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Topic: Minstrelsy

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	Minstrelsy of the Scottish Border
		Minstrelsy of the Scottish Border: Consisting of Historical and Romantic Ballads, Collected in the Southern Counties of Scotland; With a Few of Modern Date, Founded Upon Local Tradition.
		Among the pieces that Scott originally intended for the third volume was a tale of Border rivalry which rapidly grew too long for the Minstrelsy and would eventually appear as Scott's first verse narrative The Lay of the Last Minstrel.
		The Minstrelsy sold well on both sides of the border, and the first edition was exhausted in six months.
	www.walterscott.lib.ed.ac.uk /works/poetry/minstrelsy.html (781 words)

	Blackface - Wikipedia, the free encyclopedia
		Blackface minstrelsy's groundbreaking appropriation, exploitation, and assimilation of African-American culture—as well as the inter-ethnic artistic collaborations that stemmed from it—were but a prologue to the lucrative packaging, marketing, and dissemination of African-American cultural expression and its myriad derivative forms in today's world popular culture.
		In part because of the popularity of flface minstrelsy, the banjo, which is African-American in origin, became a standard feature of country and bluegrass music.
		Sometimes it is done with a good deal of calculation by, for example, the many white lead performers who use fl backup singers and musicians; or (as bell hooks argues), when Madonna uses fl male dancers to give her stage show a transgressive, sexually charged patina.
	en.wikipedia.org /wiki/Blackface (4355 words)

	Minstrelsy
		Although fl minstrel companies were largely trapped by the stereotypes of white minstrelsy, they nonetheless provided an important showcase for fl performing talent and served as a springboard for fl participation in the twentieth-century entertainment industry.
		By the turn of the century, professional minstrelsy was in decline.
		Evan Esar's The Comic Encyclopedia observed that minstrelsy's endmen, the most popular minstrel characters, were "chiefly responsible for turning riddle wit in America into gags." During the twentieth century, their comic legacy would help shape not just vaudeville but also American musical theater, motion pictures, radio, and television.
	archive.blackvoices.com /research/encarta/tt_200.asp (2568 words)

	[No title]
		Ultimately, neither drag nor minstrelsy proves to be entirely subversive or repressive, but a query into this intersection of race and gender performance reveals covert systems of desire and control, pleasure and power that begin to explain the limited successes and failures of both types of parody.
		Yet Lott asserts a more complex relation between society and minstrelsy; he claims that "the audiences involved in early minstrelsy were not universally derisive of African Americans or their culture, and that there was a range of responses to the minstrel show which points to an instability or contradiction in the form itself" (15).
		Both drag and minstrelsy seem dangerously close to reifying agents of hegemonic power when they take their performances too far to be "real," and, conversely, when they touch on aspects of reality that deny their subversive potential.
	www.genders.org /g41/g41_godfrey.txt (6913 words)

	Minstrel shows
		Minstrelsy was a product of its time, the only entertainment form born out of blind bigotry.
		Minstrelsy's comic characterization of Negroes was often hateful, but it marked the unintentional beginning of a lasting trend in American popular culture.
		Minstrelsy was the first example of the way American popular culture would exploit and manipulate Afro-Americans and their culture to please and benefit white Americans.
	www.musicals101.com /minstrel.htm (1153 words)

	Raising Minstrelsy: Humour, Satire and the Stereotype in The Birth of a Nation and Bamboozled (Site not responding. Last check: 2007-10-26)
		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.
		Lott agrees minstrelsy’s comic effects were sometimes rich and complex, noting that condemning minstrelsy’s humour is “a suspiciously respectable move, and an easy one at that” (141).
		To raise minstrelsy, in whatever context, is to raise a terrifying tradition of modern mass culture.
	www.utpjournals.com /product/cras/331/epp.html (5896 words)

	Minstrelsy and Vaudeville (Site not responding. Last check: 2007-10-26)
		Minstrelsy is characterized primarily by the use of "flface" (typically burned, pulverized champagne corks mixed with water or petroleum jelly).
		Minstrelsy had a tremendous impact on musical theater, both in the 19th century and after.
		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)

	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)

