Black Female Sex

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Hypersexualisation reinforces the harmful ‘I know she wants it’ narrative we see and hear in rape culture.
As award-winning sex educator Rukiat looks around the packed room, at a period poverty fundraiser she’s a panellist for, she notices one glaring issue. She is the only Black person there – both on the panel and in the audience. To her, this stark discrepancy isn’t a huge surprise considering most of the visible, sex and health educators are all white women and therefore the demographic that they naturally draw consists of white women.
If we look to sex and relationships podcasts , columns and the sex positive community as a whole, white women heavily dominate. Due to this lack of representation, and of the Black women that do exist in these spaces – lack of acknowledgement – the way in which Black women’s sexuality is represented across mainstream media is either non-existent or problematic.
While the non-existent representation is disheartening, it’s the problematic representation that reinforces negative stereotypes about Black women and they regularly manifest through hypersexualisation and desexualisation. These labels are seen and experienced every day, through the way Black women are approached and fetishised on dating apps to their portrayal in music videos, films and TV. Hypersexualisation and desexualisation harm all Black women, but it is specifically brutal to dark skinned and/or plus sized Black women.
This is part of the reason Rukiat is so passionate about the sex positive community. She became an avid and visible member after publicly exposing that she has herpes two years ago. Due to the overwhelming but supportive response, she continued to discuss sexual health on her growing Instagram platform and has since discussed a range of important sexual health matters.
Typically, hypersexualisation portrays Black women as sexual objects, rather than people with identities and feelings. Rukiat takes this definition one step further.
“I would describe the hypersexualisation of Black women as the ‘jezebel’ stereotype, [which is] this idea that Black women are insatiable when it comes to sex,” she says. “We have this sexual desire that is unquenched and an animalistic approach to sex.”
"Hypersexualisation portrays Black women as sexual objects"
This label can be seen across media, in popular hip-hop music videos and TV shows like Power , in which the only dark skinned female main character is highly sexually active – any time a male character gives her a crumb of attention, it leads to a sex scene shortly after. And this trait isn’t apparent in any other female (read: white) character.
If Black women are constantly perceived as “insatiable jezebels”, hypersexualised to the point where it is assumed that consent is a given and sexual advances are always wanted, then this reinforces the harmful ‘I know she wants it’ narrative we see and hear in rape culture.
If it isn’t hypersexualisation that Black women are experiencing, then it is desexualisation. This sits at the opposite end of the stereotypical spectrum, and it removes Black women's sexual power and attraction.
“The desexualisation of Black women is like the ‘mammy’ stereotype. Usually, [portrayed] as a Black woman who is overweight and dark skinned, and her existence is literally just to serve others,” Rukiat says. “In serving others, she's not sexually desirable or portrayed as attractive.”
For Rukiat, one key desexualisation example is Vivienne from Sex Education . She is a dark skinned, plus size character (and the only prominent Black female character in the show) and her role is purely to advise Jackson, be reliable and help him with his sex life and dating issues. Yet she struggles to secure a date herself.
The other character in the show who shares a similar role to Vivienne, Gillian Anderson’s Dr Jean Milburn, is a white, middle-aged sex therapist. Her occupation is purely to serve others, yet she is portrayed as incredibly desirable and is able to maintain her sexuality.
“It's just interesting to see how white women are still able to have a balance, whereas for Black women, it’s both ends of the extreme, there can’t be a middle ground,” Rukiat adds.
These stark stereotypes are constantly pushed as the ‘norm’ in mainstream culture and in turn penetrate public consciousness, making it difficult for Black women to effectively present and assert themselves into the sex positive movement.
Instead of only being presented with two ‘sex-tremes’, Rukiat wants balance, and for this balance to be attainable, Black women need to not only be involved in but lead the sex positive movement.
“If anybody needs sexual liberation the most, it’s Black women, especially when you look at the history of how our bodies have been treated,” she says.
She prides herself, as well as other Black sex educators, for representing that middle ground between hypersexualisation and desexualisation and her content truly manages to capture this balance.
"Those stereotypes aren't bad when there's multiple representations of black women”
Rukiat advises and educates her audience on consent, solo sex, STDs, vaginal discharge, communication and more, but also feels as if she’s able to express her sexuality the way she wants to, without losing desirability.
Once Black women can see themselves represented in a more positive light, both in the sex positive movement and across media, it will be easier to navigate this much needed balance and take charge of sex positive spaces without stereotypical labels. While there are Black women who willingly adopt these labels themselves, in attempts to reclaim these negative narratives, and Rukiat notes that there’s absolutely nothing wrong with that, what is needed is range.
She points to early 2000s Black sitcom, ‘Girlfriends’ as an ideal example of this range of representation. There are two dark skinned main characters and when the audience is initially introduced to them, one is portrayed as loud and ghetto, and has only had one sex partner in her lifetime, while the other is bougie and often only sleeps with rich men.
“Those stereotypes aren't bad when there's multiple representations of black women,” Rukiat says. “It's the same thing in terms of Black female sexuality, there just needs to be multiple representations. If you're going to have the hypersexual Black woman, have another Black woman there that isn't as hypersexual.”
Sexual liberation should present itself in different shapes, sizes, colours and hues. Black women need more positive representation to break away from the harmful stereotypes projected onto them. Hypersexualisation and desexualisation can have both a physical and mental effect on Black women and the way they view their worth.
As we continue to see sex educators like Rukiat shining, winning and being true to themselves and others, it will only be a matter of time before the sexually liberated community feels like it’s for Black women, rather than working against them.
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An intimate film about sex and sexuality with... "outstanding imagery" (Variety) and "a fittingly tumultuous climax" (Screen International)

