Relevant bibliographies by topics / Blackface Minstrelsy

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Blackface Minstrelsy'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 June 2025

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Journal articles on the topic "Blackface Minstrelsy"

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Anderson, Lisa M. "From Blackface to ‘Genuine Negroes’: Nineteenth-Century Minstrelsy and the Icon of the ‘Negro’." Theatre Research International 21, no. 1 (1996): 17–23. http://dx.doi.org/10.1017/s0307883300012669.

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In 1855, the first ‘coloured’ minstrel troupe, the Mocking Bird Minstrels, appeared on a Philadelphia stage. While this company did not stay together long, it heralded a change in the ‘face’ of minstrelsy in the United States. Many other black minstrel troupes would quickly follow, drawing attention away from the white minstrels who had until then dominated the scene. However, the white minstrel show had already iconized a particular representation of the ‘Negro’, which ultimately paved the way for black anti-minstrel attitudes at the end of the nineteenth century. The minstrel show existed in two guises: the white-in-blackface, and the black-in-blackface. The form and content of the minstrel shows changed over time, as well as audience perception of the two different types of performance. The black minstrel show has come to be regarded as a ‘reclaiming’ of slave dance and performance. It differs from white minstrelsy in that it gave theatrical form to ‘signifyin” on white minstrelsy in the manner in which slaves practised ‘signifyin” on whites in real life.
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Prince, K. Stephen. "A Murder among Minstrels: Show Business, Blackface, and Violence in Post-Civil War New York." Journal of the Gilded Age and Progressive Era 24, no. 2 (2025): 119–36. https://doi.org/10.1017/s1537781424000598.

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AbstractThis article focuses on a December 1867 altercation between three blackface minstrel managers – Sam Sharpley, Edwin Kelly, and Francis Leon. The conflict, which escalated from a fistfight to a shooting match, resulted in the death of Sharpley’s brother. The incident was a murder among blackface minstrels, but, more than this, it was a murder about minstrelsy. The blackface minstrel show – a deeply racist but wildly popular form of entertainment – was big business in post-Civil War New York City. Throughout 1867, Sharpley’s troupe was locked in a heated rivalry with Kelly and Leon’s company. When Kelly and Leon signed three of Sharpley’s performers and allegedly began spreading rumors about his financial well-being, Sharpley responded violently. As it examines the December confrontation, the events that preceded it, and the first-degree murder trial that followed, this article situates the incident in the larger history of blackface minstrelsy. It also suggests that popular performance culture must be understood with reference to contemporary shifts in post-Civil War American capitalism.
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Mahar, William J. "Ethiopian Skits and Sketches: Contents and Contexts of Blackface Minstrelsy, 1840–1890." Prospects 16 (October 1991): 241–79. http://dx.doi.org/10.1017/s0361233300004543.

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Blackface minstrelsy is a troublesome topic in popular culture studies. Because burn-cork comedy originated and thrived in a racist society, many scholars and most nonscholars believe that minstrelsy's primary purpose was the creation and perpetuation of demeaning caricatures or untruthful portraits of African-Americans. Most studies published since the early 1960s emphasize the negative effects of blackface comedy or focus on the development of the principal stereotypes (the urban dandy and the shiftless plantation hand) rather than on the interpretive significance of blackface comedy within the broader context of American ethnic humor. While it is essential that minstrelsy's negative characteristics be explored and explained as overt manifestations of the racist attitudes many Americans shared, the narrow focus on race and/or racism as the primary feature of blackface entertainment limits the application of the interdisciplinary methods and interpretive strategies needed to understand the content and context of one of the most popular forms of American comedy. The limitations imposed by restrictive methodologies can be removed, however, if historians reconsider a few of the issues that have been bypassed in most recent studies of American minstrelsy, namely, (1) the nonracial contents of blackface comedy; (2) the treatment of nonblack ethnic groups; (3) the socializing and class-defining functions of minstrel show humor; (4) the importance of minstrel shows as evidence of American ideas about politics, work, gender differences, domestic life, courtship, and marriage; (5) the use of the burnt-cork “mask” as a vehicle for reflexive, self-deprecating humor among various social, ethnic, and economic groups; and (6) the relationships between minstrel shows and other forms of American and English theater.
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Hoxworth, Kellen. "Minstrel Scandals; or, the Restorative White Properties of Blackface." TDR/The Drama Review 63, no. 3 (2019): 8–19. http://dx.doi.org/10.1162/dram_a_00853.

