Power Struggle In Ma Rainey's Black Bottom

As Ma Rainey's Black Bottom indicates, an issue such as classism is not merely an ideology, but a way that differentiates the classes on a social and economic scale. Classism is reflected in the play where the people on the top feel they are naturally superior to those on the bottom, especially displayed through the set-up of the recording studio. Irvin and Sturdyvant are at the top of the economic scale and are characterized as the leaders of those below them. They feel that because they are of the higher social class, they automatically fit the position of power. Although the separation of classes is evident in the play, Ma Rainey makes it clear that she will not succumb to the white man. Instead, there is a power struggle between Ma Rainey
and Irvin, where she tries to show that she is worthy of respect. Looking at the text through the lens of Marxist criticism, August Wilson's Ma Rainey's Black Bottom explores classism concerning the effects it has on those within the play through their struggle to gain power. The set-up of the recording studio in Ma Rainey's Black Bottom is clearly a separation of classes. Irvin and Sturdyvant remain at the top of the studio with feelings of superiority to those below them. Those on the top feel that they are better than those on the bottom because they hold the position of leadership and power. Irvin is characterized to "pride himself on his knowledge of blacks and his ability to deal with them" (Wilson 17). On the other hand, Sturdyvant prefers to "deal with them at arms length" (Wilson 17). Sturdyvant has no direct relation with the band members in the studio. He feels that his position of power puts him in a position not to accept any of the "shenanigans" given to him by the band. On the other hand, Irvin remains to be the direct link between those at the top and bottom of the studio. While Cutler is asking him about what version of the song to play, Irvin constantly cuts him off. Not allowing Cutler to finish his sentences shows the amount of disrespect he holds for him. Irvin feels he knows how to deal with the band members because they are viewed as inferior and should hold a certain level of respect for him. He acts as if he is more intelligent than the band members and knows what kind of music the public will like. As far as the band members are concerned, nothing is open for discussion. Whatever the "boss" would like to happen is what is expected to happen. The band members are expected to follow the rules and remain on the bottom of the scale. Cutler, Toledo, Slow Drag, and Levee all remain in the band room which is in the basement of the building.
This basement represents the bottom of the class scale. Their value as human beings is not as meaningful as those on the top. Toledo knows that if blacks continue to remain at the bottom of the social and economic scale, they will never rise. Toledo states that as long as the colored man look to white folks to put the crown on what he say…as long as he looks to white folks for approval…then he ain't
never gonna find out who he is and what he's about. (Wilson 37)
With Irvin and Sturdyvant being at the top, the band members currently look up to them for approval. This promotes whites as holding all power as leaders while forcing blacks to the bottom of the scale. Just as the band room was moved from upstairs to downstairs, the members of the band are also continuously pushed to the bottom. Sturdyvant and Irvin want to remain at the top of the studio so they can supervise what goes on below them and make sure that no one oversteps their boundaries. However, Ma Rainey constantly oversteps the boundaries placed before her on the social scale. Although Ma Rainey is at the bottom of the class scale, she does not allow those at the top to hold her down. Irvin tries to tell Ma Rainey that Sturdyvant and he decided what version of the song would be better to sing, but she does not approve of their decision. Ma Rainey cuts him off and asks, "You decided, huh? I'm just a bump on the log. I'm gonna go which ever way the river drift. Is that it?" (Wilson 63) Ma Rainey makes it clear that she will not listen to what they have to say. She says that she will only listen to her heart and the voice inside of her. Ma Rainey is in a power struggle with white supremacy and refuses to be forced to the bottom. Instead, she forces Irvin to get the charges dropped against her. She forces him to allow them to sing the song the way she desires. She also forces him to stop the studio session to get her a Coke. Ma Rainey clearly has power that she uses as a way to avoid being forced under by the white man. Ma Rainey is not alone in her struggle to rise above the bottom of the class scale. Levee believes that he has the secret to handle those above him. While Ma Rainey feels that taking a stand for what she believes in and not allowing anyone to regulate her actions is the way to get higher, Levee feels that one must first sit back and "grin in the cracker's face" (Wilson 70). Levee's experience with his father makes him believe that one must just relax and plan how to get back at the white man while showing the utmost respect. Classism, by definition, states that "people at the bottom of the social scale, it follows, are naturally shiftless, lazy, and irresponsible" (Tyson 56). Levee is trying to remove himself from this lower scale. He no longer wants to be viewed as the lazy, irresponsible black man. He has the perception that whites are of the upper class now, but they will not remain that way. He has dreams to one day move up along the ladder of classes so that he may be socially accepted in society. A Marxist perspective of August Wilson's Ma Rainey's Black Bottom shows how the play promotes classism, but at the same time rejects it.
While the separation of classes is evident in the play, the black characters reject the notion of remaining at the bottom of the class scale. Irvin and Sturdyvant remain at the top of the scale throughout the play and try to dominate the other characters. Sturdyvant does not want to be in business with blacks. But since he has no choice, he keeps as far a distance from them as possible while still trying to control their actions. Irvin believes he has the key to keeping blacks under control. However, when Ma Rainey arrives, he seems to use that key to open the door for her to control him instead. Ma Rainey is distinctly in a lower class from those at the top of the studio, but she refuses to be held down at the bottom in her search to rise to the
top.