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In 2018, the U.S. Congress passed the Allow States and Victims to Fight Online Sex Trafficking Act and the Stop Enabling Sex Traffickers Act – collectively known as FOSTA-SESTA – in an effort to combat online human trafficking.
According to Blavity , under the Trump-approved law, sites ranging from Facebook to sex directories like CityVibe became responsible for allowing content that seemed to facilitate sex trafficking.
Unfortunately, at this big age, America still can’t tell the difference between consensual sex work and trafficking. So the law has led to as much – if not more – disruption to the livelihood of sex workers than it has to the illegal sex trade. And it’s actually made sex work more dangerous by removing the ability sex workers had to pre-screen potential clients or even share reports about people known to do harm to sex workers, Prism reports .
For women of color, particularly Black women, the ongoing criminalization of sex work compounds a host of other issues, including a history of sexual violence that can be traced back to slavery, when the sexuality of Black women was “deeply embedded in the formation of capitalism,” as professor and researcher Rokeshia Ashley writes , due to the fact that the children of enslaved Black women would, in turn, become a sellable commodity as slaves.
Following the abolition of slavery, many Black women turned to sex work due to a lack of employment options. But there are records as far back as the 1920s and 30s of women engaging in sex work as an artistic expression or even to fulfill their own sexual desires. Unfortunately, that did nothing to remove the negative connotations associated with their work.
The stigma around sex work remains the driving force behind its criminalization in America. It has also created an environment that bolsters police-orchestrated sexual violence against women, more so for “Black women, who are over-policed, impoverished, and live in racially segregated communities, are marked as prime targets,” says Amnesty International .
As the industry has shifted to the internet for safer and sometimes more profitable work options, Black women have remained disproportionately impacted by racial capitalism. This became even more glaring during the pandemic when in-person or “full-service sex work” became almost impossible, and sex workers were not granted access to the same relief funds as other freelancers and business owners.
“The fact of the matter is that when we talk about racial capitalism, race, the size of your body, your body type—all of that is going to affect what kind of money you have and what level of clientele you have,” says Chicago-based sex worker and advocate femi babylon.
As the world marks the 21st anniversary of International Sex Worker Rights Day, it’s time to shift the dialogue to not only decriminalizing sex work, but to destigmatizing it as well, in an effort to create safer and more equitable conditions for the women who view themselves as “daughters, mothers, and wives; as workers; as pleasure-seekers and givers; and as religious and spiritual beings.”

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For whatever reason black female nudity is very scarce in Hollywood. There's just not alot of black nudity in movies (at least not since the Blaxploitation era). Even in low budget indie/b-movies they are rare, and i don't know why. But then again black female roles in media is kinda rare to begin with, so maybe i answered my own question. A part of me can't help but believe that the marginalization is a combination of social taboo among black women, and the standard of beauty being eurocentric features (especially blond hair and blue eyes) in the western world. But i digress. Here's a list of those rare occasion where a black actress has a nude scene.

