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Topic: Blackface minstrelsy

	Minstrel show - Wikipedia, the free encyclopedia
		Blackface characters began appearing on the American stage by the late 17th century, usually as servant types with little role but to provide some element of comic relief.
		Among the appeals and racial stereotypes of early flface performance were the pleasure of the grotesque and its infantilization of fls.
		Minstrelsy's racism (and misogyny) could be rather vicious.
	en.wikipedia.org /wiki/Minstrel_show (7532 words)

	Racial (Co)Option: Visualizing Whiteness in Suburban Space
		The history of flface minstrelsy within the United States is one of the clearest windows into the tortured racial history of this society.
		Blackface minstrelsy emerged from the Vaudeville stage of the nineteenth century as a form of entertainment.
		The act of flface minstrelsy is also one of the easiest cultural spaces to mark the projection and solidification of whiteness.
	astro.ocis.temple.edu /~ruby/aaa/matt.html (2443 words)

	Antebellum and Civil War America, 1784-1865
		People who are unfamiliar with popular entertainment of the 19th century probably would not know what flface minstrelsy is. Blackface minstrelsy, which derived its name from the white performers who flened their faces with burnt cork, was a popular form of entertainment of the 19th century.
		Blackface minstrelsy was known not only for its lively songs and dances, but also for its infamous use of outlandish stereotypes and offensive dialect.
		Blackface minstrelsy should not only be remembered for its dialect, songs, or over-exaggereated stereotypes but also for its historical importance.
	www.uncp.edu /home/canada/work/allam/17841865/music4.htm (1342 words)

	[ wu :: truth(racism) ]
		Blackface performances may embarrass us today, but far from being an aberration, minstrelsy is part of a huge complex of folk practices.
		Blackface performers on the London and colonial stages of the eighteenth and early nineteenth centuries were often comics, derived ultimately from the servi of Plautus.
		Later the flface transvestites would adopt one of two distinct roles: that of the coal-fl mammy, grotesquely disfigured and comically dressed in rags with huge feet, and the lighter-skinned octoroon, or 'yellow gal'.
	www.ocf.berkeley.edu /~wwu/truth/racism.shtml (1718 words)

	Raising Minstrelsy: Humour, Satire and the Stereotype in The Birth of a Nation and Bamboozled (Site not responding. Last check: 2007-11-04)
		Minstrelsy for Lott is still a racist genre, but inflected (at least as it was deployed in antebellum America) with the potential to challenge class divisions that privilege the few.
		Finally, because both films rely on flface conventions to achieve their widely divergent effects, and, as in nineteenth-century minstrel shows, flface in them is messy and difficult to unpack, both of these films promise to provide crucial insight into minstrel conventions and stereotypes that continually resurface in American mass entertainment.
		Here, flface carries a specific interpellative quality: when audiences were faced with flface, they were called on to participate knowingly in their own duping in order to participate in the power of mass culture (a power associated with whiteness”;).
	www.utpjournals.com /product/cras/331/epp.html (5896 words)

	Center of Gravitas: Phantom Minstrelsy
		Blackface minstrelsy, to my horror, seems poised to make a major come back.
		Minstrelsy first appeared in the U.S. on the eve of the Civil War.
		We have to consider that the reappearance of flface minstrelsy within the gay community suggests a much greater and complex system of institutional racism.
	centerofgravitas.blogspot.com /2005/11/phantom-minstrelsy.html (1348 words)

	Theater Studies > Alumni
		The third part of my book argues that flface minstrelsy in the U. followed this British model by engendering a formal conflict between sight and sound, by using minstrelsy as a means to national identity, and by borrowing heavily from Scottish culture while seeking its own Other among African Americans.
		Importantly, this more aural phase in minstrelsy preceded the use of the word “minstrel” to apply to flface, the first instance of which appears to be 1842.
		By the end of the nineteenth century, minstrelsy had lost the voice that had once unified fl and white audiences and was replaced by the stereotyping spectacle we associate with the word today.
	fds.duke.edu /db?pubs-37-0-0-0-1-3-1 (2944 words)

	John Wanamaker Collections - Mellon Picks - Historical Society of Pennsylvnia
		Dumont also collected programs and memorabilia pertaining to minstrelsy, and in 1902 he created an enormous volume (33"x24"x4") of approximately 200 pages that emphasized minstrelsy's ties to the circus and documented the history of this musical and cultural phenomenon.
		Minstrelsy's negative depiction of fls and sympathetic view of slaveholders encouraged white audiences to be conscious of color distinctions, not class barriers, and by doing so created a forum in which northern and western whites could identify with southern slaveholders.
		Minstrelsy contributed greatly to the popularization of characters like Zip Coon and Jim Crow and perpetuated the notion that fls were lazy, thieving, simple-minded tricksters.
	www2.hsp.org /collections/manuscripts/Mellon (1213 words)

