In the 1990s, the entertainment industry celebrated mono-racial Black women with a range of strong, diverse characters and voices. Shows like Living Single and Moesha featured leading Black women who were both relatable and aspirational. Music icons like Whitney Houston, Brandy, Lauryn Hill, and Mary J. Blige became cultural landmarks, showcasing the depth and range of mono-racial Black female talent. Films such as Love Jones and A Thin Line Between Love and Hate highlighted mono-racial Black women in complex and nuanced roles. While the representation in the 90s wasn’t perfect—often feeling like Hollywood could only accommodate a few Black women at a time—these portrayals were significant and varied.

However, as the years have passed, this once-prominent representation has steadily declined, giving way to a troubling trend of erasure. In today’s entertainment landscape, mono-racial Black women find themselves increasingly sidelined, their stories and voices often told by those with biracial or racially ambiguous phenotypes. This shift not only diminishes the visibility of mono-racial Black women but also reinforces harmful stereotypes about Blackness. 

A Brief History of Representation

The portrayal of Black women in media has always been erroneous, filled with stereotypes and limited roles. From the "mammy" figure to the hypersexualized "jezebel," Black women have been pigeonholed into damaging caricatures that reduce their humanity (Nargis, 2011). In the 90s, however, there was a noticeable shift. Mono-racial Black women were cast as leading characters in television shows, and singers with rich, soulful voices were celebrated for their talent. Whitney Houston’s crossover success, Brandy’s dual success in music and television, and Lauryn Hill’s groundbreaking album The Miseducation of Lauryn Hill all exemplified this era of Black excellence in entertainment.

Yet, as the industry has evolved, there’s been a troubling trend: the rise of racially ambiguous or biracial women taking on roles and receiving accolades in spaces that once centered mono-racial Black women. This shift has contributed to the gradual erasure of mono-racial Black women from leading roles in both film and music.

The Rise of Racial Ambiguity

In an attempt to diversify casts and appeal to a broader audience, Hollywood and the music industry have increasingly leaned towards casting and promoting biracial or racially ambiguous women. This trend is not just about who gets to be on screen or who dominates the airwaves; it’s about which aspects of Blackness are deemed palatable for mainstream audiences. By prioritizing lighter-skinned or racially ambiguous women, the industry sends a clear message: Blackness is only acceptable when diluted.

One glaring example of this erasure can be seen in films like The Hate U Give. The movie, adapted from Angie Thomas's acclaimed novel, tells the story of Starr Carter, a Black teenage girl who witnesses the police shooting of her friend. While the film features a strong narrative about racial injustice, its casting decisions reflect a broader trend of favoring biracial or racially ambiguous Black actresses in leading roles. The character of Starr, originally described as a mono-racial dark-skinned Black girl in the novel, is portrayed by Amandla Stenberg, who is biracial. This casting choice contrasts sharply with the portrayal of Starr's father and brother in the film, who are depicted and played by dark-skinned actors. This disparity not only highlights the erasure of mono-racial Black women but also perpetuates a visual and narrative disconnect within the representation of Black families. This disparity perpetuates the notion that while dark-skinned Black men are acceptable in the media, dark-skinned Black women are not afforded the same visibility and representation.

Similarly, in The Sun Is Also a Star, the film adaptation of Nicola Yoon’s novel, the lead character Natasha Kingsley is portrayed by Yara Shahidi. The novel describes Natasha, a Jamaican-born character, as a mono-racial dark-skinned Black woman. However, in the film, Natasha is played by Shahidi, who is of mixed heritage. The film’s choice to cast a racially ambiguous actress in the leading role while the supporting characters, including Natasha’s family, are portrayed by darker-skinned actors, reflects a broader industry trend where racially ambiguous actresses are favored for leading roles. This shift highlights the industry’s preference for certain types of Blackness, sidelining mono-racial Black women and their stories.

This practice marginalizes mono-racial Black women, particularly those with darker skin tones, by making their stories and voices less visible. It suggests that their experiences and identities are less relatable or marketable to a broad audience, perpetuating colorism and reinforcing the idea that lighter skin and looser hair textures are more desirable.

The Impact on Society

The erasure of mono-racial Black women in entertainment has profound implications for society’s understanding of Blackness. Media representation shapes how people perceive themselves and others, and when a specific type of Blackness is consistently highlighted, it distorts the public’s perception of what it means to be Black (Wilder, 2020).

Young Black girls who do not see themselves reflected on screen or in the music they listen to may struggle with self-esteem and identity, feeling that their beauty and worth are lesser because they do not fit the industry’s narrow standards (Olayinka, Gohara, Ruffin, 2021). This lack of representation also reinforces harmful stereotypes about what "real" Blackness looks like, further marginalizing those who do not fit the mold.

Pushing for Authentic Representation

It is crucial to advocate for authentic and diverse representation of mono-racial Black women in all areas of the entertainment industry. This includes ensuring that mono-racial Black women are cast in leading roles and given the opportunity to shape and influence the narratives being told.

It is not to say that biracial or racially ambiguous women do not deserve representation—indeed, their visibility is important as well. However, this should not come at the expense of mono-racial Black women, who are often sidelined or overshadowed, with their stories being told through the lens of those who do not fully represent their experiences.

The erasure of mono-racial Black women from the entertainment industry is not just a matter of representation but of rightful recognition and opportunity. We, too, deserve to be the leading lady in stories that shape our cultural landscape. Our experiences, stories, and beauty are integral to the richness of Black identity, and it is time for the industry to acknowledge and celebrate this; not as secondary characters but as the stars of our own narratives.

The industry must also embrace the full spectrum of Black experiences and appearances, moving beyond tokenism to create nuanced and inclusive portrayals. True diversity in media involves not just visibility but also a commitment to reflecting the complexity of Black identity in all its forms.

References

1. Fontaine, Nargis, "From Mammy to Madea, and Examination of the Behaviors of Tyler Perry's Madea Character in Relation to the Mammy, Jezebel, and Sapphire Stereotypes." Thesis, Georgia State University, 2011. doi: https://doi.org/10.57709/1958901

2. Wilder, SeMarial, "Racism in Media: How Media Shapes our View of People of Color in Society" (2020). Community Engagement Student Work. 46. https://scholarworks.merrimack.edu/soe_student_ce/46

3. Olayinka JT, Gohara MA, Ruffin QK. #BlackGirlMagic: Impact of the social media movement on Black women's self esteem. Int J Womens Dermatol. 2021 Jan 9;7(2):171-173. doi: 10.1016/j.ijwd.2021.01.006. PMID: 33937485; PMCID: PMC8072507.