Candace Smith was born and raised in Dayton, Ohio where she began performing at a young age at the Dayton Playhouse. She is an actress known for My Father Die (2016), End of Watch (2012) and Gimme Shelter (2013). Throughout high school and college, she participated in Drama as well as athletics. ...
shows her great looking fake tits in Beerfest. even white guys thought she was hot.

Sharqui Sanders is known for Trippin' (1999).

Halle Maria Berry was born Maria Halle Berry on August 14, 1966 in Cleveland, Ohio and raised in Bedford, Ohio to Judith Ann (Hawkins), a psychiatric nurse, and Jerome Jesse Berry, a hospital attendant. Her father was African-American and her mother is of mostly English and German descent. Halle ...

Pam Grier was born in Winston-Salem, NC, one of four children of Gwendolyn Sylvia (Samuels), a nurse, and Clarence Ransom Grier Jr., an Air Force mechanic. Pam has been a major African-American star from the early 1970s. Her career started in 1971, when Roger Corman of New World Pictures launched ...
obviously...though this is somewhat of a cheat since she's from the exploitation era.

Stacey Dash was born in the Bronx, New York. Stacy knew that she wanted to act, and from an early age began to act professionally. She made regular appearances on The Cosby Show (1984), The Fresh Prince of Bel-Air (1990), and also St. Elsewhere (1982). At 21 she made her feature film debut in Enemy ...

Lisa Bonet was born in San Francisco, California, to Arlene Joyce (Litman), a teacher, and Allen Bonet, an opera singer. She has lived most of her life in New York and Los Angeles; in L.A., she attended Reseda High School and Celluloid Actor's Studio. Her father was African-American and her mother ...
Bank Robber, Angel Heart (a great explicit scene too), and Dead Connection.

Naturi Naughton is an American Actress/Singer best known for her performance as "Tasha St. Patrick" in the hit show "Power" on the Starz Network. She has won 2 NAACP Image Awards for her performance in this role. Many also remember her thrilling portrayal of "Lil Kim" in Fox Searchlight's film "...
Notorious, who knew a pop-tart from a terrible pop-group would turn out to be a BOLD actress.

Actress |
Christina y la reconversión sexual

Josephine Jacqueline Jones was born in 1960 in Freeport, Bahamas. She is an actress, known for Christina (1984).
Black Venus, Christina, Love Circles, again i'm kinda cheating here, another exploitation actress from the early 80's

Actress |
Anacondas: The Hunt for the Blood Orchid

Salli Richardson-Whitfield is a 30 year industry veteran. She has been featured in over 20 major motion pictures and has starred opposite a number of Hollywood's top actors, including Samuel L. Jackson in THE GREAT WHITE HYPE, Denzel Washington in ANTWONE FISHER, and Will Smith in I AM LEGEND. On ...

Ebubennem Megalyn Ann Echikunwoke was born May 28, 1983 in Spokane, Washington. Her father was Nigerian and her mother is of English and Scots-Irish descent. Her last name, "Echikunwoke", means "leader of men" and Megalyn is the granddaughter of a Nigerian tribal leader of the Igbo, which ...

Traci Bingham was born on January 13, 1968 in Cambridge, Massachusetts, USA. She is an actress, known for East of Hollywood (2015), Baywatch (1989) and Bad Bizness (2003). She was previously married to Robb Vallier .
Demon Knight, but given her background you would have thought she would have more nude scenes.

Cynda Williams was born on May 17, 1966 in Chicago, Illinois, USA. She is an actress and producer, known for One False Move (1992), Mo' Better Blues (1990) and Mad As Hell (2021). She has been married to Roderick Plummer since July 26, 2001. They have one child. She was previously married to Arthur ...
Caught Up, Mo' Betta Blues, Spirit Lost, and Relax... It's Just Sex.

Actress-dancer-director Jasmine Guy has enjoyed a diverse career in television, theatre and film. She began her professional career at the Alvin Ailey American Dance Theater in New York City. Jasmine starred on Broadway in the original productions of Beehive and Leader of the Pack, and reprised hit..
3d Cartoon Free Porn
Red Dead Redemption Naked Girls
Foto Naked Girl Without Panties 11

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