	Minstrelsy (Site not responding. Last check: 2007-11-04)
		Blackface imitators, he said, were "the filthy scum of white society, who have stolen from us a complexion denied to them by nature, in which to make money, and pander to the corrupt taste of their white fellow citizens"–a denunciation that nicely captures minstrelsy's further commodification of an already enslaved, non-citizen people.
		These judgments appear extremely misguided today, given that flface minstrelsy's century-long commercial regulation of fl cultural practices stalled the development of Negro public arts and generated an enduring narrative of racist ideology–a historical process by which an entire people has been made the bearer of another people's "folk" culture.
		Jews were the immigrant group most identified with fls, and one form of that identification, flface, defamiliarizes the other, the Jewish-fl Civil Rights alliance, as it appears on the Hollywood screen.
	home.messiah.edu /~PPowers/EthnicLit/minstrelsy.htm (624 words)

	Minstrelsy and Vaudeville (Site not responding. Last check: 2007-11-04)
		Minstrelsy is characterized primarily by the use of "flface" (typically burned, pulverized champagne corks mixed with water or petroleum jelly).
		Blackface served as a racial marker, suggesting that the performer would be portraying aspects of African American culture.
		Main instruments included the banjo, the fiddle, a tambourine (larger and with fewer rattles than today), and the "bones." Bones were animal rib bones or hardwood sticks of similar size, a pair in each hand, held between the fingers and played with a rapid wrist action to produce a sound similar to that of castanets.
	www.music.eku.edu /faculty/nelson/mus273/minstrel.html (621 words)

	Eric Lott: Love and Theft : Blackface Minstrelsy and the American Working Class (Race and American Culture) - Bøger
		Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural
		I was not able to grasp everything that the author had to say about flface minstrelsy but what I did find was an interesting perspective.
		There are some very interesting things to say about flface minstrelsy, but if Lott says them, they are lost to me in between the countless references to sex.
	www.totaltiorden.dk /shop/product_details.php/019509641X (956 words)

	ISAM Newsletter: Rethinking Race in 19th-Century Minstrelsy
		While early work in minstrelsy concentrated solely on race and racial stereotypes, several current scholars have sought to nuance this situation by suggesting that minstrelsy not only signified an entrenched marker of African American derision and difference, but also held multiple and complex meanings for nineteenth-century American audiences.
		For Mahar, flface minstrelsy becomes a means of social critique expressed through humor, rather than masquerades and senseless depictions of racial stereotypes.
		Minstrelsy is, in effect, made safe by expunging from it the painful details of racism.
	depthome.brooklyn.cuny.edu /isam/gibson.html (979 words)

	Every Time I Turn Around
		This usage of flface for political action disguised as entertainment persisted in America when the descendants of these men flened their faces to protest taxes.
		Blackface then had political and emotional connotations in English and Anglo-American society that went far beyond the slave and the plantation.
		This lady (played by a woman) was surrounded by a bevy of flfaced mammies as she danced and sang.
	www.ferris.edu /news/jimcrow/links/comer (3525 words)

	Harvard University Press:Raising Cain
		In this stimulating study, W. Lharmon argues that the fl minstrel shows--an evening's entertainment based on 'songs, dances and patter purporting to be the behaviour of southern [American] field hands'--enjoyed such booming audiences in the 1840s that they can be envisaged as outcasts who took the popular stage by storm.
		To the standard account of the beginnings of fl minstrelsy in 1843, when Dan Emmett's Virginia Minstrels first performed at the Chatham Theatre, Lhamon adds an interesting discussion of precursors, such as the open-air performers in New York's marketplaces and the more improvised 'plantation frolics'...
		The history and historiography of minstrelsy and mimesis are folded into powerful readings of texts, performances, and films that are both well-known and entirely unfamiliar.Throughout, 'theoretical' commentaries on culture and its transactional workings are skillfully interwoven with Lhamon's own observations and critical expositions.
	www.hup.harvard.edu /catalog/LHARAI.html?show=reviews (830 words)