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In early 2019, a photograph from the 1984 medical school yearbook of Virginia Governor Ralph Northam featuring a blackfaced figure and a figure in a KKK hood sparked a minstrel scandal. Northam issued a contradictory series of admissions and apologies — yet, he remained in office. This incident models how minstrel scandals reproduce dramaturgical structures of blackface minstrelsy, simultaneously appearing to redress antiblack racism while working to restore the enduring racial structures of whiteness.
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NORRIS, RENEE LAPP. "Opera and the Mainstreaming of Blackface Minstrelsy." Journal of the Society for American Music 1, no. 3 (2007): 341–65. http://dx.doi.org/10.1017/s1752196307070113.

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In the mid-nineteenth century, blackface minstrelsy entered the mainstream of antebellum popular culture by borrowing from a European musical repertory, drawing on the language of advertisements for legitimate entertainments, and engaging two themes of antebellum popular culture, sentimentality and nationalism. Minstrels' opera parodies used devices similar to the British burlesque tradition: opera in blackface relied on the recontextualization of the original and an unpredictable mingling of sources and subjects. Discussion of three popular blackface opera songs, “I Dreamed Dat I Libed in Hotel Halls,” “See! Sir, See!,” and “Stop Dat Knocking,” demonstrates these processes.
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Thompson, Cheryl. "Casting Blackface in Canada: Unmasking the History of ‘White and Black’ Minstrel Shows." Canadian Theatre Review 193 (February 1, 2023): 16–20. http://dx.doi.org/10.3138/ctr.193.004.

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Blackface minstrelsy was the dominant form of mass entertainment for over a century, from the 1840s through the 1940s. In Canada, there has been little scholarly research into the topic but for the work of Stephen Johnson and, in recent years, the works I have published on the subject. One of the reasons blackface has been understudied is the dearth of attention paid to histories of slavery. By exploring the history of casting blackface productions, both ‘white’ minstrelsy (white performers blackening up to imitate the song and dance of African-Americans) and ‘Black’ minstrelsy (Black performers in and out of blackface performing caricatures of themselves in front of majority-white audiences), we gain an understanding of how these shows were produced, and what audiences found appealing about them. Canada has produced its own blackface stars, like Colin ‘Cool’ Burgess (1840–1905) and Calixa Lavallée (1842–1891), both of whom toured the United States and Canada in the late nineteenth century and who not only performed in blackface but also produced songs, some of which are still known today, like “O Canada,” the Canadian national anthem, composed by Lavallée in 1880. Additionally, what the history of casting blackface in Canada shows is a long-standing desire among white audiences for depictions of the American Plantation South that often included the participation of local actors like playwright and writer Charles Wesley Handscomb (1867–1906), who moved to Winnipeg in 1879, who were often cast in touring minstrel productions to sing in blackface.
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Chybowski, Julia J. "Blackface Minstrelsy and the Reception of Elizabeth Taylor Greenfield." Journal of the Society for American Music 15, no. 3 (2021): 305–20. http://dx.doi.org/10.1017/s1752196321000195.

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AbstractThis article explores blackface minstrelsy in the context of Elizabeth Taylor Greenfield's singing career of the 1850s–1870s. Although Greenfield performed a version of African American musicality that was distinct from minstrel caricatures, minstrelsy nonetheless impacted her reception. The ubiquity of minstrel tropes greatly influenced audience perceptions of Greenfield's creative and powerful transgressions of expected race and gender roles, as well as the alignment of race with mid-nineteenth-century notions of social class. Minstrel caricatures and stereotypes appeared in both praise and ridicule of Greenfield's performances from her debut onward, and after successful US and transatlantic tours established her notoriety, minstrel companies actually began staging parody versions of Greenfield, using her sobriquet, “Black Swan.” These “Black Swan” acts are evidence that Greenfield's achievements were perceived as threats to established social hierarchies.
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Cole, Catherine M., and Tracy C. Davis. "Routes of Blackface." TDR/The Drama Review 57, no. 2 (2013): 7–12. http://dx.doi.org/10.1162/dram_a_00257.

