In this paper, I will explain how the article “‘I See the Same Ho’: Video Vixens, Beauty Culture, and Diasporic Sex Tourism” by T. Denean Sharpley-Whiting is related to the thematic theme of the violated body and ecofeminism. Tong explains in Feminist Thought: A More Comprehensive Introduction, that ecofeminist focus on human beings’ domination of nature. Ecofeminist also argue that women are connected to nature because they are dominated in a similar manner by men. Consequently, men in contemporary society are alienated from nature and engage in certain behaviors to reconnect with nature. Tong cites the essay “White Man’s Dilemma: His Search for What He Has Destroyed” to explain the ways white men reduce this alienation. T. Denean Sharpley-Whiting’s
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A “video ho” is a young woman that is usually a singer, model, dancer, or actresses that is normally “either fairer-skinned, ethnically mixed, or of indeterminate ethnic/racial origins, with long, straight, or curly hair” (Sharpley-Whiting 163). These women represent a particular type of black beauty and tend to have wider hips, fleshy thighs, a large behind, and full breasts. This portrayal of women fuels the cycle of objectification because these women are objectified, fragmented, and consumed for the viewer’s pleasure. The background dancer’s bodies are fragmented into the desired body parts that make up the “video ho” look such as the full breast and large behinds. These hyper-sexualized images are then visually consumed by the individuals whom view these videos. Also, these women are not viewed as a whole woman, but instead just as the sum of their body parts. This is dehumanizing which leads to the objectification of women as a sexual plaything. For example, just the title of “video ho” degrades these women. This title’s use of the word “ho” implies an object since before this word was given a sexual connotation it was an object used in gardening. Not only does the hip-hop industry fuel the cycle of objectification, but it also uses and promotes alienation reducing
A “video ho” is a young woman that is usually a singer, model, dancer, or actresses that is normally “either fairer-skinned, ethnically mixed, or of indeterminate ethnic/racial origins, with long, straight, or curly hair” (Sharpley-Whiting 163). These women represent a particular type of black beauty and tend to have wider hips, fleshy thighs, a large behind, and full breasts. This portrayal of women fuels the cycle of objectification because these women are objectified, fragmented, and consumed for the viewer’s pleasure. The background dancer’s bodies are fragmented into the desired body parts that make up the “video ho” look such as the full breast and large behinds. These hyper-sexualized images are then visually consumed by the individuals whom view these videos. Also, these women are not viewed as a whole woman, but instead just as the sum of their body parts. This is dehumanizing which leads to the objectification of women as a sexual plaything. For example, just the title of “video ho” degrades these women. This title’s use of the word “ho” implies an object since before this word was given a sexual connotation it was an object used in gardening. Not only does the hip-hop industry fuel the cycle of objectification, but it also uses and promotes alienation reducing