As is the Madonna, so is the Whore
A voluptuous figure sits on a chariot fashioned out of a large shell, resting on a body of water. Much like a pearl she radiates beauty, barely clothed but for some panties to preserve her modesty. She exudes divinity, her chariot supported by two dragon-like sea creatures below and cherubs surrounding her above. Unlike a pearl, she is black. Her skin glistens in onyx hues and her hair crowns her head in a short jet-black afro. This woman in question is the focal point of Thomas Stothard’s illustration titled ‘The Voyage of the Sable Venus, from Angola to the West Indies,’ which draws inspiration from Sandro Botticelli’s fifteenth-century painting ‘The Birth of Venus.’
The Voyage of the Sable Venus, From Angola to the West Indies by Thomas Stothard (1794) Source: Wikimedia Commons
Venus is the Roman goddess of love. Amongst other things, she is the epitome of beauty and has been the subject of many works of artistic expression. In Botticelli’s painting, Venus has pale white skin, long tresses of strawberry blonde hair and a slender physique – with a soft and supple looking belly. This reflects what was considered beautiful in fifteenth century Europe and in many ways mirrors ideas about beauty in contemporary society, despite a few variations here and there. Stothard’s piece becomes an interesting point of departure into the conversation of how black beauty is viewed in contemporary popular imaginaries. The illustration was produced as a companion to Isaac Teale’s 1765 poem, “The Sable Venus: An Ode.” The irony of the poem and illustration is that they were created during the height of the Trans-Atlantic slave trade, a time when black people were subjected to the most egregious and inhumane conditions. One of the core justifications of the slave trade was that black people were inherently inferior beings. Therefore, the dehumanization of black people was justified. How then, does an inferior being become the object of a white man’s desires?
The Birth of Venus by Sandro Botticelli (1482-1485)
Regulus Allen writes that “the Sable Venus poem and painting attempt to rationalize white men’s attraction to black women by situating it in the realm of base desires instead if idealized beauty and by insisting that these immoral urges originate the African woman.” Aside from the reduction of black women to simply an object of sexual desire, this poem can function as a Segway into exploring how the Madonna/Whore complex plays out in society. During the slave trade, many biracial children were born as a result of the rape of black female slaves. To understand how this phenomenon is possible given the vitriol slave owners possessed towards their slaves, it is important to dissect the position of women in society.
Sandy's transformation from Madonna to Whore in the film Grease Source: Ed Times
Most societies across the globe are patriarchal, meaning that men are at the top and others below them. Colonization has had a huge impact on how the patriarchy manifests in formally colonized countries, and in many places indigenous patriarchal ideals intertwine with the doctrines white supremacy. Therefore, in many societies proximity to whiteness and masculinity affords you privilege. Men are leaders and women are followers. Men tend to view women as objects, rather than counterparts. Wojciech Boryszewski describes the Madonna/Whore complex as “a kind of sexual/personality disorder which affects the way men perceive women.” A man with this complex only sees women in two ways; the Madonna, who is pure, chaste and honorable; and the Whore, who is dirty and sexually promiscuous. Boryszewski further writes that “the main problem for the sufferer- and the reason why the complex should be treated as a serious disorder-is the man’s inability to combine love and sex in relation to a single female object.” While Boryszewski limits this complex to an extreme condition faced by men, the reasoning of the Madonna/Whore complex arguably permeates into popular-cultural thought. If a woman in a male-dominated, white supremacist society is less than a man, a black woman in said society is less than human.
An illustration of the Stepford Wife, who embodies the Madonna. Source: Teacups and Couture
In “The Sable Venus: An Ode,” the attraction expressed by the white man to the black woman is simply an exercise of phallic power. The black woman is the Whore: she is extremely irresistible and deliberately charms the white man. She is the exotic, the oriental – just as the forbidden fruit is to Eve. The current manifestation of said views can be seen via the varying experiences of different women in heterosexual relationships, as well as fluctuating beauty trends. An interesting case study to look at is the choices that prominent black men (particularly athletes) make when it comes to dating. A comprehensive look at the romantic choices made by black NBA players would reveal that most players tend to partner with white women. However, they have increasingly begun to partner with biracial women or curvaceous (slim thick) white women. This shift can be linked to the increasing acceptance of black features. While not all black women are curvaceous, this is an indicator that the stereotypical body of a black woman is ideal - not the skin. A preference for light skin amongst indigenous communities has long been a factor in how heterosexual men select their romantic partners. Aside from an indicator of proximity to whiteness, lighter skin is sometimes regarded as an indicator of class. A person with lighter skin is thought of as not having to spend as much time labouring in the sun, because they have the means to do so. In this way, black women (especially dark skin women) are continuously pushed into the peripheries of desirability. A black woman’s desirability is thought of as erotic and devilish. As the Whore, she is good enough to be sexually desired - but not enough to be a wife.
Sex positive rapper Meg Thee Stallion embodying the 'Whore' Source: @theestallion
It would be crass to limit the classification of the ‘Whore’ to skin color alone. Factors such as; clothing choices, expressions of sexuality and deviation from traditional ideas of what constitutes a ‘good woman’ also contribute to the categorization of the ‘Whore’. Based on the banishment of the whore to the depths of the immorality, one would think the ‘Madonna’ is in the privileged position. However, this is far from the truth. The ‘Madonna’ is thought of as the perfect mother and wife, which is where her importance ends. Just as the ‘Whore’ is exploited sexually, the ‘Madonna’ is exploited for her domestic and emotional labour. She is expected to ‘hold down the fort’ while her partner enjoys the follies and vices of the world. The traditional socialization of women tricks women into thinking that if they opt for subservience to a man, they will secure a partner that treats them well as a reward for their virtue. While this may be true in some instances, in most cases it primes women to accept many forms of abuse from their partner. Contemporary phrases such as ‘ride or die’ are used to praise women for enduring disrespect from their romantic partners. The disrespect is often infidelity, with men engaging in sexual escapades with the ‘Whores.’ The same ‘Whores’ that are chastised by society at large. In retrospect these phrases perpetuate the subjugation of women. Therefore, the Madonna/Whore complex reveals the ways in which women are continuously objectified in male-dominated societies.
A Twitter user critical of the of 'ride or die' culture Source: @Haedyn_Simone
The Sable Venus is emblematic of the problematic history of the classification of black women’s beauty. Sara Baartman’s tragic life story is a testament to how this lens of viewing black women is harmful. Racism and sexism intersect to inform how black women are treated in their quests to find romantic partnership, as well as in said romantic partnerships. Furthermore, factors such as sexuality, class and gender identity influence this treatment. As society progresses and individuals continue to speak out against oppressive systems, positive strides are being taken towards changing the objectification of women. However, the current position of women in society reveals that as is the Madonna, so is the Whore.
Illustration of Sara Baartman Source: BBC