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Throughout its history, blackface minstrelsy has been at once potent and slippery, notoriously difficult to control as signification. When one race impersonates another and bills it as entertainment, reception becomes a barometer of ethnic hegemony, interracial politics, and power. The essays in this issue of TDR challenge and contribute to the historiography of blackface by examining previously untapped evidence, questioning current orthodoxies about the role of minstrelsy in US racial formations, and expanding the geographic scope of its performative genealogies.
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Adelt, Ulrich. "Blackface Minstrelsy in Britain." Popular Music and Society 32, no. 4 (2009): 569–71. http://dx.doi.org/10.1080/03007760902927199.

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Ghartey-Tagoe Kootin, Amma Y. "Lessons in Blackbody Minstrelsy: Old Plantation and the Manufacture of Black Authenticity." TDR/The Drama Review 57, no. 2 (2013): 102–22. http://dx.doi.org/10.1162/dram_a_00263.

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In 1901, a white theatre director reportedly established an exclusive school to teach 150 African Americans from the South how to perform themselves. His curriculum: the original blackface minstrel act. The report of this school illuminates how minstrelsy not only defined “blackness” but also made it a teachable concept by white Americans.
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Dissertations / Theses on the topic "Blackface Minstrelsy"

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Harbord, Jack. "Representations of blackface and minstrelsy in twenty first century popular culture." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36899/.

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Blackface minstrelsy just ain’t what it used to be. This statement should not be understood as a call for the return of the minstrel show. Quite literally, minstrelsy and its central feature blackface manifest themselves in divergent ways from their nineteenth and twentieth century manifestations, convey a range of meanings, and serve a number of social and artistic functions in the twenty-first century. Through the analysis of a variety of texts and practices from across cultural fields including music, television, film, journalism, social media, and academic discourses of minstrelsy this thesis identifies how blackface and minstrelsy are manifested, their function in critical, artistic, and social contexts, and the effects of their appearance in popular culture. To achieve this, discussion utilises the analytical methodologies of semiotics and discourse analysis to identify the themes and tropes and consistencies and inconsistencies that form the image and concept of blackface minstrelsy in the twenty-first century. Initial conclusions point to a number of contrasting functions and effects: the notion of equivalency with cultural and industrial practices; use as a discursive and iconographic signifier of racism, exploitation, and marginalisation in cultural criticism; application in comedic, dramatic, and artistic contexts as a tool of satire, parody, and irony; and public displays of blackface, seemingly ignorant of its problematic signification. In conclusion, the thesis locates its findings within wider discourses of race, appropriation, and marginalisation in American society. Moreover, this is positioned in the light of recent tensions between African American communities and the police, the fiftieth anniversary of the ‘Bloody Sunday’ confrontation on the Edmund Pettus Bridge in Selma, Alabama, and the proposal of post-racialism following the election of Barack Obama as United States President in 2008.
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Rosby, Amy. "Subverting blackface and the epistemology of American identity in John Berryman's 77 Dream songs." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1216665711.

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Thesis (M.A.)--Cleveland State University, 2008.<br>Abstract. Title from PDF t.p. (viewed on Nov. 7, 2008). Includes bibliographical references (p. 50-52). Available online via the OhioLINK ETD Center. Also available in print.
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Scal, Joshua. "White Skin, Black Masks: Jewish Minstrelsy and Performing Whiteness." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2163.

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This work traces the relationship of Jews to African-Americans in the process of Jews attaining whiteness in the 20th century. Specific attention is paid to blackface performance in The Jazz Singer and the process of identification with suffering. Theoretically this work brings together psychoanalytic theories of projection, repression and masochism with afro-pessimist notions of the libidinal economy of white supremacy. Ultimately, I argue that in its enjoyment and its masochism, The Jazz Singer empathizes with blackness both as a way to assimilate into white America and express doubt at this very act.
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Barnes, Rhae Lynn. "Darkology: The Hidden History of Amateur Blackface Minstrelsy and the Making of Modern America, 1860-1970." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493592.

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Darkology: The Hidden History of Amateur Blackface Minstrelsy and the Making of Modern America, 1860-1970 develops a critical bibliography and uses material culture to uncover the pervasive world of amateur blackface minstrelsy that took hold in most cities in the United States North and West between 1860 and 1970. Previously lost to history, amateur minstrelsy was integral to domestic and international imperialism. This dissertation aims to understand the cultural origins and consequences of amateur blackface minstrelsy, to map its political geography, and recapture the significance of its print culture. Despite an abundant body of evidence, the print culture of amateur blackface had remained unstudied. Darkology discloses the relationship between racially exclusive fraternal orders and the U.S. Government, and the immense body of blackface print that they created for public use. Darkology reveals the lost history of amateur blackface by providing the first bibliographic study of amateur blackface print, extends the chronology of theatrical blackface minstrelsy by seventy years through 1970, expands the geography of blackface in amateur form to the West, and reveals legal campaigns waged by the NAACP to ban blackface during the Civil Rights Movement.<br>History
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Ward, Perry K. "A SELECT SURVEY OF CHORAL ARRANGEMENTS BASED ON THE SONGS OF STEPHEN FOSTER TRACING DEVELOPMENTS IN MUSIC AND TEXTUAL CHANGES THROUGH THE TWENTIETH AND TWENTY-FIRST CENTURIES." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/103.

