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Books on the topic 'Blackface Minstrelsy'

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Published: 4 June 2021
Last updated: 17 June 2025

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1

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

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2

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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3

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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4

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

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5

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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6

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

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7

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

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8

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

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9

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

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10

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

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11

T, Lhamon W., ed. Jump Jim Crow: Lost plays, lyrics, and street prose of the first Atlantic popular culture. Harvard University Press, 2003.

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12

Pickering, Michael. Blackface Minstrelsy in Britain. Taylor & Francis Group, 2017.

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13

Pickering, Michael. Blackface Minstrelsy in Britain. Taylor & Francis Group, 2017.

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14

Pickering, Michael. Blackface Minstrelsy in Britain. Taylor & Francis Group, 2016.

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15

Burnt Cork: Traditions and Legacies of Blackface Minstrelsy. University of Massachusetts Press, 2012.

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16

Burnt cork: Traditions and legacies of blackface minstrelsy. University of Massachusetts Press, 2012.

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17

Love & Theft: Blackface Minstrelsy and the American Working Class. Oxford University Press, 2013.

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18

Blackface Minstrelsy in Britain (Ashgate Popular and Folk Music). Ashgate Pub Co, 2008.

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19

Gerstner, Frederike. Inszenierte Inbesitznahme: Blackface und Minstrelsy in Berlin um 1900. J.B. Metzler, 2017.

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20

Nowatzki, Robert. Representing African Americans in Transatlantic Abolitionism and Blackface Minstrelsy. LSU Press, 2010.

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21

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

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22

Carr, James Revell. “Hale Diabolo”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038600.003.0005.

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This chapter examines the popularity of American minstrelsy in Hawaii during the nineteenth century. It looks at professional touring minstrel troupes from the mainland, amateur troupes consisting of the crews of various visiting ships, and local indigenous troupes of Hawaiian minstrels. An examination of Hawaiian newspapers, personal diaries, and theatrical playbills indicates that blackface minstrelsy was one of the most popular entertainments in Honolulu in the mid-nineteenth century. Not only were professional minstrel troupes imported from the mainland, but amateur troupes consisting of Euro-American sailors and local troupes of Hawaiian minstrels were also common fixtures of the Honolulu stage. The chapter examines the Hawaiian minstrel show as representative of the emergence of modern Hawaiian popular music, influencing all levels of Honolulu society, showcasing the mimetic and syncretic nature of Hawaiian popular music. It also tells the story of the man who managed the Royal HawaiianTheatre for twenty years, Charles Derby.
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23

Simpson, Erik. Orality and Improvisation. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.24.

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The presence of orality or improvisation in literary texts implies a process of remediation, or the reworking of one medium (speech) into another (print). This chapter addresses ways in which British Romantic writers effected this remediation, especially when portraying the creative processes of minstrels and improvisers in literary works. After introducing key works of theory and criticism bearing on Romantic orality, the chapter analyses the rise of literary minstrelsy in the work of writers such as Walter Scott, who used editorial paratexts to frame the content of minstrelsy in the scholarly conventions of print. It then examines the growth of improvisation as an alternative mode to minstrelsy and shows how literary improvisation was notable for the prominence of women writers in its creation and practice. The chapter closes with a treatment of later blackface minstrelsy’s complex relationship to Romantic representations of orality.
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24

Love and Theft: Blackface Minstrelsy and the American Working Class. Oxford University Press, Incorporated, 2013.

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25

Love and theft: Blackface minstrelsy and the American working class. Oxford University Press, 1993.

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26

Thelwell, Chinua. Exporting Jim Crow: Blackface Minstrelsy in South Africa and Beyond. University of Massachusetts Press, 2020.

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27

Thelwell, Chinua. Exporting Jim Crow: Blackface Minstrelsy in South Africa and Beyond. University of Massachusetts Press, 2020.

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28

Love and Theft: Blackface Minstrelsy and the American Working Class. Oxford University Press, Incorporated, 2013.

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29

Exporting Jim Crow: Blackface Minstrelsy in South Africa and Beyond. University of Massachusetts Press, 2020.

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30

Thompson, Katrina Dyonne. Same Script, Different Actors. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038259.003.0007.

