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The flapper lifestyle is indeed unique in a certain sense; if I were to define these women, I would call them a phenomenon contradictory in their phenomenal contradictoriness. It may sound confusing, but that is precisely the feeling flappers invoke in other people. I admit the existence of this phenomenon because its presence is apparent in society – women finally received the emancipation they craved, and they are rightfully plundering the results (Jin, 2021). Now, I call this phenomenon contradictory for many reasons, but mainly because of the freedom of expression that comes with it and how it is perceived by flappers themselves and other people. These women showcase their many-faceted female beauty in how they dress, the haircuts they choose, and how they interact with other society members without any fear or restraint. I see strength and great courage right on the edge of audacity and insolence.
However, a much broader, phenomenal contradictoriness can be seen in the comparison of women “before” and “after” the flappers’ occurrence. Flappers go nowhere near the “traditional” female values that imply being modest and staying in the men’s shadow while men do their job. One might argue that the flapper phenomenon is a progressive change designed to overthrow traditional American values, but I cannot agree. The contradictoriness is so phenomenal that it simultaneously manages to be the change and the preservation. In many ways, it does change the usual women’s perception. Still, it does so under the craving for freedom, and I believe the latter is the most traditional and American value of all. I cannot help but support flappers; I am a jazz musician, and jazz itself is something new and contradictory. Thus, I perfectly understand flappers’ struggle to prove their right to exist.
References
Jin, H. (2021). Chanel’s ford: A revolution of women’s rights and fashion. International Journal of Arts Humanities and Social Sciences Studies, 6(11), 96-101.
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