"Strange Fruit" is a bold look at lynching and overall race terrorism of African Americans in the South and was originally performed by Billie Holiday in 1939. The song has a simplistic composition which allows the emotional complexity to shine. Even today, many may feel the urge to look away from the picure painted by the powerful words, but all should see and feel it. There is a simple mix of harmony and melody serving as an appropriate backdrop for intensely emotional lyrics. Some of the more
Holiday said, “I hate straight singing. I have to change a tune to my own way of doing it. That’s all I know.” She came from a background of intense struggle that shaped her, but above all she had an innate talent. Notably, her interpretation of “Strange Fruit” against the backdrop of the Harlem Renaissance and the culture of racism in the United States made Billie an integral part of American history. Billie’s alteration of her past life is also important as she wanted to expose her life in a perfected
Anthropologists, Laura Bohannan, in “Shakespeare in the Bush”, and Seth Holmes, in Fresh Fruit, Broken Bodies, address the problems of ethnocentrism in the realm of culture, and the serious impact and misunderstandings it can create. Anthropologist, Abu-Lughod, in “Do Muslim Women Really Need Saving”, explores how cultural relativism may only
number of large grubs or worms. Upon first glance, these artworks give the viewer a somewhat disturbed or unsettled feeling, but as we dwell on the artwork more and more, we are able to see that the child is rather comfortable being surrouned by the strange grubs. The human hair that is made into a giant cobweb adds a realistic effect to the sculpture. This realistic effect is translated to the viewers and they are able to sense the naturality of the piece of art. Tone is used in this art installation
children but with many meanings behind it like: redemption, consumption, sisterhood and sexuality. Goblin Market is summarized to be about: Two sisters, Laura and Lizzie, one of whom [Laura] succumbs to goblin men’s entreaties to ear their fruit and then dwindles with cankerous care, the other of who [Lizzie] refuses to eat and braves the goblin’s attack while seeking an antidote to save her sister (Rawson, 2011, p.429). Focusing on when Lizzie returns from the market, covered in fruit juices, giving herself
life is lived and…give both understanding and meaning to personal experiences.” (Massey 13)
the people and settings of a nearly fictional world. In this heroic world, the inhabitants are "half-divine or semi-demon" (6-7) meaning that they are viewed as either godly or evil, beneficial or harmful, friendly or hostile. In addition, this world contains "darker woods and stranger hills, brighter skies, more dangerous waters, sweeter flowers, more tempting fruits, wider plains, drearier deserts, sunnier fields than are found in nature . . ." (7-11). Everything is much greater; life is less diminutive
To commence with, it is apparent for us to realize the key first Greek cultural element at the beginning of the film that is concept of the Greek about Greek women. When Toula was young, while her counterparts in America owned a blond hair, did everything they liked and ate everything they wanted, she had to keep her black ruffled hair unchanged and went to a Greek school in order to study everything of Greece until she was 15. Since the ancient period, the Greek have had belief that each woman in
activities of daily life. It is through her writing that Flannery expresses that she too is at an internal conflict with the thought of death portraying the grandmother to be as ill prepared for her departure as the children who have yet to enjoy the fruits of their loins. She proceeds to express that within religious values, this story also exhibits deliverance through horrid incidents by those who display grotesque nature. As a writer, Flannery
with her audience. She could transform a song, inflecting words and pitches to give them her own meaning or emotional content” (3). The next picture Dove paints for us is the “mournful candelabra against a sleek piano.” Billie Holiday, when performing, often did so on stage in front of a large piano sometimes with a candle holder perched on it. Specifically, in Billie Holiday’s performance of Strange Fruit, she is seen in black and white in front of an old microphone with a large, black piano just behind