DR YOSEF BEN JOCHANNAN PDF

This piece will delve into the spiritual origins of the worship of the female as the original deity, most specifically, African wombman. Before we explore this aspect of metaphysical perception we must take a look at how far she has fallen from her former status as the most autonomous woman in human history with rights other races and ethnic groups had to fight to attain. In the Nile Valley, in Kemet Egypt she was the pillar of the society and the nucleus of the family unit in African culture. Once Africans had contact with Europeans and Arabs for the first time in history, her status would be diminished. She would then be objectified and exploited no different than the women of the conquerors of the African continent, and sex was the main weapon used to debase her and her image, thus "I suggest that African-American women were not included in pornography as an afterthought, but instead, they form a key pillar on which contemporary pornography itself rests.

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This piece will delve into the spiritual origins of the worship of the female as the original deity, most specifically, African wombman. Before we explore this aspect of metaphysical perception we must take a look at how far she has fallen from her former status as the most autonomous woman in human history with rights other races and ethnic groups had to fight to attain.

In the Nile Valley, in Kemet Egypt she was the pillar of the society and the nucleus of the family unit in African culture. Once Africans had contact with Europeans and Arabs for the first time in history, her status would be diminished. She would then be objectified and exploited no different than the women of the conquerors of the African continent, and sex was the main weapon used to debase her and her image, thus "I suggest that African-American women were not included in pornography as an afterthought, but instead, they form a key pillar on which contemporary pornography itself rests.

As Alice Walker points out, "the more ancient roots of modern pornography are to be found in the almost always pornographic treatment of Black women, who, from the moment they entered slavery One key feature about the treatment of Black women in the nineteenth century was how their bodies were objects on display. In the antebellum American South, white men did not have to look at pornographic pictures of women, because they could become voyeurs of Black women on the auction block.

A chilling example of this objectification of the Black female body is provided by an exhibition in early nineteenth-century Europe of Sarah Bartmann, the so-called Hottentot Venus.

Her display formed one of the original icons for African female sexuality. An African woman, Sarah Bartmann was often exhibited at fashionable parties in Paris, generally wearing little clothing, to provide entertainment. To her audience, she represented deviant sexuality. At the time European audiences thought that Africans had deviant sexual practices and searched for physiological differences, such as enlarged penises and malformed female genitalia, as indications of this deviant sexuality.

Sarah Bartmann's exhibition stimulated these racist and sexist practices. After her death in , she was dissected; her genitalia and buttocks remain on display in Paris Gilman, Contemporary portrayals of Black women in pornography represent the continuation of this historical treatment of their actual bodies. Thus, African-American women in pornography are usually depicted in a situation of bondage and slavery, typically in a submissive posture, and often with two white men.

As Bell observes, "this setting reminds us of all the trappings of slavery: chains, whips, neck braces, wrist clasps" , p. White women and women of color have different pornographic images applied to them. The image of Black women in pornography is almost consistently one featuring them breaking from chains. The image of Asian women in pornography is almost consistently one of being tortured.

The ways in which women in general are depicted and commoditized, specifically Black wombmen are projected on the TV tell-a-lie-to your-vision as well as popular so called "artful" forms of expression. This has been the historical reality since the days of enslavement until today. An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while. Yosef Ben Jochannan: The Black Read preview. Introduction This piece will delve into the spiritual origins of the worship of the female as the original deity, most specifically, African wombman.

Sarah Bartmann One key feature about the treatment of Black women in the nineteenth century was how their bodies were objects on display. We use cookies to deliver a better user experience and to show you ads based on your interests. By using our website, you agree to the use of cookies as described in our Privacy Policy.

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Yosef Ben-Jochannan (1918-2015)

Yosef Ben-Jochannan was an Afrocentric historian whose work is focused mainly on black presence in ancient Egypt. He contends in his writings that the pharaohs came out of the heart of Africa and that the original Jews were from Ethiopia and were black Africans, and the white Jews adopted the faith and customs later. He has been accused of distorting history, and, since his work contradicts the prevailing view of Egyptian and African history, it is, therefore, controversial. He attended schools in Brazil, Spain, Puerto Rico, and Cuba and earned degrees in engineering and anthropology. He earned a doctoral degree in cultural anthropology from the same school, and finally, he attended the University of Barcelona, where he earned another doctoral degree, this time in Moorish history.

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