	UVa Library: Exhibits: Lift Every Voice: Minstrels
		Professional minstrelsy waned at the turn of the century as troupes turned to vaudeville, burlesque, and the emerging Broadway musical theater.
		By the mid-nineteenth century, Foster made a conscious attempt to counter the excesses of flface minstrelsy, omitting the crude dialect used in earlier songs and refusing to permit his sheet music to display caricatured images of African Americans.
		Sensitivity to the inherent racism in minstrelsy led many schools to abandon his songs in the 1950s and 1960s, but more recent scholarship has restored their standing in the annals of American song.
	www.lib.virginia.edu /small/exhibits/music/minstrels.html (973 words)

	Robert Christgau: In Search of Jim Crow: Minstrelsy
		In contrast, the Manhattan of early minstrelsy (and early Jacksonian democracy) was a hotbed of miscegenation.
		The theory is that logocentrism does the story of minstrelsy even less justice than it does most history--that we must somehow make the imaginative leap from the published scripts and songs to performed music, dance, and slapstick, but especially music, which constituted two-thirds of most playbills.
		It established that in a Euro-America obsessed with African retentions (the violence of the blood, the puissance of the penis, the docility of the grin), music was the star attraction, especially for the young riffraff who gave American cities their bustle.
	www.robertchristgau.com /xg/music/minstrel-bel.php (6160 words)

	"THE ELDER PRESENCES:"
		By examining the complicated genealogy of minstrelsy and minstrel show representations of race (especially their incorporation in American literary discourse), and similarly examining the origins of The Dream Songs in Berryman's evolving poetics, I hope to lay a groundwork in which the implications of Berryman's appropriation of the minstrel discourse might be more soberly evaluated.
		Whether an author can mimic the action of minstrelsy while not engaging in minstrelsy's legacy of racial domination is unclear, and it is similarly uncertain whether the basic inclusion of the rhetorical tropes of the form necessitate performances which codify a demeaning lineage of racial representation.
		In the necessarily complicate interaction that minstrelsy has between its notions of freedom and facelessness, of personality and impersonality, of multivocalism and ventriloquism, of egalitarianism and inequality, of flness and whiteness, of parody and pastiche, flface allowed Berryman to chart in parallel series his poetic struggles with the creation of a new type of poetry.
	refference.blogspot.com /thesis.html (10890 words)

	St. James Encyclopedia of Pop Culture: Blackface Minstrelsy
		Taboo since the early 1950s,; flface minstrelsy developed in the late 1820s just as the young United States was attempting to assert a national identity distinct from Britain's.
		Blackface minstrelsy was a performance style that usually consisted of several white male performers parodying the songs, dances, and speech patterns of Southern fls.
		Blackface minstrelsy can certainly be viewed as the commodification of racist stereotypes, but it can also be seen as the white fascination with and appropriation of African American cultural traditions that culminated in the popularization of jazz, the blues, rock 'n' roll, and rap music.
	www.findarticles.com /p/articles/mi_g1epc/is_tov/ai_2419100135 (949 words)

	PBS - JAZZ A Film By Ken Burns: Jazz Exchange - Minstrelsy
		While minstrelsy underwent changes throughout the 19th century, it usually involved a cast of white male performers, most famously minstrel "originator" Thomas "Daddy" Rice, who donned flface make-up and caricatured fls for profit.
		Cook, who had been classically trained and had even studied with Dvorak, did not intend to write ragtime or "coon songs"; the terms were not even in use when he wrote his first compositions.
		Handy and Cook's generation faced the racism of an American consumer culture born in minstrelsy, but through their genius they were able to gain legitimacy for fl music —; if not for fl musicians.
	www.pbs.org /jazz/exchange/exchange_minstrel.htm (981 words)

	Amazon.com: Books: Where Dead Voices Gather (Site not responding. Last check: 2007-10-26)
		Miller was a "yodeling blues singer" who performed in flface, adhering to the minstrelsy tradition that was in its death throes by the time he had his brief moment of fame in the 1920s.
		Not only did he do a ton of original research on Miller and minstrelsy and early American music (blues, jazz and country, before any of those three were genres; even the categories are foreign to us today), but he can tie it into modern musical ideas like no one else.
		Minstrelsy, in fact, became the first area of entrance for fls into mainstream popular entertainment.
	www.amazon.com /exec/obidos/tg/detail/-/0316895075?v=glance (2514 words)