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This chapter examines the emergence of a distinct American entertainment culture, and specifically how scenes of blacks performing music and dance for whites directly influenced popular culture through the blackface minstrel show, fiction literature, travel narratives, and Southern folklore. It argues that these distorted images were recreated and further developed on the Northern stage through the rise of the American blackface minstrel show in the 1830s. It shows that white men performing in blackface in minstrel shows were mimicking black slaves while black slaves were presenting a facade of black culture that was forced upon them by white masters. Beyond the development of the blackface minstrel show as a major form of entertainment, scenes of enslaved blacks performing became the staple setting for popular fiction as well as proslavery and antislavery texts. This project recognizes blackface minstrelsy as a representation of whites imitating Southern white ideals and images of blackness.
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31

Smith, Christopher J. Recovering the Creole Synthesis. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0001.

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This book traces the roots of blackface minstrelsy—and the creole sounds, practices, and procedures that made minstrelsy possible—by analyzing the artworks, letters, sketchbooks, music collection, ephemera, and biography of William Sidney Mount, together with similar materials from some of his predecessors and contemporaries. It argues that nineteenth-century blackface is not a radical new invention, but rather the codification and theatricalization of a cluster of working-class performance idioms that were already familiar from the boundary zones of streets, wharves, decks, and fairgrounds. It also uses ethnography and ethnochoreology to reconstruct the behavioral contexts in which minstrelsy took place, along with its creole synthesis of music-and-movement, sound, and the body across boundaries of race, class, geography, and time. This chapter looks at a few preliminary examples that confirm Mount's relevance as a visual source for minstrelsy's musicological reconstruction, including information that he provides on musical instruments and techniques in the period, as well as attitudes about class, race, and gender.
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32

Smith, Christopher J. The Creole Synthesis in the New World. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0002.

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This chapter examines the musical, cultural, and sociological elements of blackface minstrelsy's “creole synthesis” throughout the Caribbean and the British colonies of North America. It argues that the conditions for the creole synthesis were present virtually from the first encounters of Anglo-Europeans and Africans in the New World. The chapter discusses the riverine, maritime, and frontier social contexts that shaped the music of blackface's African American sources and their Anglo-Celtic imitators. In particular, it considers creole synthesis in the Caribbean and in frontiers such as New Orleans and the Ohio. It also looks at a preliminary example of iconographic analysis that reflects the riverine and maritime creole synthesis: James Henry Beard's 1846 painting Western Raftsmen. The chapter contends that blackface minstrelsy was pioneered by George Washington Dixon and Thomas Dartmouth Rice in the 1830s and codified by Joel Walker Sweeney and Daniel Decatur Emmett (and the blackface troupes they founded) in the early 1840s, and thus represents the earliest comparatively accurate and extensive observation, description, and imitation of African American performance in the New World.
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33

Birth of an industry: Blackface minstrelsy and the rise of American animation. Duke University Press Books, 2015.

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34

Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation. Duke University Press, 2015.

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35

Austen, Jake, Yuval Taylor, and Mel Watkins. Darkest America: Black Minstrelsy from Slavery to Hip-Hop. Norton & Company, Incorporated, W. W., 2012.

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36

Creolization of American Culture: William Sidney Mount and the Roots of Blackface Minstrelsy. University of Illinois Press, 2013.

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37

Smith, Christopher J. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0007.

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This book has constructed a portrait of the multiethnic nineteenth-century world that gave birth to blackface minstrelsy using primary sources such as demographics, tune repertoires, archival materials, and most especially iconography. Drawing on evidence from the biographical experience and visual reporting of William Sidney Mount, it has also presented a more expansive history than blackface scholarship has formerly recognized. It has argued that the resources and conditions for the creole synthesis existed across the riverine and maritime zones of North America, and that these conditions produced the creole street-performance idioms that were the sources of blackface theatrics. In investigating the riverine and maritime, geographic, demographic, ethnic, and musical roots of blackface minstrelsy, the book has elucidated the processes of cross-cultural encounter, collision, and piebald synthesis by which American popular culture has always been and is still defined.
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38

Smith, Christopher J. The Creolization of American Culture: William Sidney Mount and the Roots of Blackface Minstrelsy. University of Illinois Press, 2014.

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39

Love and Theft: Blackface Minstrelsy and the American Working Class (Race and American Culture). Oxford University Press, USA, 1995.

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40

White, Miles. Shadow and Act. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036620.003.0002.

