OF WHITENESS AND THE FEMALE / Return to Black Beauty / Hyper-femininity

Understanding nuance of how white female prompts to infiltrate intellectualism and sex in the displaced person one has to look to art, fashion, literature and cinema.

Telling of what is art history never lays credit to craftsmanship of the bush man or artist of African origin. Works, mostly sculptures founded in traditional African art are given attention mostly as part of a curated history.

From Byzantine art to what is normally understood to be modern art, the white European male artist, reflected also in the coordinated American, brought awareness to what is singularly defined as art.

Indigenous art has always found its importance in a marginalized art movement. They are given presentation of a specialized and often debased responsibility.

Interpretation and influence of what is the white female in all of this is her pursuance and edit as muse and point of distraction and focus.

Claim of the white female as universal muse is contradictory to the black woman as universal mother.

Elements such as acute awareness and introspection have always been given dynamic of what is white intelligence; such that portrayal of white artistry throughout history is made basis for modern intellectualism.

The spin can be understood as the abstracting of the black model and principle, wealth of information founded in birth place of man and evolution.

If it can be said birth place of mankind is continent of Africa, then everything of notable worth pours out of that very place and it's people; idea pertaining to royalty and an assertion of power and wealth.

The white female in her depiction through the Victorian Age, Pre-Raphaelite movement, French New Wave, American Cinema, Pornography and Rock and Roll, the groupie and sex muse, overall muse and model for art has worn on conscience of the displaced person.

The white female's visibility as psychic torment for sexual persuasion is in order for neurosis. It is neither the problem and curiosity of what is "never to be had" nor "warning placed upon". Her preponderance of what is symbolic to the displaced person is different from the accepted, although pigeon-holed black person of residence.

The white female is sold as export, Brigitte Bardot from France, Sophia Loren from Italy, Madonna Ciccone from America.

Discourse of race is inherited in maintenance of what is ingrained within every dialogue of the black and white, attributed to slavery and persecution. The displaced person's governance is of the borrowed and rejected; something relative in modern disrespect of the immigrant. He/She; the immigrant is a dancer without partner, therefore his or her own tendency and will is to fend for him or herself.

The white female is made disposable to him whereas the black person of origin is given the redirect in the unconscionable intent of racism.

Black is black and in the modernist intent of white supremacy the white female is query to all that stems from intellect and sex, the id and super ego, rationalization of what is beauty and perversion.

With refrain from displaced person's seduction into intellectualizing of beauty; its white source and hurried inclusion into subcultures of art is made relevant when he, the person in question, enables an entry into his or her cultural history, of native tongue, cuisine or an affirmation of blackness.

Blackness in a post-post modernist interpretation is made unique to the person. However there has to be an understanding of what is thug, savage or gangsta.

Once the inventiveness of sex has been polluted by art, music, fashion and pornography, the displaced person prioritizes sex more than just of a bodily and sensationalistic order. It becomes a form of language. Neuroticism and peculiarity of fetishes become all too familiar.

Although the white female at this point is no longer of importance or part of a neurosis; the displaced person finds it difficult in promoting an accordance with the hyper-feminine or gangsta female, subject of which he meets his orgiastic behavior.

He spends the rest of his life torn between enacting of what was once normalized in the influence of white female on subject of intellect and sex and attempt at order and accordance of what is blackness with respect to the black woman as less an earth mother and diva, made more so sensationalized as muse.

Struggle then becomes differentiation between orgiastic behavior, intellectualism and humanism.

Care and respect for otherworldliness and the supernatural overwhelms all that is spiritual.

It is of this nature that the displaced person finds understanding.