Lorraine Hansberry’s A Raisin in the Sun provided a stark contrast in portrayal of African Americans in theatre, representing the moment of separation from degradingly stereotypical images of black people, as Harris states (Harris 22). Hansberry was one of several, including Amiri Baraka and Jimmy Garrett, to “replace the stereotype “nigger” image of buffoonery and low comedy with angry characters designed to forge Black consciousness into a literature that speaks not only for the Black man but also for the underground experiences of all Americans” (Willis).
It has been argued by critics that Mama Lena fits into the stereotypical “Mammy” character, and by others that she breaks out of the mold.
“Mama, who initially fits the popular stereotype of the Black Mammy, seems to be the domineering head of household. She rules everyone’s life…Mammy gives way to the caring, understanding mother, historic cornerstone of the black family” (Wilkerson).
“Body size and strength of character simultaneously operate to locate Mama Lena in the stereotype of the domineering strong black woman character as well as to lift her slightly out of it because she is literally the prototype for what later would be judged to be sterotypical” (Harris 26).
It can be seen that Hansberry created a dynamic within her play that would spark criticism and create more awareness on the representation of her people in literature and productions. Her characters differ greatly from any previous African American representation, yet they maintain certain characteristics that allow them to be recognized as a certain type of person.
For example, as Willis details, there are the two stereotypical antithetical Negro attitudes. One is represented by Beneatha’s boyfriend, George Murchison, who symbolizes the Black man who is happy to assimilate into the white business world. Her second suitor, Asagai, represents the second, rejecting integration and defending Black nationalism.
Through these character portrayals, Hansberry introduces yet another dynamic into her work, adding to the stereotypical contrasts that made her play so infamous and widely acclaimed.
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Harris, Trudier. Saints, Sinners, Saviors: Strong Black Women in African American Literature. New York: Palgrave, 2001.
Willis, Robert J. “Anger and the Contemporary Black Theatre.” Negro American Literature Forum, Vol. 8, No. 2 (Summer, 1974), pp 213-216. Published by: St. Louis University. Stable URL: http://www.jstor.org/stable/3041131
”The Sighted Eyes and Feeling Heart of Lorraine Hansberry,” Black American Literature Forum 17:1 (Spring 1983):10.
–Maddie Sokal
