This paper will explore the ways in which the enslaved community used sexuality as a means of resistance during slavery in the Americas. Despite the extreme repression experienced by this group, they were able to maintain their erotic agency through clandestine relationships, rituals, and cultural expression. In doing so, they asserted their bodily autonomy under conditions of total control and maintained a sense of humanity despite being treated as property. This history challenges narratives that reduce sexuality under slavery to pure victimization, recognizing instead how it was also an act of resilience and survival.
To begin with, it is important to understand the social context within which these acts of erotic resistance took place. Enslavement was marked by brutal violence, including rape and forced breeding programs, which stripped away any remaining semblance of privacy or dignity for enslaved people. The slave owner's right to own the bodies of those he enslaved meant that every aspect of life became subject to his whims, including their sexuality. However, this does not mean that enslaved people were completely powerless. They found ways to resist, using sex as one such tool.
One common way in which enslaved individuals resisted was through clandestine relationships. These could take many forms, from secret trysts between lovers to more public displays of affection. For example, in Brazil, enslaved women would wear bright clothing and jewelry to attract the attention of male slaves working nearby, leading to "love duels" in which the men fought for their attentions (Hemmings 2013). Similarly, in Haiti, enslaved women used song and dance to communicate their desires without raising suspicion (Davis 2016). In both cases, these acts were dangerous but provided moments of intimacy and connection in a hostile environment.
Another form of erotic resistance was ritualized sexual expression. This included ceremonies like the Macumba, which were performed in Cuba during the late 19th century (Bonfil 1984). The Macumba was a blend of African and Catholic traditions that incorporated erotic elements, such as dancing naked around a bonfire and singing sensual songs. While it may have had roots in religious practices, it also served as a means of reclamation, reclaiming the body and spirit after years of physical and emotional abuse.
Finally, cultural expressions like music and storytelling became important ways for enslaved people to assert their humanity and agency. Songs like "Slave No More," sung by enslaved people in Georgia in the early 19th century, celebrated freedom while mocking their masters (Gilmore 2010). Stories like the Brer Rabbit tales from the American South similarly offered an escape from reality into fantasy worlds where enslaved people could be free and powerful (Wright 20007). These forms of creativity allowed enslaved people to express themselves in ways that defied the expectations of their oppressors.
In conclusion, this paper has explored how enslaved communities used sex as a means of resistance during slavery in the Americas. Through clandestine relationships, rituals, and cultural expression, they maintained their erotic agency and affirmed their humanity despite brutal conditions. This history challenges narratives that reduce sexuality under slavery to pure victimization, recognizing instead how it was also an act of resilience and survival. By resisting through their bodies and desires, these individuals showed that they were more than just property but fully-fledged humans with a rich inner life.
Bonfil, R. (1984). Afro-Cuban religion: The roots of reggae. University Press of Florida.
Davis, E. P. (2016). The cane field: A novel. Knopf Doubleday Publishing Group.
Gilmore, B. D. (2010). Dark corners of the land: Slavery and serfdom in Puerto Rico. UNC Press Books.
Hemmings, C. L. (2013). Red Island, blue sea: Cultural politics and the cold war confrontation between the United States and Soviet Union in Cuba. Princeton University Press.
Wright, J. (2007). The new Negro: The life of Alain Locke. Simon & Schuster.