Problematizing conveniently represented notions of race is essential in the fight not just for racial equality, but rather for the complete erasure of the racial binary. This involves adopting strategies stereotypically followed by a racial culture. Catalyzing this (semi-complicated, but really just poorly formulated abstract principle) is the notion of "passing". The shift presents itself as "more than just a racial strategy: it's a strategy for being a person." It is a strategy that allows for the abandonment of the stereotypically perceived behaviors of a racial sect, while embracing new cultural flavors. this facilitates the search for identity. However, it is “only when the passage becomes a subversive strategy to avoid the fences of a racist, classist and sexist society [that it becomes] truly liberating”. Because then the passage does not become a usurpation of a lifestyle/identity that one would like to be part of or would like to be, but rather a way to escape the Pygmalion erected by the society that defines and classifies the races of Helga Crane and Clare Kendry illustrates the different ways in which to confront and, arguably, problematize the racial binary, as Helga Crane aimlessly and insatiably searches for an identity - a "real" self - Clare Kendry continually complicates her racial identity by embracing a contradictory plurality of customs and attitudes ; behaviors - finally obtaining the liberation of ontological multiplicity. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Harlem Cabaret hypnotizes Helga. She gets lost in the sudden rhythm of the flow and finds herself drawn to the dancers' captivating and sexually suggestive moves. Soon, Helga finds herself "swept away, torn, beaten by the joyous, wild and dark orchestra" in a suggestive moment of sexual climax. But once the music fades, Helga reevaluates and states that "he was not, she told herself, a creature of the jungle..." The dissonance Helga feels is powerful. It's clear that she enjoys cabaret more than anything else, yet the reader sees her trying to convince herself otherwise. Why? Helga Crane is a victim of the racial binary. Helga Crane feels that her desire, as well as her fascination with the dancers, is misplaced. And, unfortunately, Helga feels this tension (between sexual freedom and moderation) throughout the novel. In its fight for equality, the black social elite wanted women to emulate the conventions of traditional society. Maintaining a good image aimed not only to bring about change within the race, but also to combat white stereotypes that fueled discrimination against blacks. And so, depicted as primitive and promiscuous since the days of slavery, black women suppressed their sexuality and adhered heavily to contemporary ideas of social correctness. Helga does the same here. Helga “wants to belong to herself and herself alone” but never stops to ask herself whether it is possible to have an identity that is (a) completely self-defined and (b) the solution to her problem. “Helga is never confronted with the fact that perhaps her identity is both plural and social and therefore she will never be able to stop passing; It's always in quicksand. Helga thinks she has to choose between two identities: the black one and the white one. “Why couldn't she have two lives, or why couldn't she at least be satisfied in one place? Despite her racial characteristics, she didn't belong among these dark, segregated people," Helga says. "She was different. He felt it. It wasn't simply a question of color. " Helga seeks a synthesis of herself; a way to reconcile the inconsistencies between what she feels and what, 1995.