Burnt cork : traditions and legacies of blackface minstrelsy

Beginning in the 1830s and continuing for more than a century, blackface minstrelsy--stage performances that claimed to represent the culture of black Americans--remained arguably the most popular entertainment in North America. A renewed scholarly interest in this contentious form of entertainment has produced studies treating a range of issues: its contradictory depictions of class, race, and gender; its role in the development of racial stereotyping; and its legacy in humor, dance, and music, and in live performance, film, and television. The style and substance of minstrelsy persist in popular music, tap and hip-hop dance, the language of the standup comic, and everyday rituals of contemporary culture. The blackface makeup all but disappeared for a time, though its influence never diminished--and recently, even the makeup has been making a comeback. This collection of original essays brings together a group of prominent scholars of blackface performance to reflect on this complex and troublesome tradition. Essays consider the early relationship of the blackface performer with American politics and the antislavery movement; the relationship of minstrels to the commonplace compromises of the touring show business and to the mechanization of the industrial revolution; the exploration and exploitation of blackface in the mass media, by D. W. Griffith and Spike Lee, in early sound animation, and in reality television; and the recent reappropriation of the form at home and abroad. In addition to the editor, contributors include Dale Cockrell, Catherine Cole, Louis Chude-Sokei, W. T. Lhamon, Alice Maurice, Nicholas Sammond, and Linda Williams. Cover 1 Contents 6 Title Page 4 Copyright 5 List of Illustrations 8 Acknowledgments 12 Introduction: The Persistence of Blackface and the Minstrel Tradition 16 1. Turning around Jim Crow 33 2. Of Soundscapes and Blackface: From Fools to Foster 66 3. Death and the Minstrel: Race, Madness, and Art in the Last (W)Rites of Three Early Blackface Performers 88 4. The Uncanny History of Minstrels and Machines, 1835–1923 119 5. Surprised by Blackface: D. W. Griffith and One Exciting Night 148 6. “Gentlemen, Please Be Seated”: Racial Masquerade and Sadomasochism in 1930s Animation 179 7. From New Deal to No Deal: Blackface Minstrelsy, Bamboozled, and Reality Television 206 8. American Ghetto Parties and Ghanaian Concert Parties: A Transnational Perspective on Blackface 238 Notes on Contributors 274 Index 276 Back Cover 282 Literary Criticism,American,African American & Black,Performing Arts,Theater,General,History & Criticism,Social Science,Ethnic Studies,African American & Black Studies,discrimination Beginning In The 1830s And Continuing For More Than A Century, Blackface Minstrelsy--stage Performances That Claimed To Represent The Culture Of Black Americans--remained Arguably The Most Popular Entertainment In North America. A Renewed Scholarly Interest In This Contentious Form Of Entertainment Has Produced Studies Treating A Range Of Issues: Its Contradictory Depictions Of Class, Race, And Gender; Its Role In The Development Of Racial Stereotyping; And Its Legacy In Humor, Dance, And Music, And In Live Performance, Film, And Television. The Style And Substance Of Minstrelsy Persist In Popular Music, Tap And Hip-hop Dance, The Language Of The Standup Comic, And Everyday Rituals Of Contemporary Culture. The Blackface Makeup All But Disappeared For A Time, Though Its Influence Never Diminished--and Recently, Even The Makeup Has Been Making A Comeback. This Collection Of Original Essays Brings Together A Group Of Prominent Scholars Of Blackface Performance To Reflect On This Complex And Troublesome Tradition. Essays Consider The Early Relationship Of The Blackface Performer With American Politics And The Antislavery Movement; The Relationship Of Minstrels To The Commonplace Compromises Of The Touring Show Business And To The Mechanization Of The Industrial Revolution; The Exploration And Exploitation Of Blackface In The Mass Media, By D. W. Griffith And Spike Lee, In Early Sound Animation, And In Reality Television; And The Recent Reappropriation Of The Form At Home And Abroad [publisher Description] Introduction: The Persistence Of Blackface And The Minstrel Tradition / Stephen Johnson -- Turning Around Jim Crow / W. T. Lhamon Jr. -- Of Soundscapes And Blackface: From Fools To Foster / Dale Cockrell -- Death And The Minstrel: Race, Madness, And Art In The Last (w)rites Of Three Early Blackface Performers / Stephen Johnson -- The Uncanny History Of Minstrels And Machines, 1835/1923 / Louis Chude-sokei -- Surprised By Blackface: D.w. Griffith And One Exciting Night / Linda Williams -- Gentlemen, Please Be Seated: Racial Masquerade And Sadomasochism In 1930s Animation / Nicholas Sammond -- From New Deal To No Deal: Blackface Minstrelsy, Bamboozled, And Reality Television / Alice Maurice -- American Ghetto Parties And Ghanaian Concert Parties: A Transnational Perspective On Blackface / Catherine M. Cole. Edited By Stephen Johnson. Includes Bibliographical References And Index. Beginning in the 1830s and continuing for more than a century, blackface minstrelsy-stage performances that claimed to represent the culture of black Americans- remained arguably the most popular entertainment in North America. A renewed scholarly interest in this contentious form of entertainment has produced studies treating a range of issues: its contradictory depictions of class, race, and gender; its role in the development of racial stereotyping; and its legacy in humor, dance, and music, and in live performance, film, and television. The style and substance of minstrelsy persist in popular music, tap and hip-hop dance, the language of the standup comic, and everyday rituals of contemporary culture. The blackface makeup all but disappeared for a time, though its influence never diminished-and recently, even the makeup has been making a comeback