	Sir Walter Scott and the Border Minstrelsy Story (Site not responding. Last check: 2007-10-26)
		Henderson, in his edition of the Minstrelsy (Blackwood, 1892), also made due use of Hogg's MS., and his edition is most valuable to every student of Scott's method of editing, being based on the Abbotsford MSS.
		His method in The Minstrelsy, he writes, was "to imitate the plan and style of Bishop Percy, observing only more strict fidelity concerning my originals." That is to say, he avowedly made up texts out of a variety of copies, when he had more copies than one.
		Ballad lovers, who are not specialists, go to The Minstrelsy for their favourite fare, and for historical elucidation and anecdote.
	www.richread.com /03wsbms10.html (18119 words)

	Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy (Site not responding. Last check: 2007-10-26)
		For over two centuries, America has celebrated the very fl culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of flface performance.
		Minstrelsy was a uniquely American art form that began about 1840, peaked around 1860, and continued as the most popular theater in America until about 1895.
		Carnival, charivari, mumming plays, peasant festivals, and even early versions of the Santa Claus myth--all of these forms of entertainment influenced and shaped flface minstrelsy in the first half of the nineteenth century.
	www.enotalone.com /books/0819563005.html (225 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)

	Black-Face Minstrelsy
		In Tom Sawyer minstrelsy appears in both the text and the illustrations.
		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.
	etext.lib.virginia.edu /railton/huckfinn/minstrl.html (1274 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)

	Professor discusses the history of minstrelsy - The Good 5 Cent Cigar - News
		Blackface minstrelsy was perhaps the most popular form of entertainment in the 1800s.
		Dunson showed a series of pictures of 19th century parlors and explained how music differed greatly between the parlors and the minstrelsy.
		Dunson said sheet music played and sang in the parlors was a means of entertainment and for the minstrelsy it was a means of performance involving bodily routines and raunchy songs.
	www.ramcigar.com /news/2005/04/22/News/Professor.Discusses.The.History.Of.Minstrelsy-934140.shtml (611 words)

	minstrelsy (Site not responding. Last check: 2007-10-26)
		Minstrelsy, popular from 1840 to 1900, was the second influence on the emergence of jazz and reflected the impelling positive reaction of Americans, fl and white, to the embryonic music of the emancipated slaves.
		The plantation songs aroused enduring interest in white ears and Minstrelsy developed to provide nationwide entertainment based on the imitation of slave and plantation music.
		Like it or not, Minstrelsy had a great impact on American popular music and left a legacy of memorable tunes.
	www.meister.u-net.com /the_jazz_tradition/minstrelsy.htm (1621 words)

	Blackface Minstrelsy Homepage (Site not responding. Last check: 2007-10-26)
		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.virginia.edu /railton/uncletom/minstrelsyhp.html (199 words)

	thea321 (Site not responding. Last check: 2007-10-26)
		There will be particular focus on the social commentaries minstrelsy makes on race and gender roles, as well as on American political climates.
		The nineteenth century will be discussed in relation to three eras: early minstrelsy, middle minstrelsy, and late minstrelsy.
		Evaluation will be based on satisfactory competition of midterm and final papers (one topic developed over semester), one presentation, and attendance in class at several arranged viewings of performances on videotape.
	www.williams.edu:803 /Registrar/catalog/depts0203/thea/thea321.html (125 words)

	Gadfly Online.
		Hence, minstrelsy is directly related to much of the music Dylan draws upon to make his music, especially his most recent album.
		But of course the political relations of flface minstrelsy are still alive in the culture.
		It is indeed one place minstrelsy ends up; where 19th-century white guys imitated what they thought of as slave culture and Elvis took from R and B performers, the impersonators copy the copy, if you will—it's minstrelsy once-removed.
	www.gadflyonline.com /12-10-01/book-ericlott.html (1766 words)

	Minstrelsy (Site not responding. Last check: 2007-10-26)
		During the nineteenth century, minstrelsy was one of the most popular forms of public entertainment in America.
		It is characterized by the impersonation of fls by white actors between acts of plays or during circuses, and the performance of fl musicians who sang, with banjo accompaniment, in city streets.
		This form of entertainment continued into the early twentieth century on the vaudeville stage.
	www.music.vt.edu /musicdictionary/textm/Minstrelsy.html (63 words)

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