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Stephen Foster is acknowledged as America’s first composer of popular music. His legacy can be seen in the number of songs that are embedded in our cultural heritage – “Oh! Susanna,” “Beautiful Dreamer,” and “My Old Kentucky Home,” are but a very few of his most popular works. Stephen Foster’s songs have been incorporated into every facet of American culture including both popular and classical musical culture, television, and film. However, his legacy is complicated as it is tainted by connections to blackface minstrelsy in some works. This document seeks to trace the threads of racial sensitivity and cultural appropriation in works arranged for choral ensembles based on Foster’s songs. The arrangements chosen for this document provide a glimpse into three distinct periods of American history – pre-Civil Rights, the Civil Rights Era, and post-Civil Rights. Using a process of comparative analysis of the music and text of the originals to that of the arrangements, this document traces expected and unexpected changes in music and text associated with each period. Perhaps through the continued study of one of America’s first purveyors of popular culture, we can begin to understand our national legacy of racism more clearly and find a path towards reconciliation.
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Sevel-Sørensen, Simone. "Racial Performances On Social Media - A study of the Sweet Brown memes." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23997.

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Abstract:Social Media has become a powerful tool in several aspects. It can mobilize movements, rallying for social or political causes, and it can bring people together to share experiences or interest on a global platform. Social media platforms have facilitated more dynamic ways of presenting and performing identity positions such as race, gender, class and sexuality. Though many scholars have agreed that the internet and social media offer interesting new aspects in relation to identity exploration and self-expression, the performance of identity online can also contribute to problematic discourses that reinforce old social stereotypes online affecting what happens offline.This thesis explores racial performance on social media by examining the phenomenon of ‘Digital Blackface’, which is a virtual continuation of a historical phenomenon that operates, in particular, through Internet memes. The thesis studies different versions of an American meme, which represent an altered representation of a real person, known as Sweet Brown. Sweet Brown is an African American woman who after she was interviewed on television became a viral celebrity. Due to her expressive personality, her image has been remixed into several popular Internet memes.The theoretical framework consists of a theorization of racial performance and media representation theory. This theoretical lens is used in the analysis that sets out to answer the questions, how is the Sweet Brown meme used as a form of racial performance online? What is Digital Blackface and how does it operate online? And In what way can racial performance reinforce stereotypic representations? The methodological approach the thesis employs to conduct the analysis and exemplify the problematics are visual analysis, critical discourse analysis, and critical theory. Further, the implication of racial performances in Internet memes is linked to other recent cases or incidents that relate to issues of racial performance in the media. Keywords: Racial Performance, Internet memes, Minstrelsy, Digital Blackface, Internet Culture, Representation, Race, Racism.
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Richards, Jason. "Whites in blackface, blacks in whiteface : racial fluidities and national identities /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010855.

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Britz, Andreas. "Hidden in Plain Sight: John Berryman and the Poetics of Survival." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1274991004.

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Childs, Alundra Nicole. "La Tradicion de Los Negros Lubolos: ¿Es Una Apreciacion o Una Apropiacion del Candombe?"." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1496097078570828.

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Dunson, Stephanie Elaine. "The minstrel in the parlor: Nineteenth -century sheet music and the domestication of blackface minstrelsy." 2004. https://scholarworks.umass.edu/dissertations/AAI3136722.