	American Experience \| Stephen Foster \| Special Features
		Before the 1830s, when flface minstrelsy begins formally, African Americans, people whom we today would call African Americans, have been involved in local entertainment.
		But what happens with flface minstrelsy is that it begins the formal or well-organized entertainment industry in the United States because flface minstrelsy is created by a small number of people who then begin touring all over the country and indeed to western Europe and to other parts of the world.
		Minstrelsy swept the world in the 1830s and 1840s much the same way that rock and roll did more than a hundred years later.
	www.pbs.org /wgbh/amex/foster/sfeature/sf_minstrelsy_1.html (232 words)

	American Experience \| Stephen Foster \| Special Features
		Learn more about the history and legacy of the flface minstrel show in these excerpts of interviews with historians Dale Cockrell, Eric Lott, Deane Root, Fath Ruffins, and Josephine Wright, writers Ken Emerson and Mel Watkins, and performers Nanci Griffith and Thomas Hampson.
		Although flface minstrelsy was racist, did it have any benefit for African Americans?
		What's the connection between flface minstrelsy and rock and roll?
	www.pbs.org /wgbh/amex/foster/sfeature/sf_minstrelsy.html (115 words)

	Blackface Minstrelsy Homepage (Site not responding. Last check: 2007-11-04)
		One of the really significant technical questions that will have to be answered as we go along is how to present minstrelsy as a performative genre -- whether there are ways to use the technology to recreate what it was in the last century, i.e.
		The first time Aiken's dramatic version of UTC was performed, for example, the audience's initial response to Tom's voice was to laugh, even though the words are full of grief.
		That was the way minstrelsy had conditioned white Americans to respond to the version of the African American voice it constructed.
	etext.lib.virginia.edu /railton/uncletom/minstrelsyhp.html (199 words)

	[No title] (Site not responding. Last check: 2007-11-04)
		Despite minstrelsy's well-known racism and nationalism, and abolitionism's defense of African Americans, these two cultural forms existed side-by-side because of the ideological ambiguity of both forms regarding African Americans and slavery.
		Chapter Three: Blackface Minstrelsy and Cultural Nationalism (includes an analysis of literary and cultural nationalism in the United States between 1787 and 1871; an argument that flface minstrelsy and slave narratives fulfill this demand with uniquely American expressions; an argument that slave narratives and minstrel songs are more central to American literature than previously assumed).
		Chapter Four: Blackface Minstrelsy in Britain (includes an analysis of the popularity of flface minstrelsy in Britain and how it is compatible with abolitionism).
	www.bsu.edu /classes/atkins/facultyforum/nowatzki.htm (697 words)

	Gaming - High Tech Blackface - Leonard
		The resemblance to minstrelsy transcends the fact that white cyber athletes primarily compete, but with the ideologies, images and power that define this high-tech form of flface.
		In borrowing from Eric Lott's work on minstrelsy, video games reflect, "the dialectical flickering of racial insult and racial envy, moments of domination and moments of liberation, counterfeit and currency." [9] In other words, these games reveal white supremacy in the form of both contempt and desire.
		The commodification of fl urban aesthetics, in the form of trash-talking, taunting, showboating, tattoos, earrings, violence and aggressive behavior signifies patterns of minstrelsy given the pleasure of becoming the or becoming part of an imagined fl body, community, or aesthetic.
	www.intelligentagent.com /archive/Vol4_No4_gaming_leonard.htm (3285 words)

	Black-Face Minstrelsy
		The question remains, however, whether in some sense MT is enacting a version of minstrelsy in the novel as a whole, with Jim cast in the role of the "minstrel darky." Would contemporary readers have heard Huck's conversations with Jim as simply a written version of the familiar "Ethopian dialogues" between Mr.
		How familiar MT's contemporary white audience would have been with the stereotypes of minstrelsy is indicated by the many notices and ads for minstrel performances that I found while looking for reviews of MT's early lectures in newspapers from Cleveland or Peoria or Newark.
		But the question of what kind of "source" minstrelsy was for MT's novel remains unanswered by a reference to the racist prejudices of his popular audience.
	etext.lib.virginia.edu /railton/huckfinn/minstrl.html (1274 words)

	The E. Azalia Hackley Collection - Sheet Music Collection
		Anderson, L. "From flface to 'genuine Negroes': nineteenth-century minstrelsy and the icon of the 'Negro'".
		A study of flface minstrels in the first half of the nineteenth century.
		Reassesses relationship between flface comedy and other genres and traditions of Western theater; between the music of minstrel shows and its European sources, between flface performance and socially constructed identities and between popular and elite culture.
	www.thehackley.org /bibliography.html (2494 words)

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