, the evolution of black performance reveals how music functions as cultural expression and political resistance. The songs in my mixtape show how Black artistry has changed through social norms while confronting the limitations placed on them through respectability politics. From jazz to hip-hop, Black performers have used their voices, bodies, and creativity to challenge stereotypes, reclaim power, and shape new possibilities. Their continued impact on Black performance demonstrates its importance not only in music history but also in the fight for representation and self-identity within the black community.