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This dissertation explores the role of sheet music in the evolving racial ideologies of mid-nineteenth-century America. My claim is that minstrelsy in the home presents parallel but distinct development of the themes and assumptions commonly associated with the blackface tradition. My primary interest is in exploring early print versions of a popular minstrel tunes to consider how adjustments in the design and content mark minstrelsy's transition from rowdy dance hall spectacle to refined home entertainment. Read against literary works and first-hand accounts of nineteenth-century home life, the cover illustrations, lyrics, and musical notation of minstrel sheet music reveal how misrepresentations of black identity were positioned at complex intersections of popular culture, national identity, public and private space, and consumerism. I offer an analysis of lyrics, melodies, and musical arrangements to show the evolution of 1840s minstrel sheet music—a progression that exposes a developing reciprocal relationship between the refined aesthetics of the parlor and the playful antics of blackface performance. Most notably, I demonstrate how the logic Eric Lott employs in exposing blackface performance as a medium driven by white male sexuality and racial desire finds a gendered parallel in the images of minstrel sheet music covers designed for white middle-class women. Ultimately, I suggest that in an era when family dynamics were changing, when class lines were being redrawn, when print material not only reflected social standards but also dictated them, Americans were relearning family roles and relationships even as they were consuming race parodies offered on the covers and in the lyrics of popular minstrel songs. In this age of class uncertainty, minstrel sheet music provided not only entertainment that was supposedly “rich in dark fun” but also offered black caricatures that assured white Americans of their own place within the shifting boundaries of domestic propriety.
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Books on the topic "Blackface Minstrelsy"

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Pickering, Michael. Blackface minstrelsy in Britain. Ashgate, 2007.

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Annemarie, Bean, Hatch James Vernon 1928-, and McNamara Brooks, eds. Inside the minstrel mask: Readings in nineteenth-century blackface minstrelsy. Wesleyan University Press, 1996.

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Gerstner, Frederike. Inszenierte Inbesitznahme: Blackface und Minstrelsy in Berlin um 1900. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04518-8.

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Nowatzki, Robert. Representing African Americans in transatlantic abolitionism and blackface minstrelsy. Louisiana State University Press, 2010.

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Mahar, William J. Behind the burnt cork mask: Early blackface minstrelsy and Antebellum American popular culture. University of Illinois Press, 1999.

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Lhamon, W. T. Jim Crow, American: Selected songs and plays. Belknap Press of Harvard University Press, 2009.

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T, Lhamon W., ed. Jim Crow, American: Selected songs and plays. Belknap Press of Harvard University Press, 2009.

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T, Lhamon W., ed. Jim Crow, American: Selected songs and plays. Belknap Press of Harvard University Press, 2009.

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T, Lhamon W., ed. Jim Crow, American: T.D. Rice. Belknap Press of Harvard University Press, 2009.

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Wesley, Brown. Darktown strutters: A novel. Cane Hill Press, 1994.

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Book chapters on the topic "Blackface Minstrelsy"

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Gerstner, Frederike. "Minstrelsy und Blackface." In Inszenierte Inbesitznahme: Blackface und Minstrelsy in Berlin um 1900. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04518-8_2.

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Springhall, John. "Blackface Minstrelsy: The First All-American Show." In The Genesis of Mass Culture. Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612129_4.

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Simpson, Erik. "The ‘Minstrel of the Western Continent’: The Last of the Mohicans and Transatlantic Minstrelsy before Blackface." In Literary Minstrelsy, 1770–1830. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593985_6.

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Gerstner, Frederike. "Blackface im S/schwarzen Atlantik: Onkel Tom’s Hütte." In Inszenierte Inbesitznahme: Blackface und Minstrelsy in Berlin um 1900. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04518-8_3.

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Gerstner, Frederike. "Blackface und Metropole: Berlin bleibt Berlin und Der dunkle Punkt." In Inszenierte Inbesitznahme: Blackface und Minstrelsy in Berlin um 1900. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04518-8_4.

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Gerstner, Frederike. "Einleitung." In Inszenierte Inbesitznahme: Blackface und Minstrelsy in Berlin um 1900. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04518-8_1.

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Gerstner, Frederike. "Ausblick." In Inszenierte Inbesitznahme: Blackface und Minstrelsy in Berlin um 1900. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04518-8_5.

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Johnson, Stephen. "Testimonials in Silk: Juba and the Legitimization of American Blackface Minstrelsy in Britain." In Testimonial Advertising in the American Marketplace. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101715_2.

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Byrne, Kevin. "Blackface, On the Time." In Minstrel Traditions. Routledge, 2020. http://dx.doi.org/10.4324/9780429351280-5.

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Byrne, Kevin. "The Materiality and Circulation of Blackface in the Jazz Age." In Minstrel Traditions. Routledge, 2020. http://dx.doi.org/10.4324/9780429351280-1.

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