The Jezebel stereotype, named after a biblical woman, has long been used to characterize Black women as hypersexual and immoral. Emerging during slavery, this trope justified the sexual exploitation of enslaved Black women by framing them as inherently promiscuous and complicit in their own oppression. Enslavers used the Jezebel stereotype to absolve themselves of guilt and to dehumanize Black women, making them both victims of sexual violence and targets of moral judgment. This legacy has profoundly shaped societal perceptions of Black female sexuality, presenting it as dangerous and deviant while ignoring their agency and experiences.
Historically, this stereotype served as a tool for control, reinforcing racist ideologies that sought to portray Black women as inferior and unworthy of respect. The earliest example of this stereotype being used is in the case of Sara Baartman, an enslaved African woman who was forcefully put on display because of her physical features, particularly her large buttocks. She was paraded across Europe throughout various museums and exhibits, often with only a tiny cloth to cover her modesty. She was exploited and objectified, treated as a curiosity, and often viewed through the lens of the Jezebel stereotype, with her body framed as exotic and hypersexual. Her story exemplifies how Black women were seen as sexual objects rather than human beings.
Even after the end of slavery, the image of the Jezebel persisted through popular culture, where Black women continued to be sexualized and objectified. Throughout various literature, film, and media, the Jezebel stereotypes reinforce harmful ideas about Black womanhood. A notable example is the 2003 music video “Tip Drill” by Nelly. The video became infamous for its overt sexualization of Black women, depicting them as hypersexual objects primarily there for male pleasure. The imagery includes scenes of scantily clad women being treated as props in a party setting, with one of the most controversial moments being when Nelly swipes a credit card down a woman’s backside. The vidoe’s portrayal of Black women as highly sexualized and objectified fits within the Jezebel stereotype, reinforcing harmful narratives about Black women’s bodies and sexuality.
While there have been shifts in the portrayal of Black women, the shadow of the Jezebel stereotype still looms large. Black women continue to face the dual pressures of being hypersexualized and policed for their sexuality. For example, when Black women express sexual agency or dress provocatively, they are often met with harsher judgment than their white counterparts. Even in cases of sexual assault or other crimes, Black women are frequently subjected to victim-blaming, with the Jezebel stereotype contributing to the perception that they are somehow at fault. A recent example of this stereotype at play is Megan Thee Stallion’s experience with being shot by popular rapper, Tory Lanez. In her legal battles, including the trial where she testified about being shot, her sexual history was brought up and proclaimed by the media. Her experience with victim-blaming and character attacks underscore how the Jezebel stereotype influences how Black women are believed or treated in situations of violence or victimization.
Despite these challenges, many Black women are actively reclaiming their narratives, challenging the Jezebel stereotype by asserting their autonomy over their bodies and sexualities. Artists, writers, and activists have worked to reshape cultural conversations around Black womanhood, rejecting the narrow and dehumanizing frameworks that have historically defined it. By calling out and deconstructing the Jezebel stereotype, these voices are advocating for a more nuanced and respectful understanding of Black women’s identities, free from the weight of harmful historical legacies.
Leave a Reply