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Sexism and Racism Take Toll on Black Women’s Health

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Amani Nuru-Jeter, associate professor of public health at University of Southern California said that that suppressing emotions is bad for your health. (Courtesy Photo)

Amani Nuru-Jeter, associate professor of public health at University of Southern California said that that suppressing emotions is bad for your health. (Courtesy Photo)

by Jazelle Hunt
NNPA Washington Correspondent

WASHINGTON (NNPA) – The effects of living in a patriarchal, racist society measurably erode Black women’s physical and mental wellbeing, an emerging body of research finds.

Over time, this steady drip of double-discrimination can lead to higher maternal mortality and lower birth weight rates, hypertension and heart disease, aggressive cancers, and psychological issues, to name a few effects.

“Although the evidence is somewhat mixed, the consensus is that self-reported racial discrimination is associated with a variety of health outcomes—most prevalent being birth outcomes, cardio health concerns…also depression and psychological stress,” says Amani Nuru-Jeter, associate professor of public health at University of California.

Nuru-Jeter, an epidemiologist who has contributed research on these issues, adds that there are lab-based, literature-based, and anecdotal studies to show the link between discrimination and poor mental and physical health.

While discrimination touches most people at one time or another for varying reasons, Black women experience the double-whammy of racism and sexism—and even the triple burden of homophobia for gay, bisexual, or gender non-conforming Black women.

“In general, we know that African Americans report experiencing [racial] discrimination more than Whites. But with Black women, issues of gender come into play,” Nuru-Jeter says.

Women are much more likely than men to experience “network stress,” she explains—when people close to them express their pains and frustrations, they feel that stress indirectly. Men, on the other hand, are more likely than women to only experience the stress that happens to them. This is likely due to the way boys and girls are raised to fit gender norms, with girls being steered toward empathetic nurturing, even at the expense of their own emotional and mental wellness.

Black women report an overwhelming sense of obligation to those around them, in addition to living at the intersection of societal racial discrimination, and gender discrimination even within their community. Nuru-Jeter says that this sense of obligation leaves little room for Black women to express and deal with the stress of everyday slights against their worth as people.

“One of the ways in which chronic discrimination gets into the body and becomes anxiety, depressive episodes, or low birth weights, is in the ways we cope,” Nuru-Jeter says. “We know from psychological [research] that suppressing emotions is bad for your health.”

When Black women do seek acknowledgement and fair resolutions regarding the racist and sexist jabs they meet, they often run into roadblocks.

“This area of research is met with a lot of criticism because some people…don’t think [race discrimination] exists in this day and age,” Nuru-Jeter explains.

“One question might be, how do we known it’s racial discrimination, and not other stress, because we all experience chronic stress. We have experimental data; we go into a lab and we…manipulate only one thing. Then we can measure cortisol [a hormone triggered by stress], heart health, and so on.”

Fatima Goss Graves, vice president for education and employment for the National Women’s Law Center, sees similar misunderstandings in legal situations. When the layered discrimination Black women face is acknowledged, it is often met with disdain.

“For African American girls in particular, there have been a number of cases…that really highlight the harassment and violence and inappropriate response by schools.

So a [Black girl] speaks up about violence in her school, and the school takes disciplinary action against her,” Graves says. “That sends a message that we don’t; believe Black girls’ experiences.”

Black women often decide that the best option is to endure in silence.

“People don’t want to risk retaliation. The retaliation is a big deal—people risk their jobs, they risk losing their educational status, there’s retaliation that comes in the form of harassment—so there’s a lot at stake,” says Graves. “What ends up happening is, a lot of people never come forward at all. These are the stressors of discrimination…that people end up holding on to.”

To prevent the slow damage of these stressors, Graves says people who are experiencing discrimination should document what happens to them, and tell others—even friends—about incidents when they happen. This documentation and multiple sources can corroborate patterns and serve as evidence to have issues properly addressed.

Nuru-Jeter advocates practicing self-care as the primary priority, and seeking a listening ear when needed.

“Research is ongoing, but we’re trying to come up with ideas [for prevention],” Nuru-Jeter says. “African Americans in general should not have to experience discrimination at all…. [But] that’s not going to happen tomorrow.”

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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