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This chapter examines minstrel performance as the first construction of an absent black presence in American popular music, signified by the minstrel mask, and as the first sustained project involving the fetishization and commodification of black male subjectivity. Minstrelsy practice required a body at the level of performance, but not a black one; rather, it called for the representation of blackness constructed in the white American racial imagination of the time. After the Civil War, black male performers who began to access the entertainment industry in minstrel troupes, and they did so in large numbers, were required to do so in blackface since the black mask conformed to deeply embedded social stereotypes of black masculine subjectivity.
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41

Shope, Bradley. Orchestras and musical intersections with regimental bands, blackface minstrel troupes, and jazz in India, 1830s–1940s. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0013.

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This chapter discusses blackface minstrel troupes, British regimental bands and jazz orchestras performing in India from the mid-nineteenth century to the mid-twentieth century. It details their challenges and strategies for success, and suggests that their capacity to facilitate cosmopolitan encounters in the wider world contributed to their popularity and value. It first introduces problems and practicalities in maintaining bands performing British military music in India in the mid- and late-nineteenth century. It then briefly introduces the character and scope of ballroom dance music and blackface minstrelsy in urban centres. To end, it examines the character of jazz orchestras between the 1920s and 1940s, detailing the role of the gramophone industry, entertainment venues such as hotel and cinema hall ballrooms, and the Allied military in Calcutta on their growth and profitability. In each example, it articulates thoughts on the role and usefulness of orchestras and notes issues confronting their musicians.
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42

Smith, Christopher J. Akimbo Culture. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0006.

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This chapter examines the physical and participatory implications of blackface dance, and the dance cultures more generally, depicted by William Sidney Mount. It also uses the evidence drawn from Mount's visual depictions to locate prototypical blackface dance vocabularies and rhythmic practices in vernacular art works of the earlier nineteenth century. The chapter first considers the resources for recovering the kinesics of minstrelsy, along with visible evidence of Afro-Caribbean influence on bodily kinesics, before turning to juba and the aesthetics of African movement. It then analyzes Mount's choreological evidence to illustrate the consistency with which he records and manipulates the cultural associations of body vocabulary, as well as his integration of the creole synthesis in his works. It argues that it was rhythm and dance that accounts for minstrelsy's remarkably immediate yet enduring popularity and influence. It shows that, in addition to the symbolic transgression of bourgeois grace implicit in Jim Crow's akimbo representation, the images' anatomical distortions also capture movement, not stasis. The chapter concludes by looking at the so-called “bending knee-bone” in blackface performance.
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43

Barclay, Jenifer L. Disability, Race, and Gender on the Stage in Antebellum America. Edited by Michael Rembis, Catherine Kudlick, and Kim E. Nielsen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190234959.013.21.

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Antebellum Americans confronted anxieties about many issues, such as industrialization, immigration, and urbanization, that found expression in blackface minstrelsy and freak shows. In these performances, racial fears, gender worries, and the insecurities of an emergent working class combined with the specter of disability to assuage the concerns of white, working-class audiences partly by reinforcing whiteness, masculinity, and nondisability as markers of citizenship. From the “laughable limp” of an elderly, enslaved groom who inspired Thomas “Daddy” Rice to craft his infamous Jim Crow character to displays of the supposedly 161-year-old disabled body of Joice Heth, minstrelsy and freak shows routinely conflated race, gender, and disability on the antebellum stage. This practice reached its pinnacle with Thomas “Japanese Tommy” Dilward, one of only two black men to perform in blackface before the Civil War.
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44

Mahar, William J. Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture (Music in American Life). University of Illinois Press, 1998.

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45

Smith, Christopher J. Melody’s Polyrhythmic Polysemic Possibilities. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0005.

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This chapter examines the musical repertoires collected by William Sidney Mount in order to understand early minstrelsy's melodic imagination and polyrhythmic style as well as its creole synthesis. It situates Mount's melodic repertoire within the wider context of contemporaneous rhythm and dance repertoires, including the ongoing resources represented by Anglo-Celtic music and dance; the newer dance-types of the polka, quadrille, and cotillion; and the already-creolized tunes explicitly associated with blackface minstrelsy and New York comic theatricals. The chapter suggests that the black–white exchange of the creole synthesis can be traced in movement vocabularies and that the creole synthesis was as present a factor in dance musicians' tune repertoires as it was in dance rhythms. The contents of Mount's musical collection and recollections provide evidence that he was a major participant in social and dance music making.
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46

Smith, Christopher J. Minstrelsy’s Material Culture. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0004.

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This chapter examines the material culture of blackface minstrelsy, and particularly of instrumental dance music in the “creole synthesis,” using evidence drawn from William Sidney Mount's four paintings: Just in Tune (1849), Right and Left (1850), Just in Tune () and The Banjo Player and The Bone Player (1856). Three of the four images in the portraits are most likely of dance musicians (both fiddlers and the bones player), while the fourth (the banjo player) could be imagined to accompany singing but equally likely completes the dance-band instrumentation—fiddle, banjo, and bones representing three-fourths of the iconic ensemble of minstrelsy. All of these works provide confirmation of Mount's expertise in and admiration for the details of African American vernacular music. This chapter analyzes the relationship between Mount's “private” pencil sketching and his “public” oil painting, as well as the complex layers of racial, economic, and political symbolism in his work. It also explores the musical detail of each of the four paintings and their significance to our understanding of the roots of minstrelsy.
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47

Bontemps, Arna. The Theater. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0028.

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This chapter focuses on Negro theater in Illinois. In May 1877, a Negro troupe played Out of Bondage in Chicago, and the Daily Inter Ocean described the performance as “one of the very best representations of slave life as it existed before the war that has ever been presented to the public.” But it was the arrival of Sam T. Jacks and his Creole Show in Chicago in 1893 that ushered in a new phase of the Negro's evolution in the theater. The chapter first considers minstrelsy and minstrel shows featuring actors in blackface before turning to various comedians, vocalists, and dancers who performed in musicals and other shows during the period, including Bert Williams and George Walker. It also looks at Chicago's Pekin Theater, opened by Robert Motts, that showcased black performers such as Charles Gilpin, Bill Robinson, Abbie Mitchell, Lottie Grady, Nettie Lewis, and Elizabeth Hart Scott.
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48

Murphy, Clifford R., ed. A History of New England Country and Western Music, 1925–1975. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038679.003.0004.

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This chapter explores how various languages pervaded industrial centers, which led to New England undergoing an ethnic transformation from a mostly white, Anglo-Saxon, Protestant (WASP) population to a mostly Irish, Franco, Italian, and Roman Catholic one. Emerging technologies such as the phonograph, motion pictures, and radio accelerated the spread into New England of African American jazz, which was heartily embraced by many in a region where blackface minstrelsy was enormously popular. There was a palpable tension throughout the region as newcomers and old Yankees alike struggled to retain traditional customs and languages. During this same period of pandemic crisis, New England was wracked by the stresses of interethnic and political conflict, as represented in the trial of anarchists Nicola Sacco and Bartolomeo Vanzetti in 1921.
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49

Laski, Gregory. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190642792.003.0007.

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The Epilogue places Spike Lee’s Bamboozled into dialogue with the thought of Ralph Ellison, whose Invisible Man constitutes the silent source for Lee’s film. At the center of both works is the image of a falling body, which highlights the relationship between the present-past of slavery and the possibility of achieving a democratic future. Whereas Lee leaves viewers locked in the past of racial subjugation that his film’s treatment of blackface minstrelsy represents, Ellison revises Walt Whitman’s vision to underscore the ways nonprogressive temporal models can facilitate political progress. Limning the energies of progress and regress through the nonteleological trajectory he imbues in his novel’s key terms, “plunge” and “fall,” Ellison posits the definitive democratic movement. This idea remains recessed in the rhetoric of Barack Obama, who in his “speech on race” disavowed the politically transformative potential of the stasis associated with the racial worldview of the Reverend Jeremiah Wright.
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50

Graham, Sandra Jean. Composing in Black and White. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.10.

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This chapter examines how Sam Lucas (1840–1916), one of the most popular black performers of the late 1870s and 1880s, was able to transcend the restrictions imposed on black entertainers in the last quarter of the nineteenth century, mainly through his songs that deploy ideologically laden codes to signify social constructions of race. Renowned for his songs, comic ingenuity, pleasing tenor voice, nimble dance steps, and dramatic intensity, Lucas holds the distinction of being the only African American to perform in the genres of blackface minstrelsy, variety and vaudeville, turn-of-the-century black musical comedy, and film (as a lead character). This chapter considers Lucas’s “black-coded” and “white-coded” songs and relates them to his deliberate attempt to manage his ambiguous position between sociocultural groups. To illuminate Lucas’s strategy of code-switching, a selective biography of Lucas based on primary sources and his own narratives is presented.
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